DECIDING to sing anything, let alone something as demanding as J. S. Bach's Christmas Oratorio, in the season of goodwill and upper respiratory tract infections, is something of a gamble.

The odds seemed stacked against Bury Choral Society's performance in the week before Christmas.

The soloists were withdrawing one after another, with soprano Suzanne Mather completely losing her voice on the day of the performance. Fortunately, the soprano's role in the work is minimal and was extremely well taken at the last minute by chorus member, Rosemary Artley.

The sense of living on the edge was compounded by the first trumpeter (whose contribution is crucial from the start) being caught in a Metrolink hold-up, and then finding a taxi driver who took him to St John's Church, Seedfield, via Ramsbottom.

In consequence of such alarums and excursions, the performance started 20 minutes late but when the going got tough, Bury Choral Society got going with a resounding opening chorus, the splendid Christians, be Joyful.

The little orchestra bounced with vigour, the sopranos and the first trumpeter, with about 20 seconds to warm his mouthpiece and set his lip, were outstanding.

The performance continued in this vein.

The soloists were excellent, only Carolyn Hawthorn's enunciation in the recitatives being indistinct; the tonal quality of her voice, full and satisfying, is perhaps more suited to the Wagnerian roles which are her forte.

In contrast, tenor Michael Bracegirdle was crystal clear, and Neil Baker attacked the bass parts with verve. All three soloists have fine voices and were a pleasure to listen to in their various arias.

In its full form, the Christmas Oratorio is a massive undertaking, originally intended to be sung in sections over six days. In addition, even Bach's easy stuff is difficult, and this is not counted among his easy stuff.

Would the chorus have had sufficient rehearsal time following their performance of Faure's Requiem in November?

Perhaps another couple of weeks would have been useful. Glory to God in the Highest, which is pacey, edgey and complex, seemed at times to teeter on the brink on unravelling, and the Glory be to God suffered from the cooling off in the interval and lacked impact.

However, the other choruses thrilled and the chorales had the broad, wall-of-sound quality required to give contract to the subleties of the remainder.

All in all, a pre-Christmas treat, and the justifiably large audience which had virtually filled St John's streamed out after the performance into the cold of the year's longest night carrying a warm glow inside them.

J.D.A.