On Saturday, 1 March, Canterbury Chamber Choir travelled to a new venue: Holy Trinity, Folkestone. We received a phenomenally warm welcome from the church team, who looked after us exceptionally well. Holy Trinity regularly hosts concerts, and we fully appreciated the setting, lighting, and support from the community.

The Requiems of Duruflé and Fauré formed the programme for our first concert of 2025. The Fauré is, of course, well known, but Canterbury Chamber Choir always strives to be a little less ordinary, and once again, the distinctive CCC 'sound' was out in full force. Moments of pure exuberance and vocal power were beautifully matched with intimate and reflective passages, as the choir shaped and crafted this familiar work into something truly special.

Jon Williams joined us as the baritone soloist, his rich, broad tone setting the scene for what was to come in the Offertorium, while the Libera Me that followed was dark, mysterious, and pleading. Robin Walker made his debut with the choir as accompanist, and we couldn’t have been more delighted with his contribution. As a choral conductor and singer himself, Robin instinctively understood what was required at any moment, both in rehearsal and performance.

One of the reasons we chose Holy Trinity was its wonderful organ, which suited the repertoire perfectly. Robin masterfully navigated its idiosyncrasies, drawing out a tonal palette that was entirely fitting for this French music. On this occasion, the King of Instruments was every bit an orchestra—and more.

After some excellent interval hospitality from the Holy Trinity team, the second half of the concert brought the Duruflé Requiem—what a piece! As the plainsong underpinning the work enwraps you in its sinewy threads, Duruflé’s glorious harmonies and effortless text painting thoroughly draw you in. The singers of Canterbury Chamber Choir can create the most powerful choral sound one moment and contrast it with a barely audible shimmer of pianissimo the next.

Tim Parker joined us as cellist for the Pie Jesu, adding that certain je ne sais quoi to the movement with its ethereal beauty and his exquisite playing. Just as with the Fauré, the Pie Jesu was performed by our ensemble of ladies rather than as a solo—a testament to the commitment and skill of CCC’s singers, whose angelic soprano and alto lines made this feat possible.

Both works leave the listener in paradisum, and as we launch into 2025, that is certainly where both choir and audience found themselves at the end of the concert. There is much to come this year, and this first performance was a wonderfully strong start. It was a joy to visit Holy Trinity with its appreciative audience—Folkestone, we will be back!