Conductor: Charles Hazlewood Leader: Paul Barritt The City Hall Theatre Thursday, Friday and Saturday *** The English Chamber Orchestra formed in 1960 deservedly enjoys an international reputation as one of the world's most celebrated ensembles.

Returning to Bermuda for its ninth season, the orchestra opened its concert series on Thursday night with a decidedly romantic flavour -- the works of Wagner and Faure.

Before each piece, Charles Hazlewood, dressed for comfort in a poetic shirt of Byronic dimensions, enlightened the audience with pertinent and amusing introductory anecdotes. Hailed as one of the most exciting young conductors in Britain today, Mr. Hazlewood is not only a highly disciplined and inspiring director, but a very engaging and attractive personality.

Richard Wagner, writer, composer and political activist, dominated the European operatic world for most of the 19th century. Everything he did was on a grand scale. His works are not the usual diet of the small orchestra. Both the "Siegfried Idyll'' with which the E.C.O. began their programme and the "Traume'' from "The Wesendonk Lieder'' which they played later were scored for reduced forces. Despite this, both works maintain the colour and sensuality of the essential Wagner. The "Siegfried Idyll'' was written in honour of the composer's second wife Cosima and their newly born son Siegfried. Gentle and subdued, it was played with warmth, exquisite phrasing and beautifully controlled dynamics.

Some year earlier when Wagner lived in political exile in Switzerland, he met the merchant Otto Wesendonk and his wife Mathilde. Otto Wesendonk became a patron of the composer and Wagner, emotional disaster never far away, fell in love with Mathilde. Mathilde returned his affection. She was a writer of some local reputation and Wagner set five of her poems known as "The Wesendonk Lieder'' to music.

The last song "Traume'' he subsequently orchestrated, giving the vocal line to a solo violin. The playing of Paul Barritt here was one of the most magical moments of the evening. His tone quality was absolutely superb...a pity that his offering was all to brief.

Established soloists and young aspiring soloists seem to be the order of the day with the E.C.O. It must have been with a great sense of pride that Thursday's audience noted the scheduled performance the following evening of young Bermudian Mark Lomas with this world famous orchestra. A brilliant young artist at present studying at The Julliard School in New York, Mark seems to have what it takes to succeed -- an unusual and remarkable talent.

Thursday's woodwind soloist, also well known in Bermuda, was however not on the threshold of his career. William Bennett, one of the world's foremost musicians was an inspiring soloist in Faure's Fantasie for Flute and orchestra. Gabriel Faure, one of the founders of The National Society for French Music, studied under Saint -- Saens. The basis of his style was lyrical melody and innovative harmony. Small dimensions were his forte. The Fantasie, so brilliantly played by Mr. Bennett was an exciting change of pace following the more restrained "pavane''. Both pieces however displayed that superb refinement which is the essential of French musical tradition.

After the intermission, the evening was devoted to the works of the Classical Masters. Haydn and Mozart were not only musical contemporaries, but close personal friends. Together using the language of the time, they created works of unsurpassed perfection. With them the symphony and the concerto emerged as potent musical forms.

Despite the fact that Mozart did not like the flute, he wrote for it with great effect. In Rondo in C for flute and orchestra, William Bennett once again proved an admirable soloist. He was accompanied with great elegance by his colleagues.

The main work of the evening was Haydn's Symphony No 43 in E flat major (Mercury). In four movements, and how regrettable that some members of the audience will insist on ruining the continuity by ill-timed applause, the opening Allegro set the pace for what was a vital and exciting performance.

Charles Hazlewood is an economical conductor. There is however always great lyricism in his style, and he knows instinctively how to breathe musically, how to shape the subtle phrase. The orchestra seemed inspired by his youthful energy and finished as they had begun with playing of the highest order.

The programme finally ended with an amusing encore. Haydn's "Farewell'' Symphony. Written as a hint to his employer Prince Esterhazy that he and his fellow musicians needed a holiday. Haydn evolved a musical strike action. As the piece progresses the players exit one by one until no one remains on stage apart from, in this case, a pair of lonely violins! All in all a wonderful evening of music and much more.

MARJORIE PETTIT THEATRE REVIEW REV