MUSIC REVIEW : I Cantori, L.A. Baroque Orchestra

The air was chilly in the Inner Peristyle Garden of the Getty Museum, where I Cantori joined with the Los Angeles Baroque Orchestra in presenting an evening entitled “Bach and the Art of Vocal Counterpoint” on Saturday. The music making, on the other hand, proved extraordinarily warm, sensitive and uplifting.

The fourth event in the museum’s summer series, “Music in the Age of Science and Reason” was the kind of program that Los Angeles audiences hear all too infrequently: the three motets, two cantatas and a trio sonata were played with authenticity, polish and conviction. Under conductor Edward Cansino, whose clear beat never obtruded upon melodic shape, musicians were absolutely in sync, textures remained clear, and above all, the German texts came alive with unusual vividness. How utterly persuasive were the 15 singers in the motet, “Lobet den Herren,” BWV 230, which concludes with an irresistibly joyous “Alleluia.”

It is hard to imagine more accurate, pure or angelic singing than that exhibited by soprano Catherine McCord Larsen and alto Elin Carlson in the duet from the cantata, “Jesu, der Du meine Seele.” Craig Kingsbury’s bass proved clear and authoritative; Scott Whitaker delivered the tenor’s recitative and aria with exciting if overwrought drama.

Soprano Diane Thomas brought expression and refinement to the cantata, “Ich bin vergnugt.” She produced a bright, ringing tone and delivered the texts with great clarity. Here, as elsewhere, the instrumentalists contributed handsomely.

Violinists Gregory Maldonado (the orchestra’s leader) and Jolianne von Einem brought superb teamwork to the spurious Trio Sonata in C, BWV 1037 (written, perhaps, by Johann Gottlieb Goldberg). Only a shaky start in the Gigue detracted from an otherwise first-rate, virtuosic performance.