Queen's College Choir is among the leading mixed-voice collegiate ensembles in the UK," a publicity flyer proclaimed. After hearing the choir last Thursday, in Bach's magnificent Mass in B minor, I can understand why. From the opening Kyrie eleison, delivered fearlessly and powerfully, it was clear that this was going to be a performance of exceptional quality. The 30 voices - spread, unlike some choirs, more or less evenly among the four sections - fused so perfectly, and produced such a thrilling sound, that I had to fight the temptation to applaud every individual number.

Much of this was due to the exactitude of music director Owen Rees, a Queen's fellow, organist and music tutor. His was an informed interpretation that did full justice both to the text and to Bach's stirring score. Choruses such as the Gloria in excelsis and Cum sancto Spiritu were infused with radiance and exuberance, while the Crucifixus was delivered with exceptional feeling, and the closing Dona nobis pacem brought the piece to an inspiring and uplifting finale.

Unusually, the solo numbers were taken by different members of the choir, a practice that I have seen done by other choirs with limited success, as the quality of the soloists varied greatly. No such problems here, though; the Queen's soloists uniformly impressed. I particularly liked Esther Brazil's Laudamus te, which she sang strongly and sympathetically, with a beautiful tone and perfect diction. But there were other enjoyable performances, notably the well-matched pairing of Rebecca Lea and Deborah Steele in Christe eleison and James Potter's poignant Agnus Dei. The London Handel Orchestra put an extra gloss on the performance, providing a buoyant but always sensitive accompaniment, while organ scholars Charlotte Phillips and Benedict Lewis-Smith impressed on the organ and harpsichord respectively.

The choir's next concert, Music for a Summer's Evening, is on 5th June in the Chapel and the Provost's Garden. For more details, visit www.queens.ox.ac.uk/choir.