Giving its concert on April 9th the subtitle “Sing Mozart Sing” and promoting it with a tongue-in-cheek portrait of the mischievous genius with his mouth half open in a wry smile, the Hong Kong Philharmonic Orchestra probably intended the audience to expect an evening of cheerful and light entertainment. The programming suited this intention down to a tee. Progressing from the baroque to the classical, it was chronologically correct, and temperamentally appropriate.

Opening the concert was a rarely heard work by French baroque composer, Jean-Philippe Rameau, the suite from his opera Dardanus. Although the opera itself is a tragedy, replete with mythological deities in acts of war, the suite consists of bright and jolly dances. Conductor Jan Willem de Vriend applied a light touch well suited to the dainty elegance of the music, and the orchestra responded well with a fresh and vibrant tone.

The eight sections of the suite vary greatly in tempo and rhythm, and the orchestra handled the changes in pace with confidence and ease. From the slow, measured Ouverture, to the Tambourin, akin to Morris dancing, and the spirited Bruit de Guerre pour Entr'acte, representing ferocious military action, the orchestra never missed a beat, as it were. The Chaconne closed this part of the programme with a stop-start melody of immense grace and polish.

Sandwiched between the two orchestral pieces in the programme were four vocal selections by Mozart, two arias from the opera Così fan tutte, one from Le nozze di Figaro and the motet Exsultate Jubilate. Soloist Mara Mastalir curtsied deeply upon coming onstage in a black gown and long black gloves, winning over the audience immediately. With a voice more mature than one would expect of someone her age – she is not even thirty – her tone is lush and she displayed superb control. Smoothly gliding from the top to the bottom of her vocal range, confidently skating through coloratura and lyricism, she is clearly a master rather than a servant of the demanding material. The variety of matching facial expressions accentuated the dramatic impact of the arias.

As Despina in Così fan tutte and Susanna in Le nozze di Figaro, both vivacious and flirting maids, Mastalir was flippant but not flaunting. She could have been a little more teasing as the wily Susanna and more forceful in her dramatic rejection of the Albanians as Fiordiligi, one of the sisters in Così fan tutte, but these were small blemishes.

Returning after the intermission in a bright red gown with a diamond-studded girdle, she was decidedly resplendent. Launching herself vigorously into the first part of the motet Exsultate Jubilate, she changed gear almost unnoticeably into the gentle middle movement, finally rounding off triumphantly in the concluding movement Alleluia, cementing her performance as the centrepiece of the evening.

Beethoven wrote his second symphony during a particularly difficult period in his life, as he confronted the increasingly disturbing signs of deafness and contemplated suicide. Yet the work is full of joyous optimism, humorous twists and mischievous charm. After the brooding opening passage, the orchestra gave the first movement a full-blown buoyant treatment. Tiptoeing on the somewhat elusive melodies in the second movement, it underlined the bucolic atmosphere prescient of the sixth symphony.

The third movement, a scherzo marked allegro, was graceful and refined, with the prancing woodwinds adding colour to the festive mood. The bold and forceful opening bars of the finale were resolute and unequivocal, developing meticulously into a crescendo of cheerful triumph, bringing the concert to a gratifying close.

Three cheers to conductor Jan Willem de Vriend and soprano Mara Mastalir for turning an evening intended to be light entertainment into one of high artistic accomplishment, through thoughtful application of their skills and talent, and smart programming.