Handel would utilize whatever forces were available when performing his Messiah and likely to have an orchestra of the size so expertly directed by Nicholas McGegan here.

Matched against the full Bournemouth Symphony Chorus at a ratio exceeding 3 to 1 McGegan’s balancing act was so astutely deployed that the BSO were never compromised, all solo accompaniments beautifully poised.

The four soloists were all first rate with counter-tenor Christopher Ainslie giving a scintillating performance of But who may abide, and continuing to shine at every opportunity including an exquisitely inflected He was despised.

Tenor Benjamin Hulett opened with a clear and expressively projected Comfort ye and a wonderfully tender, remorsefully imbued, Thy rebuke.

Jacques Imbrailo’s flowing account of the bass aria Why do the nations was imaginatively underpinned by McGegan’s players, and, with a moderate vibrato, soprano Gillian Ramm rendered a lovely, uplifting Rejoice greatly.

Taking a deserved bow, Chorus-Master Gavin Carr had set the up the BSC to their usual exacting standards providing an appealing blend of vocal articulation throughout; the Hallelujah Chorus-rather too frequently acquired into other fields for effect-was gloriously sung, but perhaps taking the honours here was the final Amen; beguilingly beginning a capella and, under McGegan, reaching a truly thrilling climax.