NEWTOWN -- Following their U.S. premiere of Karl Jenkins' (b. 1944) sensational "Stabat Mater" at Lincoln Center in January, the Connecticut Master Chorale (CMC) gave the oratorio its first performance in Connecticut last Sunday. St. Rose of Lima Church in Newtown is not on Broadway in New York City like Avery Fisher Hall, but the acoustics may be better.

No doubt music director and conductor Tina Johns Heidrich is willing to perform Jenkins in either venue.

In 2007, her CMC gave an impressive presentation of Jenkins' propulsive "Requiem," certainly no ordinary Mass for the dead.

The 55 gifted vocalists in the chorale blended with a strong orchestra of over 25, filling the church with a far-reaching collection of music exploring the grieving process.

They were joined by two contrasting mezzo-sopranos, traditional sounding Wendy Gerbier, and Heather Petrie, singing ethnic vocals.

Their duets were heartbreakingly divine, as Gerbier sang in English and Latin, while Petrie sang in Arabic and Aramaic, the common Middle East language ages ago. Petrie's voice immediately transported me to the Wailing Wall in Jerusalem in her "Incantation." Gerbier's passionate "Lament" was delivered with sensitivity and deep sadness.

"Stabat Mater" is rooted in Roman Catholic liturgical poems set on the meditations of the Blessed Mother Mary during her son's crucifixion. Jenkins added several additional texts for his multi-ethnic score. Regardless of anyone's religious persuasion, Jenkins has the ability to tap into some universal feelings with the CMC reaching some incredible heights.

The chorale created a sense of transcendence from the mortal world in "Sancta Mater" as Mary attempted to comfort her dying son. Despite the sadness of the situation in the storyline, Jenkins wrote some beautiful harmonies as in "And the Mother did weep."

Jenkins used a simple tambourine and bongos, along with woodwinds, especially the oboe, creating exotic, even mystical atmospheres. His music can be all over the map, with surges of energy interspersed with inviting combinations of style. It may actually serve as an exquisite tonic for anyone going through the grieving process.

You can count on Jenkins to complete the voyage arriving at last in Paradise, leaving all previous feelings of pain way behind. An immediate vocal standing ovation followed the catharsis of a chorale, with Heidrich choked up with emotion.

The concert opened with "Four American Folk Hymns" as arranged by Mack Wilberg (b. 1955), who was recently appointed as music director of the Morman Tabernacle Choir.

The 19th-century melodies had crisp clear vocals, developing the four sections with forceful steady buildups, usually arriving at the Pearly Gates at full strength. The chorale sang Wilberg's simple yet effective arrangements of traditional folk and gospel music with elegance and grandeur.

In their 10th year together, Heidrich and the CMC have never sounded better. They will celebrate some highlights from their first decade on May 16, again at St. Rose of Lima Church.