Judging by the number of people wrapped round every statue and display case, the OSJ concerts at the Ashmolean have really taken off. The latest concentrated on the baroque period, with Vivaldi and Bach in the first half, and Purcell making a substantial appearance after the interval.

Conductor Martin Smith used the Ashmolean atrium’s excellent acoustic to draw a delicate sound from the OSJ players in Vivaldi’s L’Estro Armonico Concerto No 8. Particularly enjoyable was the way in which the second movement Larghetto slowed to a gentle halt — it made me think of a gondolier wishing to leave his passengers with pleasant memories, while no doubt hoping for a good tip. All of which was in excellent contrast to the last two movements, which went with a stylish swing.

Mahan Esfahani was the soloist in Bach’s Harpsichord Concerto No 1. Following a muscular orchestral opening, Esfahani also demonstrated a delicate touch well suited to the surroundings in the first two movements, then acclerated seamlessly and naturally into a spirited, galloping finale.

After the interval, a brand new choir made its debut: the 25-voice OSJ Ashmolean Choir has been formed using local singers. The sound was impressive and well disciplined — it was easy to imagine that all concerned had been working together for years — as the choir sank its teeth into a semi-staged performance of Purcell’s Dido and Aeneas. This opera may be concise, but it spans a whole range of emotions as it moves from optimism to final tragedy, relying on a deft mixture of serious and comic scenes. The contrasts were most effectively brought out by second-half conductor John Lubbock, with a well-balanced team of soloists led by Christine Sjolander and James Davies in the title roles. As I emerged back into Beaumont Street, Sjolander's beautifully suspended account of Dido’s Lament kept me firmly anchored in another world.