Messiah’s Dublin premiere actually took place at the New Music Hall, Fishamble Street on 13th April 1742 - nineteen days after Easter. The oratorio’s post-1900 transmutation from an expected Easter fixture to a beloved Christmas tradition was completed by the 1960s. This seems to have happened for mundane commercial aims to capitalise on a perceived public appetite for increased giving at Christmastide.

No matter. Whatever the season, Messiah’s universal capacity to reach the heart of the listener is probably unmatched. A reviewer at the Dublin premiere performance wrote: “The sublime, the grand and the tender, adapted to the most elevated, majestic and moving words; conspired to transport and charm the ravished heart and ear.”

Last Saturday’s performance was given in the magnificent setting of Leeds Minster by Leeds Philharmonic Chorus and Skipton Camerata conducted by Joseph Judge. The occasion undoubtedly lived up to those fine words. A modest scale of forces at around a hundred performers was similar to the numbers involved in the 1742 premiere.

Instead of the customary practice of placing the orchestra and choir at the east end of the Minster, the eighty-plus choristers were brought forward into the choir stalls. The orchestra was placed In front of the choristers, directly beneath the vaulted ceiling of the tower. This layout enhanced the balance and resonance for the audience seated in the nave.

The choral singing was very crisp and agile with clear diction. Harpsichord continuo was played by Alan Horsey and Chris Hughes was at the console of the Minster’s great organ. Skipton Camerata played with their customary polish and crystalline clarity. A frisson of excitement might have been injected into the big choral climaxes by allowing the full might of the organ to be unleashed at key moments.

Soprano Imogen Creedy, mezzo Camilla Seale, tenor Henry Strutt and baritone Jonty Ward made up an attractive quartet of twenty-something soloists. Each produced fresh and vibrato-less renditions of Messiah’s wonderful airs and arias. For me, Strutt’s pure English sounding tenor delivered the standout solo contributions.