After a week of racial violence and unrest in Cincinnati, the Easter Sunday concert by the Cincinnati Chamber Orchestra and Vocal Arts Ensemble of Cincinnati provided a radiant diversion.

        Although it was unclear at first whether the concert could take place as scheduled, the mayor's rollback of the fourth night of curfew to 11 p.m. allowed it to proceed in Covington's historic Cathedral Basilica of the Assumption.

        The evening performance, which concluded the Chamber Orchestra's first season under its new music director Mischa Santora, brought together two of Cincinnati's finest ensembles in a memorable program that included Bach, Mendelssohn and a world premiere by Shafer Mahoney.

        For the 620 concert-goers who came, it was also the last peek at the 100-year-old basilica before it begins a $4.7 million, eight-month renovation. Even before the restoration, the cathedral was a beautiful — albeit reverberant — space to hear music.

        Clearly in his element in the choral literature, Mr. Santora balanced his forces exceedingly well, careful that the orchestra never overwhelm the voices. If his was a thoughtful and musical performance, the work by the chorus, prepared by Earl Rivers, was no less arresting for its blend, expression and precision of attack.

        The program opened with Mr. Mahoney's Three Bronte Songs, a setting of three youthful poems by Emily Bronte commissioned by the Chamber Orchestra. Tonal and imaginative, the music by this gifted New York-based composer evoked Copland and Bernstein at times, but also had distinctively original touches.

        “This Shall Be Thy Lullaby” began as a busy perpetual motion, punctuated by chords, bells and timpani to depict the stormy sea, before dissolving into a lullaby.

        The syncopated melody in “What Use is it to Slumber Here?” for soprano solo was beautifully executed by Esther Nam, a doctoral student at the University of Cincinnati College-Conservatory of Music. The chorus captured the unsettled quality of “The Star of Love,” the third song, which built to a climax through repetition on the word “star.”

        Mr. Santora led vigorously and with conviction, and the composer was present to take a bow.

        The conductor, whose charisma and musicality lately reminds one of a young Thomas Schippers, was an alert leader in Mendelssohn's setting of Psalm 42, “Wie der Hirsch schreit,” which followed. Here, the choral sound was plush, romantic and glowing, and the overall effect was quite moving.

        Debra Van Engen, a Vocal Arts Ensemble member, performed the soprano solo with sensitive expression and powerful high notes. A highlight was her aria, “Meine Seele durstet nach Gott” (My soul thirsts for God), with the oboe obbligato exquisitely performed by Christopher Philpotts.

        Mr. Santora communicated the joyous quality of the final chorus; its fugue was energetic and clear, no mean feat in the cathedral acoustic.

        The evening concluded with Bach's festive Magnificat in D Major, BWV 243. Mr. Santora allowed tempos to flow naturally, and struck a buoyant balance between chorus, soloists and orchestra.

        Mezzo Theresa Merrill, alto LaToya Lain and bass Ben Smolder articulated their solos admirably. In the higher ranges, soprano Christa Cornish Scott sang with a pure, sweet-toned voice and tenor Ross Hauck executed difficult florid passages impressively.

        The chorus was fresh and clear, and the orchestra, which included harpsichord continuo, played with lightness. Kudos to the trumpets, whose nicely ornamented contributions were in perfect balance.

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