Any qualms about the acoustics in the Hall were quickly dispelled as the whispered introductory phrases built into the calamitous Dies Irae, both equally crisp and distinct.

Verdi, most famous for his operas, writes the most persuasive music in the Requiem for the chorus – and what a chorus! Gathered from choirs across the Borders of both Scotland and England, they melded into a gloriously powerful force. Marion Dodd, their conductor, is famous for extracting every last nuance of dynamics from her Roxburgh Singers and was able to extend this precision to all 139 singers.

The Requiem ranges from private prayers, tender and plaintive, to prophesies of the Day of Judgment, shrieked in horror. All these changes of mood were expressed most wonderfully by the massed voices. The contrast between, for example, the distant rumbles of thunder of the repeated Dies Irae and the scintillating vocal fireworks of the Sanctus was exhilarating.

The soloists, sometimes singing alone or in small ensembles, sometimes backed by the chorus, added a rich texture to the sound-scape. baritone Ivor Klayman, the most experienced of the quartet, acted his solos most persuasively, closely watched by the young tenor, Yun Jung Soo, who is a student at the RSAMD. This young man could sing with great power and also great tenderness. He was at his lyrical best in the Ingemisco, pleading for a place at God's right hand. The coloratura voices of the mezzo Thora Ker and soprano Margret Einarsdottir (another RSAMD student) were glorious solo instruments, but sounded less happy in the trio and quartet ensembles. Their Agnus Dei duet, though, was gorgeous, a simple moving prayer sung one octave above the other. The best of Verdi's writing for his soloists were the sections most operative in style. Margret Einarsdottir had to wait until the concluding Libera Me to give us the full power of her dramatic expression.

The orchestra, brought together by the Yetholm Sinfonia director, Geoffrey Emerson, was a dramatic force in its own right. From shimmering strings to fluttering woodwind, from clamouring brass to thundering drums, the orchestral textures and colours were a delight and a revelation. What a terrifying moment when the echoing trumpets raised the dead! In fact, what a terrifying work Verdi's Requiem is! The pleas for mercy and deliverance are constantly rebuffed by the terrible threats of judgement, damnation and hell-fire. There is no comfort here, only hope.

Great praise is due to all the organisers of this remarkable performance which has been more than a year in the planning. But a very special Hosanna must go to the conductor, Marion Dodd, who had the vision in the first place and who pulled all the threads together to present a performance of dynamic brilliance.

The Verdi Requiem was a very important event for the Borders. Its resounding success should be trumpeted afar.