The temperature outside may have been frigid Thursday morning, but the a capella singers from Cantus brought a warm holiday spirit to the launch of their “Christmas with Cantus” local tour at Westminster Presbyterian Church in Minneapolis. Performing in front of Westminster Hall’s giant picture windows, the eight besuited vocalists offered a mix of polyphonic textures, counterpoint melodies, fun rhythms and doo-wop flourish. They’ll perform the program through Dec. 22 around the Twin Cities metro and also offer the concert online.

Cantus’ Christmas program revitalizes the Lessons and Carols tradition dating back to the 19th century in Great Britain, which alternates between holiday carols and hymns with stories from the Bible. In Cantus’ version, they read poems and weave together holiday music from across different centuries and languages, each arranged for Cantus’ eclectic and innovative style.

The group’s opening number, “Angels We Have Heard on High,” arranged by Saunder Choi, makes for a great burst into the program’s mix of genres. Choi’s arrangement opens with the sound of a medieval chant, and quickly moves into other modalities, from choral harmonies to barbershop to moments of gospel. It’s a crowd-pleasing piece that demonstrates the complexity Cantus can achieve.

Generally, all eight singers perform each piece. One exception is “The Oxen,” arranged by Cantus’ own Alexander Nishibun, which starts out with just the four tenors of the group. In the number, Paul Scholtz’s high notes float with heavenly clarity.

Chris Foss, another Cantus singer, arranged Gloria Shayne’s “Do You Hear What I Hear?” Filled with slides, quick repetition and changing rhythms, the number embraces a reinvented retro sensibility. Foss also arranged medieval composer Hildegard von Bingen’s “O Frondens Virga” (O Blooming Branch), where the singers blend their voices beautifully.

Amidst the songs, Cantus intersperses short poems by a wide mix of poets. Several touch on themes of motherhood, like Mary Jo Salter’s “Advent,” Joy Harjo’s “Talking to the Sun” and Toi Derricotte’s “Christmas Eve: My Mother Dressing.” “The Solstice,” by W.S. Merwin, meditates on the feeling of anticipation during the darkest time of year, while Camisha L. Jones’ “Ode to My Hearing Aids” expresses gratitude for her newfound help with hearing. The program includes a work by Palestinian American poet Fady Joudah about a family’s first encounter with snow, called “Things You’ve Never Seen,” and Israeli poet Yehuda Amichai’s aching “Wildpeace.”

While most of the concert is sung without accompaniment, Cantus does add instrumentation twice in the program. They bring out percussion instruments for “Amuworo ayi otu nwa,” (For unto us a child is born,) a work by Nigerian composer Christian Onyeji. They also open the second act holding wine glasses filled with water for a fascinating rendition of “Lo, How a Rose E’er Blooming,” sung in German. Different water levels of the glasses made for ghostly harmonies in the work, blending with the singers’ voices, and a blissful solo by Jacob Christopher.

Nearly every seat was filled for Cantus’ opening holiday performance, and it’s not hard to understand why. With their high level of musicality and ability to hold the solemn and silly moments together with grace, they are a group that brings a terrific show and they stir the magic feeling of the season.