On Palm Sunday evening, centuries of sacred choral tradition came alive inside St. Augustine’s Chapel on the North Street campus of Kingston College, as the Diocesan Festival Choir presented its critically acclaimed concert ‘Hosanna to Hallelujah’ under the skilled direction of conductor Audley Davidson. Joined by a small chamber orchestra, the nearly 20-member ensemble delivered a moving, meticulously curated program that kicked off Holy Week for local music and faith communities alike, earning resounding applause from a packed house.
The evening opened on a striking note with Arthur Hastings’ *Hosanna to the Son of David*, performed entirely a cappella. The rich, layered four-part harmony filled every corner of the historic chapel, its grand tonal texture announcing the start of the liturgical season with fresh, reverent energy. After the opening number, the choir repositioned at the front of the chapel, where attendees noticed a long-awaited update: the ensemble debuted brand-new royal blue uniforms for the performance.
Next up was J.S. Bach’s beloved *All glory, laud and honour*, a piece that highlighted Davidson’s precise, commanding leadership. His tight direction kept every chorister locked in, and the balanced dynamic shading the group achieved earned high praise from listeners. Following Bach’s classic was a less frequently performed selection from George Frideric Handel’s *Judas Maccabaeus*, *See the conquering hero comes*, which showcased warm, elevated tonal work particularly from the choir’s female sections.
A modern arrangement of Fred Bock’s *How majestic is your name* brought a welcome shift in tone, accented by a lyrical obbligato from guest soprano Lori Burnett that drew warm, appreciative applause from the audience. The only solo performance of the afternoon came from baritone Jourdain Masters, who delivered a haunting, narrative-driven interpretation of Geoffrey O’Hara’s *I walked today where Jesus walked*, retelling the story of Jesus’ journey to Calvary through thoughtful vocal expression.
While the familiar hymn *Jesu, grant me this I pray* was broadly well delivered, the performance faced a small misstep: one brief stanza lost melodic clarity amid the vocal blend, with a few tentative entrances from the ensemble. The choir quickly rebounded, however, delivering masterful performances of Paul Bliss’ arranged *Calvary* and Felix Mendelssohn’s *See what love* from *St Paul*. The seamless handoff of melody lines between voice parts and the cohesive blend on display served as a masterclass in sacred choral performance.
The first half closed with David Clydesdale’s arrangement of *Lift up the lamb*, built around the iconic *Ode to Joy* melody. The ensemble shifted smoothly between staccato and legato phrasing, with the chamber orchestra providing robust, supportive accompaniment that left audience members eager to cheer as the interval began.
The second half opened with an audience participation performance of Michael Burkhardt’s *Lift high the cross*, featuring a rousing trumpet solo that set the tone for the remainder of the program. Returning to the stage, the choir offered another a cappella selection: William H. Smith’s arrangement of the spiritual *Walk together children*. Marking the first time the group has integrated gentle choreography into one of its performances, the choristers stayed perfectly on pitch and maintained their tight, polished form throughout the number.
Accompaniment returned for Bob Chilcott’s *God so loved the world*, with a talented ensemble of local instrumentalists supporting the choir: Alex Gray and Stephen Shaw-Naar shared organ and piano duties, Okiel McIntyre and Shanneil Christian played trumpet, Avory Crooks and Travis Wedderburn took trombone, and Delroy Franklin played timpani.
For many in attendance, including the show’s reviewer, the standout performance of the entire evening was *When thou comest (Inflammatus et accensus)* from Gioachino Rossini’s *Stabat Mater*. The selection showcased the choir’s exceptional ability to tackle complex, serious sacred repertoire, with Burnett returning as a featured soloist alongside an ensemble that fully understood the emotional weight of the work.
The concert closed with two final moving selections: Gilbert Martin’s arrangement of *When I survey the wondrous cross* and Ludwig van Beethoven’s *Hallelujah* from *Christ on the Mount of Olives*, leaving a peaceful, reverent afterglow that lingered long after the final note faded.
In his opening remarks and prayer, Bishop of Kingston Garth Minott shared a key piece of the ensemble’s history: founded in 1924, the Diocesan Festival Choir carries a century-long legacy of musical excellence. This Palm Sunday performance, Minott noted, reflected exactly why that tradition has endured for 100 years. Sacred choral music demands rigorous attention to detail, tonal precision, and emotional depth, and the 2024 *Hosanna to Hallelujah* concert delivered all three, giving attendees a rich, moving start to Holy Week.