Scholl, Orpheus Blend Folk With the Baroque

Countertenor Andreas Scholl and Orpheus Chamber Orchestra have a new recording of folk songs, but that traditional material was only a small part of their generous program Friday evening at Royce Hall. Wrapped around just five folk songs was a fairly conventional Baroque program.

Or what might have been conventional for other musicians. Celebrated as much for its communal leadership as for its artistic prowess, Orpheus does little by the conservatory book. The conductorless musicians can take a familiar piece such as Corelli’s G-minor “Christmas” Concerto Grosso, formally cluttered and old-fashioned in its own time, and make it sound as electrifyingly concise and dramatic as postmodern Vivaldi on a buzz.

The Corelli opened the proceedings, much to the befuddlement of those in the audience relying on the printed program. In five pages about the concert plus an inserted slip, UCLA included neither notes nor an accurate list of what was being played and who was playing it.

The insert let us know that the bassoonist rollicking with flutist Susan Palma-Nidel in a Concerto in F by Telemann was Frank Morelli. Their playing was lively, stylish and communicative, in an ingratiatingly expressive work.

Palma-Nidel returned at the end of the program in Bach’s “Brandenburg” Concerto No. 5, joining harpsichordist Robert Wolinsky and uncredited violinist Eric Wyrick.

Wolinsky had both the sheer motor energy and the pointed phrasing necessary to negotiate Bach’s manic challenge in the cadenza, and throughout he supported Wyrick and Palma-Nidel in their joyful counterpoint with spirit and precision.

The conventional part of Scholl’s assignment was three Handel arias. The German countertenor backs his vividly dramatic convictions with a clarion voice and fluent technique. He quickly centered the contrasting characters of “Ombra mai fu,” “Dove sei” and “Va tacito,” the later with the brilliant horn obbligato by Christopher Komer singing with grace, passion and clarity.

Absolute integrity of text was also a hallmark of the group of songs from the new album “Wayfaring Stranger,” including the unannounced substitution of the title track. Scholl inhabits them with the daring intensity and nuance of committed experience. He can sing lightly enough when needed, but never without purpose and motivation.

The spare arrangements by veteran pop producer Craig Leon were delivered with understated moodiness by Orpheus.

A more interactive Baroque context might have featured songs from “The Beggar’s Opera” and dance suites, but for any setting this was refreshingly rethought music making of great strength and immediacy.