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A star-studded group of soloists and a wonderful choir make for an interesting, if not always convincing, interpretation of Bach's joyous oratorio. 

Whether surrounded by lanterns and weapons, or musicians and fellow congregation members, one is deeply involved in this work.

A lithe and engaging performance of Handel's festive regular from Polyphony and the Orchestra of the Age of Enlightenment.

In a diverse programme consisting of Haydn and Pärt, Stephen Layton impressed with his choir Polyphony, while the Britten Sinfonia performed a fine rendition of Shostakovich's Chamber Symphony. 

Fantasias for viol trio performed by members of Phantasm illustrate the inventiveness of England's best composers from the sixteenth and seventeenth centuries.

Polyphony live up to their reputation, performing Bach's St John Passion with intensity and dynamism, in a performance only marred by some routine orchestral playing. 

Bach’s Passion according to St John the Evangelist is not an easy work. Whilst saying I am a “fan” of Bach is one of the greatest understatements possible, this Passion is nonetheless an intense work for any concert-goer (seasoned or amateur) including myself. Over two hours in length, it is a test on both the audience and, quite obviously, the performers.

They are sadly few in number, but some things in this St. John Passion I can report in mildly positive terms would include Stephen Layton’s hand-selected choir Polyphony, whose members dealt with Bach’s demanding vocal lines capably and sang in clear, idiomatic German; bass-baritone Neal Davies (a perfectly respectable if not overly engaging Christ); and Derek Welton’s robustly s