St. George's and Dockyard -- June 3 and 4 (Co-sponsored by BELCO) An estimated crowd of almost 3,000, headed by the Governor and Lady Waddington, gathered in King's Square, St. George's, on Saturday evening for what has become one of the most popular community events of the summer calendar.

As the red and white flag of St. George atop St. Peter's church fluttered in a drifting breeze from across the harbour, music fans of all ages settled themselves down on plastic chairs, blankets, or even on their nearby boats for an evening of hugely enjoyable music by the Bermuda Philharmonic Orchestra and Choir.

By tradition, the `Pops' concerts are just that -- an easy mix of best-loved classics introduced, as gracefully as ever, by Master of Ceremonies, Lt. Col.

Brendan Hollis. This year, Theodore Lambrinos, guest baritone from the US, wove his own special magic over the Square with a voice that switched, with spectacular ease, from grand opera to the best from Broadway.

Conducting his fifth `Pops' event, Graham Garton selected a well-balanced programme that seemed to pay homage to a medley of nationalistic music from around the world. These began, appropriately enough, with the National Anthem followed by the Bermuda National Song, and ranged from the lush Russian melodies of Glinka, the patriotically plaintive strains of Sibelius's `Finlandia', the drama of Spain in the Torreador Song from `Carmen', Britain's stirring `second' anthem, `Pomp and Circumstance No. 1', and the bouncing American buoyancy of Sousa marches and The Battle Hymn of the Republic: something, it would seem, for just about everyone.

The choir gave a good account of the lovely coronation anthem, `Zadok the Priest' by Handel, sustaining the regality of this piece which has been performed at every coronation since George II, for whom it was composed.

Theodore Lambrinos, who has performed with the Metropolitan Opera -- and indeed all over the world -- began with the Prologue from `I Pagliacci', revealing a rich warmth in a large voice that was also beautifully lyrical in this reflective piece. There was a complete change of pace when he launched into `The Impossible Dream' and `I, Don Quixote', from the musical, `Man of La Mancha'.

The orchestra's rendition of Jarnefelt's `Praeiudium', with its bright dancing rhythms, was distinguished by the solo violin of Suzanne Dunkerley, making her last appearance in these weekend concerts, as leader of the Philharmonic Orchestra.

The distant rat-a-tat-tat of the kettle drum introduced a rousing interpretation from orchestra and chorus in `The Battle Hymn of the Republic', which brought the first half to a close.

As the shadows lengthened, and dusk descended on the old Square, it was Garton's Choral Fanfare that set the tone for the second section of the programme: the exotic-sounding `Fidem Praestabimus!' of the title translates as `Yes, you can count on us!' and must surely represent the first time that any supermarket, anywhere, has had its advertising `jingle' composed in Latin.

Lambrinos, who seemed charmed by the whole occasion, certainly exercised his own considerable charm with the expansive romance of `Some Enchanted Evening' from South Pacific. His grande finale number, in which he was joined by the choir, was the magnificent Toreador's song from Bizet's opera, `Carmen', powerfully and evocatively sung.

Finally, the whole crowd in the now darkened Square stood, as tradition dictates, for the always moving Hallelujah Chorus from Handel's `Messiah'.

Amidst the enthusiastic applause at the end, there was a well deserved cheer for the diminutive Suzanne Dunkerley, as Mr. Garton presented her with a huge bouquet of flowers from her colleagues in the Society.

PATRICIA CALNAN REVIEW