Summertown Choral Society’s Messiah last weekend was a suitably splendid affair, finely delivered throughout, with a bubbling energy and strong sense of commitment. Diction was crystal clear at all times, and the choir’s tone consistently rich and vibrant. There were some slightly ragged entries; in Behold the Lamb of God they were a fraction late, and there was a messy start to Let us break their bonds asunder. But I’m being picky; this was a thrilling performance, full of warmth, integrity and spirit, which made this familiar work sound fresh and buoyant. The highlight, as always, was the Hallelujah chorus, which was the showstopper it deserves to be.

Among the soloists, I was particularly impressed with Stephen Burrows, who was possibly one of the best countertenors I have heard. I am not a great lover of their sound, but a strong, pure voice like Burrows’s could easily convert me. O thou that tellest was cleanly and beautifully sung, but in He was despised Burrows really moved things up a level, singing the outer sections with sorrow and regret, while injecting the passionate middle section with a simmering rage. This was a truly stirring performance.

Tenor Ben Alden did some sterling work in Part II, in which the tenor soloist gets the lion’s share of the solo and recit work, and he imbued it all with confidence and dramatic intensity. Thou shall break them was particularly moving. Bass George Coltart — a late replacement for Tom Edwards — brought great energy to Why do the nations and the splendid The trumpet shall sound.

Soprano Carys Lane sang with purity and tenderness, but lacked power and attack on all but the highest notes. Rejoice greatly disappointed; it was too earnest and lacked any sense of joyfulness.

Overall, though, this was a stirring and compelling account of Handel’s greatest work, the enjoyment enhanced by the period instrument accompaniment by the Summertown Players.