On mere numbers Sunday afternoon’s Perth Chamber Music concert in St John’s Kirk was the most successful of their successful 75th Season so far. But the recital of Perth-born tenor Liam Bonthrone had far more than that. With the perceptive Benjamin Mead, piano, their recital was finely sung, entrancingly presented and cogently thought through.

Four intriguing Britten realizations of Purcell began appropriately with If Music be the food of Love (play on). Liam Bonthrone showed his vivid presentation and seduction in Turn then thine Eyes, portrayed Britten’s sympathy in Mad Bess, and was the attractive ‘roaring boy’ himself in I’ll sail upon the Dogstar.

The Romantic heart of the programme was Schumann’s Liederkreis Op.39. What makes Romanticism was fervently, brilliantly and colourfully brought out. Eichendorff’s poetic ideas underlined with variety in clear German: forest solitude, wonder, ardour, pensiveness, reaching ecstasy in Spring Night. Schumann’s idea that the voice is not the only important part of a song was made clear in Benjamin Mead’s playing of the telling introductions and postludes.

Distinctive, thoughtful programming put together Briten’s 12 Soutar settings Who are these children, Op.84 with songs by various others which furthered nostalgic regret and fury at the loss of life: inhumanity to children, First World War deaths, present lamentations. Throughout, each idea was limned by Liam’s outstanding tenor voice and ability of gesture. Particularly telling was Britten’s version of Guernica in the harrowing Soutar poem The Children.

A slightly saucy, brilliantly delivered, comic, Grainger’s Bold William Taylor ended the written programme to the delight of the very full and appreciative St. John’s Kirk.

As encore, Liam reached the personability of fabled Irish tenor John McCormack in Roses of Picardy, a love song sent out to and willingly received by the entire audience.

Ian Stuart-Hunter