John's Church, Pembroke -- January 30, 31 and February 1.

As Bermuda again took centre stage at the Bermuda Festival with a performance of Choral Music by Handel, Mozart and Brahms, it more than justified its place alongside the annual influx of international artists.

The magnificence of the 85-voice choir and the professionalism of the orchestra, led by Menuhin Foundation violinist Kerry Haslam, was a tribute to the exacting standards demanded -- and obtained -- by director and conductor Marjorie Pettit.

With this, the third major concert under the auspices of the Gilbert & Sullivan Society, she triumphantly confirmed that under her baton, the impossible, in local musical terms, has indeed become possible. This is due, in part, to her decision to devote all her efforts to just two concerts a year and her insistence on personally selected performers. At present, this still means that a few key instrumentalists have to be imported for the occasion, but the choir is certainly completely home-grown.

Hand in hand with a formidable musical intellect, it is Marjorie Pettit's gifts as a communicator and ability to inspire excellence, that makes her unique.We are now seeing the full flowering of her talent.

The strains of Handel's Zadok the Priest provided a celebratory and dramatic start to the evening.

The German composer who became an ardent anglophile and eventual citizen of Britain, wrote this first of four anthems for the 1727 coronation of George II. Describing the anointing of Solomon, it has been performed at every coronation since.

Despite its brevity, the majesty of this choral and orchestral fanfare is always stirring. Saturday's performance was no exception.

Exsultate Jibilate, one of the most popular works in the solo soprano repertoire was, incredibly, written in 1772 when Wolfgang Amadeus Mozart was just 17 years old.

Miniature in form, this motet nevertheless embraces an entire range of musical expression, from the joyful opening Allegro, the `su virginum corono' (which surely presages the genius of operatic arias to come) through to the exultant Alleluja finale.

Akiko Murakami was the sensitive and radiant soloist in this short, yet notoriously difficult work.

A glorious, sustained fusion of sound in which voice and orchestra become equal and noble partners characterises the great German Requiem by Johannes Brahms.

The oratorio was written by the composer in memory of his mother and fellow composer Robert Schumann. Taking more than ten years to complete, his composition eventually approached the form of a choral symphony. It departed from the usual use of a Latin text in favour of that from the Lutheran bible; the English translation, used for this concert, stands on its own, with passages of familiar and poetic beauty.

It this was a particularly satisfying work for the orchestra in that it becomes an intrinsic part of the dialogue rather than a mere accompaniment, it was even more so for the choir who, unusually, were involved in every one of the seven movements.

After a subdued introduction, choir, soloists and orchestra embarked on a wondrous musical journey that dwelt, not upon the dead, but those who remain behind to mourn. As such, it envisions the emotions of despair, hope and finally, acceptance, through music of enormous complexity that ranges from lyricism to dramatic grandeur.

Akiko Murakami again took the soprano solo with a moving rendition of the lovely aria `And ye are now sorrowful', with Peter Nash singing with fine conviction, the baritone solo in the third movement and the impressive `Behold, I shew you a mystery' from the sixth.

In a work that was technically exhausting in its dynamic range and emotionally draining in the shifting forces of mood, this choir and orchestra rose magnificently to the challenge.

The extension of the aims of the Gilbert & Sullivan Society which provides Marjorie Pettit with the framework in which to mount her concerts has added a valuable dimension to the Island's musical life. Producer Marjorie Stanton and her hardworking crew deserve recognition for their efforts in making the union such a success.

And again, the beautiful setting of St. John's Church was enhanced by the musically-inspired floral decorations of Jeanne Masters and her assistants.

All in all, a memorable Festival event which continues to underline Bermuda's astonishing musical advancement. -- PATRICIA CALNAN BERMUDA FESTIVAL REHEARSAL -- Conductor Marjorie Pettit pictured at one of the final rehearsals for the Evening of Choral Music. In the background is soloist soprano Akiko Marakami. The final performance is this evening.