Bermuda at St. John's Church, May 15 and 16, 1992.

Any lingering doubts that director Marjorie Pettit could match the momentum of last year's Mozart Bicentennial Concert were firmly removed as the first exultant notes of Bach's Magnificat reverberated round the flower-filled church at the commencement of this year's Heritage Concert.

Once again, she has achieved the seemingly impossible -- for there were moments in this programme when the technical excellence which she had assembled and nurtured was comparable with that of any major overseas city.

But it is, perhaps, a unique ability to transfer her own passion to the performers that evokes the emotionally charged atmosphere that characterises her concerts.

With a well balanced choir of 70 singers and an orchestra of 40, the results were dynamic. And the wisdom behind the concept of the Menuhin Foundation was not only visible, as always, in the teachers who form an invaluable part of both this orchestra and the Bermuda Philharmonic, but also in the emerging array of young musicians who are gradually providing a competent, "home-grown'' element in both orchestras. Once again, several key instrumentalists from overseas were invited to provide professional under-pinning where necessary.

Bach's Magnificat in D Major is a relatively short, but taxing work of great splendour that calls for a five-part chorus, soloists and orchestra.

Under Marjorie Pettit's inspired direction, the chorus brought drama, power and cohesion to this complicated score. Nowhere was this more apparent than in the marvellous climax of the final Gloria Chorus.

The impressive range of Nancy Chisling's voice, which possesses a shimmering richness in her lower notes that is matched with equal purity in the higher register, was fully revealed in the opening solo and again in the duet, Et misericordia, sung with Bermuda's illustrious tenor, Gary Burgess. There was exquisite singing, too, from soprano Akiko Murakami in the lovely aria, Quia respixit. She has greatly enhanced Bermuda's musical scene since her arrival here last year.

Guest artist Brian Zunner, who maintains a Bermuda connection as a pupil of Gary Burgess at the State University of New York at Buffalo, brought a wondrously rich timbre to the bass aria, Quia fecit. Finally, soprano Cyanne Thomas, who delighted audiences in the Bermuda Festival production of The Mikado earlier this year, joined Akiko Murakami and Nancy Chisling for the brief but keenly felt trio, Suscepit Israel.

The Mendelssohn Violin Concerto in E Minor, understandably one of the most popular works ever written for the violin, provided linkage in this varied programme, since it was Mendelssohn who was largely responsible for the reinstatement of Bach from near obscurity at the beginning of the 19th century.

Former Menuhin Foundation teacher, Sheila Roberts, returned from her new position with the BBC Scottish Symphony Orchestra as soloist. Almost without introduction, the solo violin launches the melodic theme of the first movement which is then developed by the orchestra. This young violinist imbues her technical prowess with a deeply felt artistry that never allows virtuosic feats to detract from the integral dialogue between soloist and orchestra.

As the single, sustained note from the bassoon led to the second and poignant slow movement, Sheila Roberts revealed a moving lyricism. Yet another facet of her impressive, yet always understated technique surfaced in the puckish, gossamer-spun bowing of the finale, introduced by particularly bright fanfares from the brass section.

The sense of rapport offered by Marjorie Pettit and the stylish playing by the orchestra went no small way in making this a performance that will long be remembered.

Seldom performed in its entirety, Bizet's The Pearl Fishers has one of the loveliest duets in all opera, Au Fond de Temple Saint, in which the two heroes vow to renounce the woman they both love, so that their friendship may endure.

This tender and melodic exchange, with Gary Burgess taking the tenor role and Brian Zunner, the bass, was a performance guaranteed to send shivers of delight down the spine.

The effortless strength and sheer tonal beauty attained by Gary Burgess was superbly complemented by the rich resonance of Brian Zunner as their voices soared in a bitter-sweet unity of emotion.

The second half of the concert began and ended with two short choral works by Mozart.

Akiko Murakami provided the lone, thrilling soprano aria in an excerpt from the Benedictus Sit Deus and in the closing Veni Sancte Spiritus, she was joined by Nancy Chisling, Gary Burgess and Peter Nash in a stunning finale where the chorus and orchestra gave full vent to the splendour of this score which, unbelievably, was composed by Mozart when he was only twelve years old.

At the conclusion of Saturday's concert, the packed audience rose to its feet in a standing ovation. On this occasion Bermuda was right on target in according what should be a rare form of homage to the exceptional. This performance was exceptional and the ovation was well deserved. PATRICIA CALNAN MAGNIFICENT MAGNIFICAT -- Bermudian tenor Gary Burgess returned home to participate in the Bermuda Heritage Concert. Here he is pictured with mezzo-soprano Nancy Chisling as they rehearse their duet from Bach's Magnificat in D Major. Graham Lobb photo.