The air is crisp. The kind of wintry foreshadow that typically accompanies mid-December. And on this near-winter eve, I was headed to St. George’s Cathedral in downtown Kingston for Light in the Dark II presented by the Melos Choir & Period Instruments.

Prior to the production, those whom I’d spoken to about the event were as intrigued as I was. The byline “From Europe to Persia 6th – 19th C” filled you with both anticipation as it did curiosity of which music would be scored, arranged and adapted for the show. Similarly, I was fascinated by the host. Orchestral choir and instruments ringing out in a cathedral? On a Friday night in Kingston? I was unequivocally hooked.

And by the end of the show, I was unequivocally enchanted by Melos.

If the air outside was cold, the atmosphere inside St. George’s was positively incandescent; warm, glowing, bright, jolly, cheerful and a host of other synonyms I could employ to describe an audience buzzing with excitement. As the orchestra took their place, and the choir stepped in, the house erupted as Artistic Director, Holly Gwynne-Timothy emerged. Humbly she thanked the crowd, gave a warm and endearing welcome to tonight’s musical guests, and engaged us in a few notes about the pieces being performed. It was time for the show.

For thirty years, Melos Choir and Period Instruments have been captivating audiences. The auditioned choir boasts thirty-two singers, many of whom are experienced choirists and leaders; voice teachers or cantors. The twelve-strong group of instrumentalists have dedicated themselves to the “study of historically informed playing of replica instruments from the 9th-19th centuries.” Together, they are an “active educational outreach in the community to instrumentalists and vocalists interested in period performance.” And tonight, they are showcasing their unwavering talent.

Broken into five sets, tonight’s production begins with guest performer Vagho Adamyan of Montreal, performing the Armenian Lament on the Duduk (an Armenian woodwind instrument.) As the first riff fills the cathedral walls, the acoustics answer with a resounding: this. This is what the night is going to sound like. Mesmerizing. Hypnotic. Riveting. Our second piece, “Miserere Mei Deus” introduces us to tonight’s next guest, Sadaf Amini, performing the santur (a hammered dulcimer), alongside David Roth; guest operatic baritone.

Melos promised us a journey, and as we embark into Set 1 (From the Darkness), we cascade through a Gregorian Chant. We conclude with Ba’anu choschech l’garesish – an Israeli Folk song. Much of tonight’s pieces are arranged by Gwynne-Timothy. The audience explodes in applause.

Set 2: Of Heavenly Solace & Guiding Lights. The audience is treated to Ya oum Allah – the Arabic prayer to Mary for peace – featuring soprano soloist, Zeinab Mohamad. The set is complete with Zion spricht (Johann Hermann Schein) featuring the Melos choir and the Baroque strings.

Of Morning Stars West & East, Set 3 introduces further Baroque elements, beginning with Michael Praetorius, followed by Die Hirten (The Shepherds) by Heinrich Schütz, and fading into Bach. The orchestra offers us the Baroque bassoon. Recorders. Violins … until we are offered a standalone retelling of “Morning Star,” Nijmet al sobh, a traditional Palestinian wedding song.

The audience breaks into intermission. We are served up hot apple cider, and homemade brownies. Our performers embrace family members from the audience. The lilt and the laughter, the familiar faces and the handshakes remind me that Kingston is a community of people who warmly welcome one another in shared experiences. Tonight is no exception.

As we settle back into our pews, Holly Gwynne-Timothy resumes her place before our storytellers and invites us into Set 4: Of Love & Heartbreak. Here, members of the Navaa Ensemble performs Persian Saz and Avazz featuring special guests Iman Moshiritabrizi (tenor), Alrieza Ghane (tar) and Reza Kashi (Daf & Tombak.) Moving eloquently from Persia to Turkey to Armenia, we are treated to love songs and those of unrequited. Moshiritabrizi is joined by Gwynne-Timothy on “Sari aghdjik.” We are moved by the metaphors of Rumi. Allured by Aliakbar Sheida’s “This Night of Moonlight.” The audience erupts in praise.

Our final set is entitled Of Christmas Joy, Shepherds & Humble Birth. Gwynne-Timothy masterfully winds us from Orlando Gibbons’ “As on the Night” through “Branle de l’officiel” (the well-recognised “Ding Dong Merrily on High”) and into “Pastorella zur Weihnacht” by Gregor Werner. We are treated to the harpsichord performed by Michael Capon. The beauty of tonight’s performance is in the sweeping kaleidoscope of culture; Melos moves us melodically and seamlessly into Armenian medieval music to complete tonight’s performance. Set 5 finishes with the Armenian Medieval Carols Avetis – “Good News/Alleluia”; in a four-part summation.

As I reflect on the score from set over set, it’s a formula that succeeds. The arrangements sift from pianissimo and poignant, to fortissimo and phenomenal. The orchestra is given its spotlight. A soloist shines from the choir. The voyage of criss-crossing musical masterminds of varying countries and cultures, to time periods and tempos is the shining star of our compass on this night. Merged with the myriad of extraordinary guest appearances, Melos hits all the right notes, and deserves its praise and accolades in spades. Light In the Dark II is a tremendous success, and spectacular display.

It’s a standing ovation for Melos, led by Gwynne-Timothy. As she receives her bouquet and an embrace from a child in the audience, she attempts to thank the crowd enough to defeat the deafening applause, but to little success. We are thanking she, the choir and the orchestra for a night that will live long beyond a Friday evening in the Cathedral, two weeks before Christmas.

As I trotted back to my car, hastening my gait to cut the winter snap in the air, I realized how dark the night had truly become. And how Melos had become the light.

Follow Melos Choir and Period Instruments online at https://www.melos-earlymusic.org/.