MUSIC REVIEW : PHILHARMONIA BAROQUE IN PASADENA

It’s not true that Vivaldi cranked out the same concerto 400 times. It is true that he wrote some forgettable scores--as well as some memorable ones. Witness the first half of a concert by the period-instrument Philharmonia Baroque Orchestra, led by newly installed music director Nicholas McGegan, Tuesday at Ambassador Auditorium.

Nestled between two examples of Vivaldi at his least inspired was a real gem: the solo cantata “Cessate, omai cessate.” Uncharacteristic in its emotional depth, this maudlin saga of unrequited love received a glittering account by countertenor Drew Minter. The tessitura of this challenging work lies in the mid to low range, yet that proved hardly an obstacle to Minter, who impressed with sweetly expressive, effortlessly purred tones. McGegan, bobbing and weaving at the harpsichord, led a stylish accompaniment.

There wasn’t much to be done with the remaining Vivaldi: a Sinfonia in C minor and a Bassoon Concerto in E minor. The latter was traversed by the Bay Area ensemble’s bassoonist Robin Howell, huffing and puffing on an almost inaudible period instrument.

The remainder of the program placed a pair of gutless Corelli concerti grossi around excerpts from a lost opera by Scarlatti, “Narciso.” Again, countertenor Minter stole what little show there was to steal with a virtuoso performance. McGegan drew rich, energetic music-making from his players who, for some reason, essayed the second half on their feet. Special attention should be given to concertmaster Michael Sand for his contributions in the Corelli works.

Incidentally, Ambassador Auditorium is offering the best intermission show in town this month: artifacts from the excavation of the secret army of Emperor Qin Shi Huang, on loan from the People’s Republic of China. Not to be missed.