AMERICAN FESTIVAL CHORUS, Ellen Eccles Theatre, Logan, March 27

Since taking the helm of the American Festival Chorus in 2008, Craig Jessop has turned the ensemble into one of the state’s finest choral organizations. Thanks to his vision and dedication, Jessop has brought the art of choral singing to new levels in the Cache Valley. There is no repertoire that the group can’t sing, and under his guidance the chorus brings a level of professionalism to its concerts that is refreshing and exciting.

Craig Jessop

Friday, Jessop led the choir and a hand picked orchestra in an all-French program.

The evening opened with a vibrant, dynamic and absolutely captivating performance of Francis Poulenc’s Gloria. Jessop captured the joyous character of the music with his perceptive direction that didn’t miss anything in terms of nuances and expressions. It was a wonderfully well rounded and striking interpretation that did full justice to this choral masterpiece.

The choir sang with conviction and finely crafted lyricism. Guest soloist Jennifer Welch-Babidge brought her radiant voice to bear in both the more exuberant movements as well as in the more pensive and quiet parts, most notably in the “Agnus Dei,” which she and the choir sang with beautifully phrased eloquence.

The second half of the concert was devoted to two works by Gabriel Fauré: the tender and lyrical Pavane, and the heartfelt Requiem.

The Pavane, arguably Fauré’s best known work today, is usually heard in its orchestral version, but Friday it was performed in its original setting for chorus and orchestra. Jessop crafted a nuanced reading that underscored its soft expressiveness.

In the Requiem, Jessop captured the spirituality of the music with his sensitive and balanced reading that brought depth to his interpretation. It was quite a moving account that was filled with rich expressions and seamless lyricism.

The chorus sang with feeling, especially in the closing “In Paradisum.” The soloists, Welch-Babidge and Darrell Babidge, were also marvelous. Particularly eloquent was Welch-Babidge’s account of the “Pie Jesu” movement, which she sang with beautifully crafted phrasings, and Babidge’s account of the “Libera me,” in which he captured the meaning of the text with wonderfully defined lyricism.