MUSIC REVIEW : Baroque Fest Ends With Uneven Bach Program

The big guns were wheeled out for the finale of the Corona del Mar Baroque Festival Sunday night at St. Michael and All Angels Church. Artistic director Burton Karson led the full Festival Orchestra and Chorus in four lesser-known works by the best-known composer of the Baroque era, Johann Sebastian Bach.

The 22-piece orchestra and 27-voice chorus blended with the most pleasing results in the final work on the program, Cantata No. 172, “Erschallet, ihr Lieder.” Karson led his forces admirably, producing a large, full sound when needed, such as in the opening and closing chorus, while maintaining taut control in the more intimate solo sections.

Suave soprano Jennifer Smith and forceful mezzo Debbie Cree combined efforts in a provocatively performed duet accompanied by only cello and organ continuo. Two separate arias pleasantly spotlighted contrasting male vocal styles, one with flowing, agile vibrato by baritone Christopher Lindbloom and the other a less ornate, straight-forward approach by tenor Gregory Wait.

Yet the musicians did not fare as well in the opening performance of the Easter Oratorio. Here, lack of confidence--and perhaps rehearsal--yielded singing that was less energetic, lacking definition.

The orchestra, often unsure of itself, stumbled over problems of synchronicity and brittle instrumental solos. Karson kept poised throughout, an admirable task considering the overall thorniness of the work.

An a cappella motet for double chorus, “Ich lasse dich nicht,” was given thoughtful, competent attention. The chorus sang sincerely, shaping each phrase with care, though not always with clear enunciation. Karson’s program notes explained that the motet had long been attributed to Johann Christoph Bach, but recent research now proves it to be a work by Johann Sebastian.

Completing the program was a rough read-through of the “Sinfonia in D” for violin and orchestra, BMV 1045--a brief fragment from another work. Concertmaster Peter Marsh struggled to keep his perpetually moving solo part together with the orchestra, too often losing the battle.