Damp, chilly outside air tried to work its way into the Cathedral of the Immaculate Conception in Portland on Sunday afternoon. But it was no match for the warmth generated inside by a capacity crowd enjoying the 33rd edition of the annual seasonal concert known as Christmas at the Cathedral.

Lacking some of the musical ornamentation that is sometimes a part of the event, such as last year’s inclusion of a harpist and a chorus of bells, the traditional concert this time successfully relied on core performances from the ChoralArt Singers and Portland Brass Quintet, along with their regular accompaniment from keyboard and organ. During the second of three concerts performed over the weekend, all elements proved up to the task and fully engaging.

Before bringing the entire roster forward, Music Director Robert Russell introduced soprano Molly Harmon for an acapella performance of Robert MacGimsey’s American gospel-influenced “Sweet Little Jesus Boy.” This piece beautifully set the tone for an afternoon of music that moved freely between spiritual reverence and joyful celebration.

Then the black-clad male and female singers, accompanied by organist Bridgette Wargovich and with the brass tones of Betty Rines and Dana Russian (trumpets), Mark Manduca (trombone), Nick Rubenstein (horn) and William Dietz (tuba) rising upfront, marched down the aisles to the sides of the audience for a stirring performance of a 16th-century work called “Personent hodie voces puerulae (from Piae Cantiones).”

With the singers now in their places upfront, contemporary composer Travis Ramsey’s “On The Night You Were Born” featured a brass interlude and tuba solo before reaching a spirited close that had the singers swaying. The brass players offered some touches of humor later on.

Though the focus throughout was rightly on the music, the few minor bits of physical performance and comedy during the program were welcome. Of course, it’s always a treat to just peruse the stained glass and statuary of the ornate cathedral but even a little more of some (appropriate) theatrics wouldn’t have hurt.

Jeff Mosher assumed the podium from Russell for some almost mandatory but always respected selections from the ever-inspiring “Messiah” by George Frideric Handel. The audience rose for the “Hallelujah” chorus while Kellie Moody offered spirited keyboard accompaniment. Moody also stood out with some colorful flourishes on a later “Sussex Carol.”

Shorter selections with origins in Ukraine, France and Poland provided passages that were at times gentle and ethereal, and at other times more overtly joyful.

The 80-minute afternoon performance drew to a close with singalong favorites “O Come, All Ye Faithful,” complete with a brass and organ fanfare, and “We Wish You a Merry Christmas.” A candlelit performance of “Silent Night,” with the singers (sopranos in the lead) joining in again from the aisles of the cathedral as well as from behind the crowd, brought things to a peaceful finish.

It was another, well-delivered program by ChoralArt that hopefully reminded many of the deeper meaning and the overall wonder of the holiday season.

Steve Feeney is a freelance writer who lives in Portland.

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