'We've never printed so many words in a programme before," conductor Paul Ingram told the audience at St Mary Magdalene Church last weekend. And indeed, looking at the programme, the profusion of words looked somewhat daunting, and I began to wonder if I was going to be there all night. This was a demanding selection of pieces - Vaughan Williams's Five Tudor Portraits and English Folk Song Suite, and Standford's Songs of the Sea - but both choir and orchestra rose to the challenge with their usual zeal, infusing the music with infectious energy and enthusiasm.

The Five Tudor Portraits, based on poems by 16th-century poet John Skelton, were fun, fast and lively, with a wonderful appreciation of Skelton's wit. Mezzo soloist Susanna Spicer - a late replacement for Sarah Helsby Hughes - produced a gloriously vivid sound, and the mock lament, Jane Scroop, was full of humour. Baritone Quentin Hayes achieved a fine contrast between the sweet, melodious love song Pretty Bess, and the vivacious Jolly Rutterkin, a portrait of a dashing but vain young man.

The spirited mood continued after the interval with the English Folk Song Suite, a three-movement piece based on traditional folk song melodies, in which the composer had a particular interest. This was the orchestra's opportunity to grab a bit of glory, and grab it they did - this was a wonderful performance, brought to a rousing finale with the familiar strains of Blow away the Morning Dew and John Barleycorn.

Stanford's Songs of the Sea, settings of five poems by Henry Newbolt, complemented the Vaughan Williams pieces perfectly. Quentin Hayes gave an animated performance, ably supported by the choir, and the final number, The "Old Superb", was a real tour de force, prompting calls for an encore. "Paul's very kindly given me another chance to get the words right," joked Hayes, before repeating the entire song to even greater applause. A memorable finish to a hugely enjoyable evening.