L.A. Chamber Group Links Three Lively Bach Cantatas

Conceived as a unit, Bach’s “Weinachtsoratorium” (Christmas Oratorio) nonetheless originally presented its six parts--actually six separate cantatas--in distinct church services over a two-week period surrounding the Christmas holiday in 1734.

When done in concert today, however, they’re often linked, as they were when Helmuth Rilling conducted the Los Angeles Chamber Orchestra from memory in a genial, lively, dance-like, uninterrupted performance of the first three on Saturday at the Alex Theatre in Glendale (a day after conducting the same feat at UCLA’s Royce Hall).

His chorus was the 42-voice USC Chamber Choir, honed by its director William Dehning to produce a light, even, well-blended sound and to pronounce the German clearly and intelligently. His youthful and somewhat small-voiced vocal quartet included, in order of prominence, tenor Alan Bennett as both a text-sensitive Evangelist and a soloist of fluency, mezzo-soprano Susan Platts of luscious vocalism, bass Eric Owens of rolling-R authority and soprano Maria Jette of directness and point.

Typically valuable instrumental solos were played by, among others, oboist Allan Vogel and guest concertmaster Roger Wilkie. Yes, it’s expensive but the orchestra should consider presenting all six cantatas next year.