Kidlington Amateur Operatic Society joined in the Mozart birthday celebrations last weekend with a robust performance of the profoundly moving Requiem Mass in D minor, famously left unfinished by the composer's death in 1791 and subsequently completed by his close friend Franz Xavier Sssmayr.

First, though, there were a couple of pieces by Handel, whose death in 1759 came just three years after Mozart's birth. The Oboe Concerto No.1 in B flat featured some exquisite playing by soloist Alison Street, particularly in the sublime Adagio and the gorgeous Siciliana, and she was well supported by the orchestra of the Woodstock Music Society. The choir gave a good account of the Chandos Anthem No.9: O Praise the Lord with One Consent, although they did have a tendency to sound a little strident at times. The highlight here was the contribution of bass soloist Stephen Barratt, who sang That God is Great in a wonderfully rich and even tone.

The rest of the evening was devoted to the Requiem, which the choir sang robustly throughout. There was again that tendency towards stridency, and I longed for a little more variation in dynamics and interpretation. They were at their best in the dramatic Dies Irae and Rex Tremendae Majestatis, but could have done with more sensitivity in the Sanctus and Agnus Dei. Diction could have been better enunciated, too. But this was otherwise a musically sound and well-balanced performance, sung with precision and integrity under the usual flawless direction of Paul Ingram.

The soloists, all members of the choir, were impressive, singing strongly and convincingly. Unusually, there were no fewer than 11 soloists, rather than the standard four, all taking turns to sing the various solos and quartets. I particularly enjoyed the soprano soloist in Tuba mirum not, alas, identified individually in the programme.

KAOS's next production, Orpheus in the Underworld, is in October at Gosford Hill School. For details, contact 01865 374967.