Music : I Cantori Offers a Curious Program

Fine in ensemble but often characterless in individual voices, Edward Cansino’s I Cantori offered a curious program that emphasized its weaknesses Saturday at Thorne Hall, Occidental College.

Partial scenes from Strauss’ “Die Fledermaus” and Mozart’s “Le Nozze di Figaro” brought members of the group who normally blend in with poise and focus into undistinguished prominence.

Perhaps the oddest casting choice was countertenor James Truher as a particularly vocally heftless Count Orlofsky. However, as if to break the rule, countertenor Brian Asawa made an inspired Cherubino, singing with sweetness and purity and offering the uncommon wit of seeing this trouser role sung by a man.

Among other solo opportunities count a glassy-voiced, unprobing Diane Thomas in Schubert’s “Der Hirt auf dem Felsen,” a stentorian Norman Goss in Schoenberg’s “Dank” and an understandably cautious Catherine McCord Larsen in Schoenberg’s “Herzgewachse.”

But Kerry Walsh brought drama to Berg’s Four Songs, Opus 2.

Fortunately, members of the group addressed 10 of Brahms’ “Liebeslieder Walzer,” Opus 52, with suavity and aplomb, and the entire ensemble tackled Webern’s Cantata No. 1 gamely.

Pianists Althea Waites and Jane Peckham accompanied sensitively.