Royally Rich Sounds From the King’s Consort

More often than not, the intriguing Chamber Music in Historic Sites series achieves what it aims for, generating distinctive synergy between a concert site and sound. But the connection proved especially acute Monday night, when the noted British period instrument group the King’s Consort appeared in the opulently outfitted Crystal Ballroom of the Biltmore Hotel.

Though the Biltmore’s grand manners are antique in attitude only, and relatively new--circa the 1920s--compared to many of the vintage instruments onstage, the atmosphere enhanced the overall experience.

King’s Consort director Robert King founded the group nearly 20 years ago and has specialized in authentic readings of Handel, Purcell and other Baroque composers. The consort, made up of 10 players on this tour, stood while playing, and produced a glorious noise, distinctive in character and dead-on in its ensemble weave.

Famed trumpeter Crispian Steele-Perkins was having some trouble with his antique instrument this night, as it slipped off pitch occasionally, but he maintained his poise and commanding presence, especially on Purcell’s “The Duke of Gloucester’s Trumpet Suite.”

Oboist Katharina Spreckelsen showed herself to be a fine and focused soloist on Albinoni’s Oboe Concerto in D minor, and soprano Lorna Anderson was calmly luminous as she sang three Handel arias. She returned to give a glowing account of the Bach cantata “Jauchzet Gott in allen Landen,” a best-for-last proposition in the evening’s program.

In all, the group played with a careful but still passionate intensity.