MUSIC REVIEW : Camerata Finds Sanctuary Despite Acoustic Setback

The choice of Concordia University’s sanctuary as the new venue for Saturday concerts by the Mozart Camerata seemed a mixed blessing during its first trial last weekend. The semicircular seating in the reportedly 450-seat hall and the very live acoustics did much to unite audience and orchestra. One almost could imagine sitting amid the musicians, rather than in front of them.

Yet the bright sound, bouncing off the triangular ceiling, tended to blur nuance into one happy blend.

Moreover, judging from the disappointing turnout (less than half of capacity), the selection may have struck many potential concert-goers as too much of a neighborhood affair to merit a trip through Turtle Rock.

The quality of the ensemble, if it stays as consistent as it was on this occasion, may go a long way toward righting that perception.

Music director Ami Porat led a clean and--if not always inspired--ever classy reading of Haydn’s Symphony No. 102, in B-flat. The strings found drama in contrapuntal dialogue and conveyed energy and direction in lively sections and stately pomp in the Minuet. The Adagio throbbed with expectant mystery, although balance and acoustics overwhelmed principal cellist Vage Ayrikyan’s appropriately quiet solo. Woodwind players provided witty repartee.

The hall also contributed to a blustery interpretation of the Fifth Violin Concerto, K.219, by Mozart. Try as he might, Porat could not keep his exuberant band from engaging in battle with soloist Misha Lefkowitz, who approached the work with great aggression.

Besides the tug-of-war for balance, a clash of styles resulted with the Camerata reveling in thoughtful shading and Mozartean pathos while Lefkowitz ran through with technical adeptness--highlighted by the fireworks of Joachim’s Romantic cadenzas--and colorless fury.

A vibrant and polished performance of Rossini’s Overture to “La Scala di Seta” began the evening.