There are masses and there is Rossini’s Petite Messe Solennelle, which is neither petite nor solemn.

It would be hard to find a jauntier piece anywhere in church music. For its accompaniment he chose harmonium and two pianos (though there was only one here, albeit a brand-new Steinway D). The net effect is more salon than sacred, bordering on parody.

But the choir kept straight faces and did a pretty good job. In the fugal passages at the end of the Credo they were more forceful than subtle, but there were mitigating moments of quiet reverence later on. The four soloists were variable.

Catherine Griffiths’s glorious mezzo was exactly right for the impassioned Agnus Dei, cutting through the heavy choral textures with stylish ease. We must hope for her early return to full concert life.

Dean Robinson brought a firm bass to the overblown Quoniam, almost making it convincing. A pseudo-operatic approach, swooping up to just underneath the note, made Paul Dutton’s shouty tenor hard to take seriously. Miranda Bevin’s tremulous soprano needed a tighter focus, especially in the maudlin Crucifixus.

Darius Battiwalla and Peter Clements, on piano and harmonium respectively, stuck gamely to their guns.