On Monday night, the capacity audience at the Anglican Cathedral was presented with one of the world's most famous and best loved ensembles -- the Vienna Boys Choir. Founded in 1498 by Emperor Maximilian I who wished to have choristers in his Imperial Chapel, the choir has over the centuries developed a rich artistic heritage. In recent decades they have delighted audiences worldwide with their unique blend of sound and their varied musical repertoire.

They began their programme with "Benedicamus Domino'', an example of 13th Century organum. Up until the middle of the 13th Century, organum was a general term used to denote all polyphonic music based on Gregorian Chant. As a musical form it is not simple. Though light in texture, the blend of voices here was excellent, and the boys coped with the musical intricacies admirably.

The main work of the evening was an operetta, and apart from this; and one contribution in English from Benjamin Britten, the first part of the recital was devoted to sacred choral music with Latin text. "The law, my dear Palestrina, ought to employ your music to lead hardened criminals to repentance.'' Thus said the Pope some 400 years ago, and one could imagine his sentiments correct as the sounds of the composer's beautiful and evocative "Ave Regina Coelorum'' filled Bermuda's cathedral -- a capella singing at its best.

One is often suspicious of conductors who use their choirs as vehicles for their own sometimes inferior compositions, but director Marco Osbic's work "Pater Noster'' which followed was refreshingly convincing.

Eighteenth Century composer Johann Schenk was a pupil of court composer Wagenseil, and a contemporary of Mozart. His popular comic opera "Der Dorfbarbier'' -- "The Village Barber'' was produced in Vienna in 1796. With a full cast of choir boys including some excellent soloists -- in particular one unidentified boy who played "Joseph'' -- Osbic's conducting from the piano on Monday night ensured a performance which was attractive and well presented.

One has to ask however why there was no synopsis of the opera on the programme -- a short paragraph would have sufficed. Despite the fact that the spoken dialogue was in English, with arias and ensembles in German, the plot was virtually impossible to follow. Certainly apart from obvious pantomime, much of the humour was lost. In fact, with the evening entirely devoted to esoteric works in Latin, German and admirable but accented English, in a concert which encompassed 700 years of vocal repertoire, the programme was, for the majority of the audience, without translations, the ultimate in a musical mystery tour.

The madrigal, "Now Is The Month of Maying'', by English composer Thomas Morley was the first item after the intermission. Perhaps it was lack of concentration or flagging energies -- one did detect the occasional yawn from some of the very young performers -- but the crisp Fa la las needed in the chorus were not in evidence.

The situation improved dramatically however with Brahms' "Gesang aus Fingal''. Composed in 1862, these songs were originally scored for ladies' voices accompanied by two horns and harp. The Vienna Boys Choir gave a performance which was rich in dynamic contrast, and which was with heroic poetic content, emotionally highly charged.

Benjamin Britten was one of the favoured English composers of the evening, and selections from his "Friday Afternoons'' were a popular offering. Composed over sixty years ago when the composer was in his early 20s, the cycle was light years ahead of its time. The boys presented only a few of the twelve songs, but their "Begone Dull Care'', "Ee-oh'', and "Jazz-Man'' were sung with great rhythmic vitality, while the contrasting "Fishing Song'' was an excellent interpretation of Britten's brilliant setting of words by Izaak Walton. Once more conducting from the piano, Marco Osbic's playing of the colourful, Britten accompaniments was imaginative and immaculate.

After a folk song "Gute Nacht'', the programme ended with a superb variety of Johann Strauss waltzes and polkas. In their element, the young performers entranced the audience with their musicianship and technical prowess. It is amazing to see such musical literacy and musical mastery in children of this age...all in all, a very enjoyable evening.

MARJORIE PETTIT The Vienna Choir Boys THEATRE REVIEW REV