The reputation of this choir has been nothing short of sterling since its very first public performance a dozen years ago when its young singers sang the complex 'Nicolas and the Pickled Boys', by Benjamin Britten, for the Philharmonic Society's performance of St. Nicolas during their Christmas Concert. The choir's reputation was born, and they have never looked back.

On Sunday, a choral group of the choir's senior girls introduced the evening of seasonal music with Michael Praetorius' 'Psallite', a light, tinkling motet that set that mood of mystery that pervaded this recital. The full choir stood to sing 'The Bells of Christmas', an uplifting work that combines such popular carols as 'Jingle Bells' and 'Ding Dong Merrily On High' with an original melody for an enchanting and upbeat Christmas song. Certainly not easy, this piece required complex part work, but the choristers thoroughly enjoy performing it, and their enthusiasm shone through, while percussionist Peter Profit's tinkling bells created that seasonal ambience.

'Do You Hear What I Hear?' by Regney and Shayne, with its optimism and sense of a message delivered from afar, sets an atmosphere for quiet hope and joy. The young singers created a haunting, mystical ambiance with their gorgeous dynamics and sensitivity to the carol, while cellist Alison Johnstone and bass Brian Swan provided its deep rhythmical foundation.

Mezzo-Soprano Kerri-Lynne Dietz, now at the Royal Academy of Music in London, was an early member of the St. John's Youth Choir and her voice exceptionally lovely as a young chorister has developed into one that is spectacular. Her 'The Little Road to Bethlehem', accompanied by Marjorie Pettit on the piano, provided an opportunity to enjoy her gorgeously operatic, expansive voice quite as rich as the season itself.

Contemporary composer John Rutter's carols do capture the spirit of Christmas, and his 'Angels Carol' was on Sunday evening was sung by the whole choir.

Who can fail to love this evocative, emotive piece, one that is so uplifting too – and with harmonisations that were breathtaking. Following this was another popular seasonal song, 'Pat-a-pan', and again delightfully rendered by the choir.

The first verse of the Christmas lullaby 'Away In A Manager' was sung by tiny Leah Shaw, the youngest soloist of the evening, whose sweet voice was remarkably constant for so young a child and quite perfect for the first verse, before the choir came in for verse two in glorious harmony.

The young singers changed the mood for the not often heard 'This Joy', which is a lively carol, but still with an element of mysticism achieved by the sweet, light quality of this choir.

The first three verses of 'Hark the Herald Angels Sing' brought in an enthusiastic audience, enhanced by the choristers' spectacular descant, before Anna Cutler sang 'Walking In The Air' by Howard Blake, accompanied with haunting loveliness by Kate Ross on the violin and Andrea Hodgson on the piano. It is a magical carol that is as mystical as anything written in half a millennium. This youngster's very pretty, clear voice shows clear signs of developing into a beautiful, mature one in future years.

After a resounding account of 'That First Noel' by a group of six older voices, Holly Stephens' rendition of 'O Men From The Fields' was an introduction to a tremendous young talent and to an evocative carol as well, her husky, mezzo quality lending to the interpretation of Arnold Cooke's work.

The choir went on to sing 'The Shepherd's Pipe Carol', one of John Rutter's best know and loved Christmas compositions. Lively and joyous, the choir performed with great enthusiasm, and yet gave a meticulously honed performance.

A jazzy version of 'Frosty The Snowman' was easily managed, and the choristers clearly enjoyed performing this upbeat Christmas song by Nelson and Rollins, colouring it with great effect with a variety of changes of mood, from jazz to rock and so forth.

After the intermission, Francesca Dill stepped forward, and filled her performance of 'O Holy Night' with the mystery of the Nativity, accompanied sweetly and sensitively by the choir.

Jenna Kessaram's solo performance of 'Midwinter' is another carol that is rarely heard, and her lovely alto rendered this magical arrangement beautifully, again supported melodiously and with perception by her fellow choir members.

The beautifully rounded, lush rendering by Hannah Dill of the Spanish carol 'A La Nanita Nana', and imbued with fine dynamic interest, made this an engaging and absolutely delightful performance from a confident young singer.

Kerri-Lynne's vocal excellence was once again on show as she returned to the stage for 'O Thou That Tellist Good Things From Zion' from Handel's Messiah, which was followed by the choir's jubilant 'Hallelujah Chorus' from the same work. This piece is so well known, thus expectations are inevitably high, and it is with great credit to this young choir that those expectations were more than met.

When Kerri-Lynne returned again to perform the solo part for the much loved 'Still A Bach Christmas', her evocative interpretation and gorgeous voice was enough to bring tears to the eyes.

The choir concluded with a vigorous rendition of 'We Wish You A Merry Christmas' – thoroughly enjoyed by the audience, who then joined in with the Willcocks arrangement of 'O Come All Ye Faithful', the traditional end of most ecclesiastical Christmas celebrations.

It was with a nod of the head to the secular, that the orchestra burst into 'Jingle Bells', and Father Christmas and Mrs. Claus in full regalia and a huge basket of chocolates for the audience!