Never mind Ashes to Ashes, watching the massed singers of the Brighton Festival Chorus tackle Bach's lesser-known Passion was like going back in time.

To a time that is, before Joshua Rifkin's reinterpretation of Bach's choral works as pieces for much smaller ensembles.

James Morgan's robust interpretation of the piece - in its original form before Bach's later revisions - was determinedly old fashioned but still effective, especially Timothy Robinson's Evangelist.

Performed with a giant cross, hovering over the stage (bathed with red light at the moment of Christ's death), this was a determinedly unflashy Passion.

It was sung in English which I believe has a negative effect on the music but did communicate more directly with the audience.

But despite the massed choirs, the most effective moments for me were the ones when a smaller ensemble came together. For example, the chorale "Oh Christ, thy fetters mean release" showed how moving a smaller choir could be. There was an added touch of authenticity when Morgan exhorted the audience to join in on a number of chorales. It wasn't the most successful move - a combination of British reserve and the lack of wordsheets, meant that there was only a low growl from the audience - the Festival Chorus did it so much better.