WEEKEND REVIEWS : Music : Japan America Symphony Season Opens

Transforming a respectable but inconsistent symphonic ensemble into a community orchestra role model in the past half-decade, Heiichiro Ohyama has also become a valuable conductor in his post as music director of the Japan America Symphony. The next step, to develop the ensemble’s gifts into reliable achievement, may be more difficult.

Opening the orchestra’s 35th season Saturday night in the Japan America Theatre, Ohyama posed exposing challenges for the orchestra in Mozart’s “Entfuhrung aus dem Serail” Overture and “Linz” Symphony and in Mahler’s “Kindertotenlieder.” In the event, his players, listed in the program as numbering 53, did better with the 18th century than the 20th. Still, the youth-oriented group again gave notice of continuing high promise.

Ohyama has come a long way, through varied podium experiences--he seems to collect part-time conducting posts the way some people collect stamps--in the 12 years since our first exposure to him. Now, his natural musical authority translates into a clear command of rapport with players; his movements have become elegant, economical and communicative. And he knows what he wants.

His way with Mozart at this event proved sure-handed and solidly paced. What he and the orchestra produced in the “Entfuhrung” Overture could be favorably compared to what we heard in the L.A. Music Center Opera pit a month ago. And his genuine probing of many facets in the Symphony No. 35 lacked only the instrumental nuances--and dynamic breadth--of full-time orchestras.

The ensemble itself, strong in its wind principals and sections and highly gifted in its string players, clearly can be developed--if it gathers together often enough, and continues to receive helpful leadership.

Perhaps what it needed more of, in Mahler’s emotional, transparent score, was simply a longer rehearsal period. As things were, imbalances abounded, the baritone soloist, Toshimitsu Kimura, too often became swamped through no fault of his own, and overplaying reared its feared head.

Kimura, a veteran of two decades in German opera houses, is now 51 and makes beautiful sounds throughout his range--though the very bottom of the voice seems weak. The Japanese baritone sang Mahler’s affecting songs clearly and with a modicum of passion--though he was tied unfortunately to the printed score. Ohyama’s collaboration proved thorough.

The orchestra’s season continues at the Japan America Theatre, Feb. 3, then an appearance at the newish James R. Armstrong Theatre in Torrance, April 27, and one at the Cerritos Center for the Performing Arts, May 20.