WHEN The Durham Singers and Ensemble performed Haydn’s masterpiece The Creation at Durham Cathedral it was not only the culmination of months of rehearsals, but also represented the fruits of a collaboration with young people across the region.

The monumental undertaking included an outreach programme in schools and a partnership with Samling, which provided four of the young soloists from the ranks its Academy programme, alongside Samling professional Bradley Travis.

The orchestral depiction of the chaos and disorder, with its rich chromatics and drama, was wonderfully laid out by musical director Dr Julian Wright.

Travis gave towering account of the angel Raphael, establishing his presence from his opening declaration "In the Beginning", with every word enunciated and projected with authority.

When the subdued chorus declared “and there was Light”, the famous fortissimo on the last word had an explosive force that radiated throughout every crevice of the cathedral.

Soprano Claire Tunny as Gabriel, sang with ravishing tones. Her ascent to the high C in her opening aria soared to the heavens, while her treatment of the delightful melody “With Verdure clad”, was finely modulated. The evocation of the merry lark, cooing dove “nightingale’s delightful notes” were a treat.

Tenor Hugo Hymas, as Uriel, sang with a refined elegance. “With softer beams and milder light” was delicately spun out

The final chorus and trio of first part, “The Heavens are a Telling” was hurled out with gusto.

During interval, the audience were invited to view six beautiful mosaic globes created by pupils of schools with artists Amanda and Angela Cuskin – each one representing a day of the Creation story.

The chorus, bolstered by members of Durham Johnston School Chamber Choir, were in top form, vividly depicting different aspects of the oratorio.

They revelled in fugal passages of The Lord is Great, while The Awake the Harp brimmed with energy.

The period instruments of the ensemble under the leadership of Caroline Balding, were finely balanced with the choral forces, never overwhelming the soloists. Among the orchestral highlights were the soft flutes introducing the paradise of Eden and the shuddering blast from the contra-bassoon depicting the “heavy beasts the ground is trod”.

Ana Fernandez Guerra (Eve) sang with ringing clarity while James Quitmann (Adam) delivery his lines with a rich bass. Both rose to the occasion in their tender duet “Graceful Consort”.

The concluding chorus with soloists "Sing the Lord" swirled with colour. It was a life-affirming and uplifting evening for all concerned.

Gavin Engelbrecht