Christ Church Cathederal: Music like the Bach passions speaks across the ages and rises above controversies such as whether one should use modern or period instruments, or a large or small choir. Authoritative presentation is more important than all of these. Tuesday's account of the St John Passion had just enough authority, not because Christ Church Baroque uses period instruments, but because the performance sought, and usually sustained, a vision of what this great work is about, now and in its own time.

The singing of the Evangelist, Finnur Bjarnason, epitomised that vision. Expression was never forced, and although rapid delivery left little time for contemplation, it made the text come across as dramatised, heightened speech. That naturalistic approach was complemented by Conor Biggs, who in the role of Christus made Jesus come across as a man of mysterious authority, yet with human passions and fears.

The other solo contributions, from Lynda Lee (soprano), Simon Bake (countertenor), Robin Tritschler (tenor), and Philip O'Reilly (bass), were usually reliable and in keeping with this vision of the St John. A highlight was the bass arioso "Bertrachte, meine Seel" and the following tenor aria "Erwüage", which were helped along with some fine playing from the solo violins, theorbo and continuo.

The general security in the singing of the cathedral choir, and in the orchestral playing, was needed for the rapid pacing set by the conductor, Mark Duley.

There was a feeling of risk in his tendency to drive hard, in a rhythmic style which, for all its lively accentuation was perpetually busy, as if bars were sub-divided rather than springing from one to the other. Even though the effect was sometimes breathless, the dominant impression was of a performance which knew what it wanted to do, and could deliver.