Haydn's late oratorio (he was in his 60s), The Creation', was a great success at its first (private) performance in 1798, and subsequently achieved huge popularity with the public. The performance of the work to a large audience, at St. John's Church, Knutsford, last Saturday, clearly demonstrated why this was, and remains, so: the clarity of musical expression; the colourful and entertaining depiction of the natural world; the sheer 'joie de vivre' of the piece.

The simplicity of language and directness of the work should not, however, allow us to ignore the musical skill required to bring it all to life. There are considerable challenges for all involved, and it is to the credit of the performers under the baton of the choir's Director, John Powell, that it was seamlessly enjoyable from the (ever-amazing) orchestral 'Representation of Chaos' at the start to the choral hymn of praise to the Creator at the end.

The soloists, in the personae of archangels and, later, Adam and Eve, told the story of creation with colour and verve, making much of the dramatic events depicted. The soprano, Nicola Mills, shone brilliantly, especially when joined with the choir singing God's praise 'to th'ethereal vaults' at the end of the second day of creation, and again when describing the beauty of the nightingale's song (with superb solo flute playing by Anna Shipton) on the fifth day. Joshua Ellicott's (tenor) ability to engage and move an audience was given full rein, not least singing of the 'splendour bright' of the new, rising, sun (a recitative with a well-executed, brief, but utterly wonderful, instrumental introduction). The bass, Dean Robinson, sang with operatic intensity of 'foaming billows', 'great whales', roaring lion and creeping worm (the last two accompanied by deep growls from the contra-bassoon, and, as an unexpected extra colour, from the church's plumbing).

The choir, though not over-large for this work, filled the church with sound in the hymns of praise, and showed themselves capable of the most subtle effects, as in their very quiet singing with Adam and Eve in 'By thee with bliss', and, with most exciting, well-managed crescendi, in the chorus 'Hail bounteous Lord'. A good balance of voices is evident in the choir now - the basses, usefully, somewhat stronger than hitherto.

The band, led by Pia Oliver, produced some excellent playing from the very start, giving listeners the assurance that this was to be a solid performance. Full rehearsals are almost invariably too short in this kind of undertaking, and much demand is therefore made of the conductor. It is hugely to John Powell's credit that everyone involved yet again brought to glowing life this 'glorious work', Joseph Haydn's masterpiece.