Music Reviews : Rilling Returns to L.A. Chamber Orchestra Podium

Conducting a generous, one might even say longish, program on the Baroque series of Los Angeles Chamber Orchestra this week, Helmut Rilling returned to the podium of that ensemble with the full authority, modest demeanor and probing mind that characterizes the German musician’s art.

Wednesday night, on the third of five programs on LACO’s Baroque Series at Ambassador Auditorium, Rilling brought half a program of Bach and half of Mozart and Haydn, conducted it all from memory and seemed to deliver the substance, as well as the nuances, in every work.

The orchestra, operating with two-dozen-plus players, responded willingly and neatly to the conductor’s demanding but unstrained ministrations. Crisp articulation, solid and consistent balances and exuberant soloism marked every one of the four pieces on this re-programmed lineup: The Suite No. 1 for orchestra; the “Wedding” Cantata; Mozart’s “Concertone” for two violins; and Haydn’s Symphony No. 87.

The unstated theme of this event seemed to be display. Originally announced to play Penderecki’s oboe concerto on this program (Rilling reportedly changed the repertory), Allan Vogel remained as its most important and virtuosic soloist, his artful and stylish performances illuminating all four works.

Other orchestra members contributed strongly, particularly violinists Kathleen Lenski (she is one of two concertmasters) and Jennifer Woodward in the Mozart piece, and cellist Douglas Davis. But the real joys here were of ensemble.

In the suite and symphony which framed the program, Rilling’s carefully measured, inexorably flowing, yet never prissy sense of movement created arches of thought through which the composers’ visions emerged. The “Concertone”--which means, simply, large concerto--benefited from the same approach, though its prolix lines remained uncompelling.

Soloist in the Cantata No. 202 was the Canadian mezzo, Henriette Schellenberg--not to be confused with Gabrielle Schreckenbach, who sang here with Rilling and the LACO in 1982--who brought bland and undistinctive tone and very little text-connection to Bach’s radiant lines. Yet the total performance moved along liltingly, especially the aria, “Sich uben im Lieben,” which actually swang, thanks mostly to oboist Vogel and the subtly impish conductor.