When a new conductor takes over an existing ensemble, whether it's a world-class orchestra or a community chorus, there's generally a lengthy process before the group adapts to his or her individual musical stamp. Thomas Douglas showed that he was ahead of the curve in his first concert as interim artistic director of the Bach Choir on Friday at East Liberty Presbyterian Church. The concert was a selection of international songs and choruses, and Douglas not only programmed deliciously diverse music, he also drew out various choral sounds and styles.

The concert's energy level peaked with two Italian selections. Coloratura soprano Carrie Opheim and accordionist Thomas Bruno provided plenty of spice for Victor Herbert's rousing "Italian Street Song." Sara Jane Lowry stepped away from her duties as the Bach Choir's executive director to solo in the church scene from Mascagni's "Cavalleria Rusticana." Singing the role of Santuzza, which requires a true dramatic soprano, Lowry easily crested the choral fortissimos, her voice soaring through the church's cavernous acoustics.

The choir achieved Asian timbres in the Philippine folk song "Pokpok Aalimpako" and the Korean folk song "Arirang," which featured compelling riffs by baritone Hong-Jun Yoon. The ensemble fabric for the Russian folk song "Pai Duli Vwhihdul Ja" was appropriately dark and robust.

Genuine Latin American flavor came from guest artists Coro Latinoamericano, a newly formed local ensemble directed by Enrique Bernardo.

If anything was lacking, it was diction in the opening segment, "Four Robert Burns Ballads" by James Mulholland. But in the final set, four of Aaron Copland's Old American Songs, the diction was excellent, and the group displayed the evening's widest dynamic range.

Douglas' seemingly instant musical rapport with the Bach Choir went beyond merely eliciting diverse choral timbres. He instilled rounded, disciplined vocal production in the entire ensemble, never allowing any section to become strident or overbearing.