The ChoralArt Singers presented their “Christmas at the Cathedral” concert with the Portland Brass Quintet on Saturday and Sunday at the Cathedral of the Immaculate Conception in Portland. Photos by Richard Sawyer

“Hallelujah” was the word at the Cathedral of the Immaculate Conception on Sunday afternoon as the second of three holiday season performances by the ChoralArt Singers and guest instrumentalists got underway before a sell-out crowd.

Dozens of singers (too numerous to mention each by name), at times accompanied by harp, brass, bells and keyboard, combined to create a glorious sound in the venerable cathedral, which stands proudly at the foot of Munjoy Hill in Portland.

Conductor Robert Russell’s brief, spoken introduction to the 90-minute program referred to the opening piece, “A Ceremony of Carols” by Benjamin Britten, as timeless. Indeed, the 20th-century work, sung by the women of ChoralArt after a procession through the aisles of the church, enlisted both ancient texts and modern harmonies to create a collective sense of celebration that effectively gathered the concert’s historically disparate, if not wholly diverse, program selections.

Benjamin Britten’s “Ceremony of Carols” with women’s voices and harpist Mo Nichols was a highlight of the program.

Harpist Mo Nichols added ethereal textures and a sense of buoyancy as the male singers entered, in due course to be joined by the Portland Brass Quintet. With all onboard, the music gained a more powerful reach, at times rousing the audience to hearty applause. A 20th century work, “Glory to God” by Ron Nelson, was particularly stirring.

At the other end of the spectrum, David Willcocks’ “Sing lullaby! (Basque Noël)” brought sweetly soothing lines from the singers. “God rest you, merry gentlemen/Let nothing you dismay,” the familiar lines from Gustav Holst’s “Christmas Day” also seemed to fit particularly well in a program for these uneasy times. Of course, everyone else would have been invited to rest, as well.

Some singers in the multi-generational ensemble took up bells, resonating with the sounds from the brass players (Betty Rines, Dana Russian, Mark Manduca, John Boden and Jobey Wilson), and Kellie Moody added a welcome bit of keyboard to the program.

The brass also offered a medley of familiar carols that perked things up with some spirited counterpoint.

The singers alone rendered a fulsome close with “We Wish You a Merry Christmas,” a traditional 16th-century work that will likely fill folk’s ears a few more times before the holiday season is over.

A final candle-lit “Silent Night,” featuring Miranda MacDonald’s soprano voice, brought the ensemble again out into the aisles to provide a gently quiet moment as the light of day faded through the stained-glass windows high overhead in the cathedral.

In its 32nd year, ChoralArt’s “Christmas at the Cathedral” once again served to get the holiday season fully underway in high musical style.

Steve Feeney is a freelance writer who lives in Portland.