Laredo Leads L.A. Chamber Orchestra With Versatility

Though in transition until music director-designate Jeffrey Kahane takes over next season, the Los Angeles Chamber Orchestra is still the best small orchestra in town, as clearly was evident Saturday night at Glendale’s Alex Theatre. At the helm was Bolivian-born guest conductor (and guest soloist, and guest chamber musician) Jaime Laredo, who showed himself a jack of all trades and master too. In a six-pronged program, he participated in tightly drilled yet personable interpretations.

The first half featured a couple of unusual works from big names. Vivaldi’s Concerto Grosso, Opus 3, No. 11 uses two violins and cello (Laredo, Clayton Haslop and Rowena Hammill) as concertino group in a surprisingly cragged, contrapuntal tour de force. In the opening of his witty “Serenata Notturna,” K. 239, Mozart juxtaposes martial fanfare with salon froth, then turns the dial and makes martial froth. In beautifully polished readings, these pieces made all their points.

Laredo’s take on Bach’s G-minor Violin Concerto was old-fashioned but full of character.

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As mere conductor during the second half, Laredo presided over two string pieces, George Walker’s brief “Lyric” and Ellen Taaffe Zwilich’s 1984 Prologue and Variations. An eventful, accessible, meticulously honed 12-minute work, Prologue alternates between the terse motor rhythms of Bernard Herrmann and the empty landscapes and cellular motifs of Shostakovich.

To close, Laredo conducted a sparkling account of Haydn’s Sturm und Drang Symphony No. 43. Filled with jabs, thrusts and fleet virtuosity as well as threaded elegance, perfumed shading and good cheer, the performance fully realized the work’s nickname, “Mercury.” In short, it flew.