Soprano Kathleen Battle?s Bermuda concert was billed as ?A Classical Evening to Remember?, and so it proved. In fact, the title was actually an understatement, for the dictionary is crammed with endless superlatives which could also have been chosen, none of which would have been amiss in describing what surely remains one of the most glorious voices in the classical firmament.

Granted Miss Battle?s awesome reputation preceded her, but she is also 58 years old and could be forgiven for having passed her vocal prime. Indeed, many singers of equal stature, Joan Sutherland among them, bowed out at the peak of their powers.

Thankfully for all who are privileged to hear her ? and Monday night?s audience at the Berkeley Institute auditorium were indeed very privileged ? Miss Battle has wisely chosen to remain on the concert circuit, sharing her extraordinary, God-given talents with the world.

Renowned as a singer of unique artistry and breathtaking technical ability, the lyric soprano is also mistress of a wide-ranging repertoire which goes beyond the strictly classical to include jazz, spirtuals and more. Thus it was that Monday?s programme spanned several centuries, and included works ranging from 18th century and 19th century composers Handel, Strauss and Donizetti to the very modern Andr? Previn and Stevie Wonder. In addition, there was a generous offering of spirituals presented as only Miss Battle can.

A commanding presence in burgundy velvet overwrapped with yards of sheer, shimmering gold fabric, which at times threatened to overwhelm her small stature, the singer opened with Handel?s ?Ombra mai fu? from ?Serse? ? a beautifully measured reading sung with effortless fluidity, and whose high notes were as strong and sure as the diction was immaculate.

In fact, this set the tone for what would be a thoughtful, carefully crafted first half imbued with finesse rather than fireworks, but equally where some variance in mood would have been welcome.

Three works by Richard Strauss (?All mein Gedanken? from ?Schlichte Weisen?; Allerseelen? and ?Standchen from ?Sechs Lieder?), all sung in German but with translations provided in the written programme, opened a wider window on this singer?s voice, her range and control, and the interpretive depth which makes all of her work so special. Matters of the heart, life and death are always evocative subjects, and in this grouping Miss Battle addressed them all in a voice which flowed with effortless ease from molten silver to darker gold.

Perhaps the most flattering gesture for any composer, artist or author is to be commissioned to produce a special work, so when Miss Battle was invited to participate in a series of Carnegie Hall commissions with the freedom to choose her collaborators, she turned to poet Toni Morrison and composer/conductor/musician Andr? Previn, the result of which was ?Honey and Rue, Six Songs for Soprano (1992)?.

Described in the programme as ?an intimate song cycle, touched here and there with the sound of jazz, and imbued throughout with imagery from women?s lives and the African-American experience?, this was, as with so many modern works, interesting rather than instantly appealing. Perhaps it is a reflection of the times in which these things are conceived that so many latter day works are more thought-provoking and less melodic than much of the older classical repertoire.

More importantly, however, was Miss Battle?s performance. Each of the six pieces was so beautifully wrought, and her voice so exquisite, that the standing ovation was the least reward her appreciative audience could bestow.

Opening the post-intermission programme with ?Ah, tardai troppo .. O luce de quests?anima? from Donizetti?s ?Linda di Chamounix?, the singer again provided a wonderful journey into the world of opera ? a world where beautiful music and memorable arias abound, and where Miss Battle?s reputation as one of the world?s finest voices was established.

In an evening of many highlights, this was an exceptional moment, not only for the sheer beauty, range and power of her voice but also for the magnificence of a performance which lifted the audience to its feet in a chorus of ?Bravos?.

Next came three songs written by Stevie Wonder, ?If It?s Magic?, ?I Never Dreamed? and ?They Won?t Go When I Go?. Normally associated with a different style of music, these were unusually beautiful, to which the soprano added deep and touching poignancy.

Noting that she and her excellent accompanist, Ted Taylor, had recently been coached by the composer for ?I Never Dreamed?, Miss Battle also said that Mr. Wonder his wife Theresa had honeymooned in Bermuda, and written the lyrics and music together. Sadly, due to the death of Mrs. Wonder, the song now had added meaning for her husband.

Written when he was just 21 and about to fire all the people then involved in Mr. Wonder?s career, Miss Battle perfectly conveyed, in words and gestures, the defiance and optimism expressed in ?They Won?t Go?.

As many times as we have heard spirituals performed, and as deeply moving as they inherently are, in Kathleen Battle?s repertoire they are ?born again,? and certainly like no other. Soulful, impassioned, unhurried with every nuance explored, they become deeply, stunningly beautiful ? a metaphorical trip to heaven, in fact.

Indeed, so well were these received that this gracious and generous artist returned again and again to perform more of the same, sometimes unaccompanied, before finally ending the evening with a divine interpretation of Gerschwin?s ?Summertime? from ?Porgy and Bess? to roars of acclimation.