Sunny Haydn and a fine Bowl debut

Young German cellist Claudio Bohorquez made being at the Hollywood Bowl on Thursday night a joyous, memorable occasion. His vehicle wasn’t one of the big romantic blockbusters you might have expected in the great outdoors, however, but rather Haydn’s smaller, more intimate Concerto in C.

Discovered only in 1961, long after the Concerto in D had become a concert staple, the C-major concerto is a work that brims with wit, sunniness and invention. The 27-year-old Bohorquez, in his West Coast debut, played it in a confident, relaxed manner that was always individual and always in superb taste.

He kept listeners focused on every measure, showing how Haydn’s imagination operated constantly with an unpredictable, seductive charm. Bohorquez, too, never flagged in his insouciance, technical aplomb and delight in sharing music-making with the audience. He also wore his matinee-idol looks with appealing modesty.

He was affectionately supported by the Los Angeles Philharmonic, led for the second time this week by Andreas Delfs.

Delfs opened the program with Schubert’s Overture to “Die Zauberharfe,” in which the composer displayed his distinctive sweetness before launching into a robust allegro. Post-intermission, Delfs led an impassioned account of the Suite from Strauss’ “Der Rosenkavalier” and closed the program with the earlier Strauss’ “On the Beautiful Blue Danube,” revealing the waltz’s irresistible variety and appeal. The Philharmonic played wonderfully.

All of this subtlety and power came courtesy of a sound system operating at a new peak. Lower strings came through with a rich, full depth, as if ultra-subwoofers were at work. Middle voices were clear, assertive and balanced.

It is ironic that with the demise of the greatly flawed Bowl shell in view, the sound engineers finally seem to have gotten things right. But that also promises a great summer of music.