If the Providence Singers never sang another note, they would have pretty much said it all.

At least that was the feeling after last night’s glorious rendition of Bach’s crowning achievement, his Mass in B Minor. The Singers, backed up by the Newport Baroque Orchestra, opened their season with the Bach at Veterans Memorial Auditorium. And the occasion was a smashing success, a real tribute to the group’s new conductor, Andrew Clark.

Tackling a work like the Bach (there really is no other like it) is always tricky for a community chorus such as the Singers, with its 100 voices. For one thing it is unrelentingly difficult for an amateur group. But also in Bach’s time a work such as this probably would not have been done by more than a couple of dozen singers, probably fewer.

To get around this problem, Clark went with what he called a “bifocal” version, paring down the chorus for the thinner, more intimate sections and saving the full brunt of the ensemble for the more ebullient outpourings.

That made for nice balances with the orchestra, which went with the pungent but muted sounds of historical instruments. But even when the entire chorus was called upon, the singing remained beautifully blended, with crisp entrances and buttery phrasing.

Clark took his time for the opening “Kyrie,” opting for a leisurely pace. But he managed to keep the music moving.

The orchestra, which numbered 23 players, had trouble getting in tune. It had to stop and retune after about 10 minutes. It also was not together at the opening of the “Laudamus te.”

But there were some standout soloists among its ranks. Flutist Mary Oleskiewicz really leaned into the long notes in her jazzy solo the “Domine Deus,” as Paul Cienniwa provided a chugging accompaniment on the organ.

The quintet of solo singers was also outstanding. Sopranos Amanda Forsythe and Laura Choi Stuart teamed up for some delicious duet work in the “Christe,” and bass Donald Wilkinson, who has sung here before, proved he is still a class act. But probably the most touching moment of the evening came from mezzo Deborah Rentz-Moore, in her heartfelt “Agnus Die.” (It was at the point I had to scoot, with deadlines looming and the performance rounding the 2½-hour mark.)

But, really, the night belonged to the Singers, who are amazingly polished for a community group. The big, pulsing fugue at the end of the “Gloria,” set to the lines cum Sancto Spiritu (together with the Holy Spirit), was dazzling. Here Clark went for a brisk tempo, but managed to keep the music light and airy, and all those intertwining voices clear. It’s hard to imagine a professional chorus doing it better.