Conlon mellow yet masterful in leading the Philharmonic

Lush and fragrant post-Romantic scores by Alexander Zemlinsky and Richard Strauss made up the program that guest conductor James Conlon brought to the Los Angeles Philharmonic at Walt Disney Concert Hall over the weekend.

Given their history together -- Conlon has been visiting the orchestra since 1977 -- there could be no surprise that the American musician again proved a model of mastery and mellowness, and the orchestra performed on a high level of accomplishment.

Zemlinsky’s colorful “The Mermaid,” an attractive, extended tone poem based on Hans Christian Andersen’s tale, is, like the composer’s work in general, a handsome curiosity. It is appealing and charming but not original and not a keeper. Think Bruckner -- without the angst or vision.

Conlon, now in his sixth season as head of Paris Opera, led a strong reading; the orchestra responded well.

Two excerpts from Strauss operas, “Capriccio” and “Der Rosenkavalier,” kept a rapt audience in the composer’s grasp. Conlon’s authority is specific but benign; he allows the players their freedom and panache in music they know well.

In a suite from “Rosenkavalier,” climaxes emerged naturally. Only occasional stridency and forcing from the orchestra marred dramatic continuity. Among the virtuosic soloists were concertmaster Martin Chalifour and clarinetist Michele Zukovsky.

Featured in the Sextet from “Capriccio” were violinists Chalifour and Lyndon Johnston Taylor, violists Dale Hikawa Silverman and Arthur Royval and cellists Peter Stumpf and Daniel Rothmuller. They played exquisitely.

Conductor Conlon is the real thing: a master of the orchestra with genuine theatricality and no discernible narcissism. Cherishable.