The Camerata Salzburg is a local band, and they play a part in the Salzburg Festival. On Thursday night, they gave an interesting, rewarding concert. They were conducted by Ingo Metzmacher, a German who is active both on the symphonic podium and in the opera pit. He is also a pianist.

The concert began with “Verklärte Nacht” (“Transfigured Night”), Schoenberg’s beloved piece from 1899. As you may recall, the piece started out as a string sextet; Schoenberg arranged it for string orchestra in 1917, revising that arrangement more than a quarter-century later. It was this final version we heard last week.

In my view, the key to performing this work is pacing — and Mr. Metzmacher handled that well. The orchestra played with a certain graininess of sound, which was just fine: “Verklärte Nacht” often suffers from an excess of syrup. In particular moments, the orchestra could have been warmer — more glowing, more shimmering — but they weren’t cold or drab.

A few problems intruded on the experience: imprecision of attack, shaky intonation, a couple of squeaks. But in general this was a satisfying performance of a work that never loses its appeal.

Then came Mahler’s “Lieder eines fahrenden Gesellen” — “Songs of a Wayfarer”– in Schoenberg’s arrangement for chamber ensemble. The “Wayfarer” songs are especially beloved of baritones, for whom they seem made. So, whom did the festival engage to sing them? Thomas Hampson, Wolfgang Holzmair, Christian Gerhaher? None of the above — Christine Schäfer, the soprano, and a light lyric soprano at that. At first, it was almost shocking to hear the “Wayfarer” music come out of her mouth. Imagine a bass singing the Jewel Song. But Ms. Schäfer can adapt to most anything, and Mahler is adaptable too.

In the course of the songs, Ms. Schäfer displayed her marvelous vocalism, and her marvelous musicianship. She was pure, as she usually is, but not sweety-sweet. When she sang of finding restful peace beneath a linden tree, she sounded like an angel — but she wasn’t airy-fairy. This was a more substantial angel, somehow.

And I’d like to stress her mental concentration — it is one of her most important qualities. Ms. Schäfer never drifts off, never stops thinking, never gets stupid. Yet she does not overthink (a lieder-singer’s liability).

The chamber ensemble drawn from the Camerata Salzburg was a little earthy and a little rough — but not to the detriment of the music. Mr. Metzmacher was at the piano and did no conducting, to my knowledge. It could be he nodded to his colleagues once or twice.

Ms. Schäfer sang an encore, and it was the best song ever composed (no less): “Ich bin der Welt abhanden gekommen,” from Mahler’s “Rückert Lieder.” The chamber ensemble did not participate; Mr. Metzmacher accompanied on the piano.

Interestingly, Ms. Schäfer — this high soprano – sang the song in its low key of E flat, rather than in its F-major alternative. (I suppose you could sing it in E, though I’ve never heard that.) Unfortunately, Ms. Schäfer did not do her best with this song. For one thing, the tempo was too slow, as it so often is. Most seriously, Ms. Schäfer failed to transport — and “Ich bin … ” must have that. Furthermore, Mr. Metzmacher’s accompaniment was rather blocky and blunt.

Still, you can always learn from Ms. Schäfer, and she taught us something about long lines: You can sing them in several breaths — you can cheat a little – if you are discreet. And Ms. Schäfer took her breaths with superb discretion.

She sang a second encore, this one by Schubert: “Death and the Maiden.” Why’d she do that? Because, after intermission, the Camerata Salzburg was going to play Mahler’s arrangement for string orchestra of Schubert’s “Death and the Maiden” Quartet. In any case, Ms. Schäfer sang this touchstone song very, very keenly.

And Mr. Metzmacher and the orchestra were very, very keen after intermission. Just as it was a bit shocking to hear Christine Schäfer begin the “Songs of a Wayfarer,” it was a bit shocking to hear so large a group begin this very familiar — and immortal — string quartet. But the Camerata Salzburg had the requisite nimbleness, unity, sensitivity, and heart.

The final movement was a particular treat. It ought to be like riding a horse. The music ought to be tense, anticipatory, exciting — and so it was. The Camerata Salzburg played with a freshness and enthusiasm not heard every day.

A footnote, please, about the hall — the Grosser Saal of the Mozarteum. It is one of the most beautiful halls in the world. But not one of the most comfortable.

Years ago, I nicknamed the Grosser Saal the “Grosser Sauna,” and, on Thursday night, it was more sweltering than ever. The place was shut up like a tomb. And, of course, air conditioning is a foreign, if not heretical, notion. Why people weren’t carried out on stretchers, I don’t know. In the United States, people would have sued (litigation being our national pastime).

The Austrians, however, seemed immune, as always. And, as always, they were formally — i.e., hotly — dressed. I didn’t see a man so much as loosen his collar. Go figure.