He was in fine company however, particularly in his platform neighbour, tenor Nicholas Mulroy, whose first extended “Comfort ye” opened the vocal score as beautifully as I’ve heard, and whose command of recitative and engagement with the chorus was, by contrast with Appl, engagingly theatrical. He and mezzo Annie Gill, a couple off-stage as well as on, decorated their lines with careful ornamentation, Gill particularly effectively on He was despised. Appl and soprano Susanna Andersson (wife of conductor Tecwyn Evans) stuck more strictly to the score, and the combination of all four was full of colour, particularly the vocal duet of the two women on He shall feed his flock, the sonic sister of a beautifully-played Pastoral Symphony that rather belied the raft of changes to the line-up of the players in orchestra from that published in the programme.
Amid such riches, “The Choral” still managed to shine in its own right, Evans encouraging the texture of the chorus over its power, and the singers responding with beautiful measured poised at the conclusion of the sequence of choruses in Part Two and again for Since by man in Part Three. Chorus-master Michael Bawtree was bolstering the tenor section, so wins credit for performance as well as the drilling.