Rossini’s Petite Messe Solennelle – somewhat misnamed, as it is neither small nor particularly solemn – is one of my all-time favourite choral pieces, an uplifting, exhilarating work that bears all the hallmarks of the composer’s operatic credentials. So it was a particular pleasure to hear the North Cotswold Chamber Choir’s spirited rendition at St Mary’s Church on Saturday. This 19-strong choir was clearly relishing every moment; many had smiles on their faces throughout, and their enthusiasm was infectious.

Rossini originally scored the work for a small choir, although he later orchestrated it for a larger-scale performance. But this performance proved that his original intention was probably the best; the smaller force gave the piece much greater warmth and intimacy, allowing its joyful nature to shine through. Add to that the choir’s flawless diction, crisp entries and purity of tone, together with the excellent piano and harmonium accompaniment by Bernard West and Anne Page, all held together with Jonathan Leonard’s well-paced conducting, and this was indeed a performance to cherish.

There was some fine work from the soloists, too, although the star, for me, was soprano Elisabeth Weisberg. A tiny girl with a huge voice, Weisberg radiated immense enjoyment, contributing a bell-like quality to the Crucifixus and O Salutaris. Particularly enjoyable was her duet with mezzo Emma Carrington, Qui Tollis, the two voices blending beautifully in what is arguably the loveliest piece in the entire work. Carrington, newly-graduated from the Royal Academy of Music, occasionally appeared a little ill at ease, but needn’t have done; she did, admittedly, struggle to hold her own against the two male soloists in the Gratias, but her animated performance of the Agnus Dei was incredibly moving. Nicholas Hewlett’s rendition of that wonderfully operatic tenor solo, Domine Deus, was a joy – despite an occasional tendency to ‘scoop’ up to the top notes – and bass David Crown contributed a wonderfully vibrant Quoniam