This powerful, austere collaboration between Les Arts Florissants and the Amala Dianor Company – presented as part of Dance Umbrella – excavated all the violence, grief and transcendence of the events surrounding Christ’s betrayal and crucifixion.

Echo Vocal Ensemble have their genesis in Genesis. Sarah Latto’s group were initially formed by a cohort of the Genesis Sixteen young artists’ programme – and she has turned them into one of the most innovative vocal groups around. The programme at Union Chapel on Sunday night was a good example of their approach, with eclectic repertoire, new commissions, improvisation, a smattering of classics – and a loose-limbed dancer adding a visual element.

“Powerful, Timeless, Inspiring” it says on the front cover of the programme-book for this year’s supposedly 297th Three Choirs Festival at Hereford. So please leave your frivolity at the cathedral door with your gun and your mobile phone.

Arvo Pärt was into his 40s before he made had his Big Musical Idea: simplicity. He has spent the subsequent half-century pursuing this ideal, largely through the religious choral music that has been dubbed Holy Minimalism. And in this year of his 90^th birthday, the Proms gave the Estonian Philharmonic Chamber Choir a late-night concert to celebrate this music – and the people turned out, in what was the best-attended late-nighter I can remember.

Eva Quartet are four outstanding Bulgarian voices of polyphonic purity and depth, drawn from the legendary choir Le Mystere des Voix Bulgares, who guested on Kate Bush’s classic Eighties album The Sensual World.

There was a wonderful festal spirit at the Wigmore Hall last night, as the vocal ensemble Stile Antico ran through a Greatest Hits selection in celebration of their 20^th anniversary, in front of a packed and enthusiastic audience. The 12-strong group still boasts four founder members, but this was swelled to 10 for the final item, as a swarm of alumni joined in a beautiful rendition of Gibbons’ The Silver Swan.

Never make your mind up too soon about any large-scale work by a genius. Back in 2010, I had my doubts about James MacMillan’s first Passion, hearing in the impact of Colin Davis’s Barbican performance a halfway house between the composer's shattering best and his more contrived side.

When I arrived at St John’s College, Cambridge, in April 2023, it was a daunting prospect to be taking over the reins of a choir with such a distinguished recording heritage: there have been more than 100 albums since the 1950s on some of the UK’s top labels. 

The London Choral Sinfonia are a very impressive group, a professional choir who are churning out terrific recordings at a breakneck pace – I reviewed their latest release of Malcolm Arnold on theartsdesk only last week – as well as a busy schedule of live concerts and educational outreach.

At Smith Square Hall last night there was another aspect of their work on view, a commitment to new music in the form of a premiere of a large-scale new piece and, if I had my reservations about it, that commitment and ambition is still very much to be applauded.

Does any living composer write better for choirs, or more demandingly when circumstances allow, than James MacMillan? Admirable as it is to have extant words and music for a music-drama, morality play, call it what you will, by medieval pioneer Hildegard of Bingen, her imagining of a soul torn between virtues and Satan is inevitably one-dimensional. MacMillan finds variety and surprises in response to her text at ever turn of this 80-minute epic.