The concert opened with Gregorio Allegri’s Miserere mei, Deus -- the piece that will forever be associated with the brilliance (and cheekiness) of Mozart, who, at the age of fourteen, wrote it down from memory after just one hearing. With the Miserere, Edison established an aesthetic tone that would govern most of the program: a precise and spacious treatment, notable for perfect intonation and for its restrained approach to tempo and dynamics. I don’t know who the unnamed stratospheric soprano was whose voice soared above all others, but her contribution was impressive.
More

David Richards, Toronto Concert Reviews. The pared down version of the choir, The Mendelssohn Singers, sang the first half of the program from the balcony above and behind the nave. The positioning gave a wonderfully mystic effect to the music, allowing the audience to focus on the sounds that reverberated off the arched columns and the vaulted ceiling of the ornately decorated church. The music of Allegri, Pärt and Sanders all made use of plainsong and choral responses to give life to the texts. The recurring solo treble descants in Allegri's Miserere Mei, Deus were particularly beautiful, the high “C” ringing throughout the church. This was a cappella singing at its finest.
More