SINCE the installation of a glass screen inside the west door, the cathedral fairly sparkles in the twilight. Lit from inside, it presented a welcoming beacon on a bitter March evening.

A capacity audience greeted Ripon Choral Society and the Orchestra D’ Amici led by Eileen Spencer for a performance of Elgar’s Dream of Gerontius conducted by John Dunford.

The soloists – all with impressive musical pedigrees – were Martha McLorinan, mezzo-soprano, Joshua Ellicott, tenor, and John Cunningham, bass-baritone.

Founded in 1884 and tracing its present form from 1954, the society presented an impressive line-up. The performance was dedicated to Philip Miles, a deeply loved and respected former conductor.

The Dream began with a swelling theme on horns resonating through the building, ultimately softening and giving way to the fine lyric tenor voice of Ellicott as Gerontius. The first part ended Cunningham's glorious bass.

After the interval, a beautiful theme on the strings introduced the musings of Gerontius and sweet responses of the Angel, sung by McLorinan.

As Gerontius and his guardian approach the Judgement Hall, they are confronted by demons who berate them with "vile abuse and uncouth dissonance".

This is a real masterpiece of musical expression and drama, in which the orchestra plays a powerful role with the chorus of Demons.

Fearful Gerontius is reassured by the Angel, assisted by an angelic chorus in a beautiful passage including sweet harp music followed by Newman’s famous hymn, Praise to the Holiest in the Height, sung by the choir.

With the orchestra bowing continuously on one mellifluous note, the choir effectively took us through the great hymn of praise and assurance.

Gerontius, tended and nursed by angels, is transported through Purgatory assisted by prayers of the masses on earth.

This was a powerful performance and was rewarded by enthusiastic applause. The audience was sent home assured by a blast on the Wakeman’s horn and his traditional proclamation: "All is well".

Irene MacDonald