I made it to two of the evensongs during the Festival.
The first one was on the first Saturday: Jonathan Hope conducting the Saint Cecilia Singers, many of whom had sung in the opening service that morning and would sing again in the evening concert! The music included Stainer in B flat (which I have encountered surprisingly rarely) and Great is the Lord by Elgar.
On the Tuesday Evensong acknowledged the William Byrd anniversary. Geraint Bowen conducted the combined three Cathedral choirs in his Responses and Laudibus in Sanctis, with the Tomkins Second Service. This time I wasn’t able to get into the quire; the south transept (which must seat at least a hundred) filled up and some people had to sit in the nave. This popularity clearly wasn’t anticipated as dozens of us had to share orders of service. (The order of service booklet covers the whole week, so you are supposed to leave it at the end for others to use at later services. Back in 2016 I challenged someone who was trying to take one away, to get the reply ‘I’m from Australia’! Maybe Australians had reduced the quantity of booklets this time.)
Why was the Tuesday so popular? There weren’t so many evensongs this year I think, which may have increased numbers. A desire to hear earlier repertoire, as a contrast to most of what was being performed in the Cathedral? The lure of Laudibus in particular?
There was an alternative to overspill: I’m told evensongs were livestreamed on to a screen in the beer tent. Only at Three Choirs….