Concert Review                                by Classical Voice
 

Mezzo-soprano Susan Graham returns to Disney Hall as impassioned Mozart heroine

By Truman Wang
October 30, 2010

Los Angeles Philharmonic
Christian Zacharias, conductor/keyboard
Susan Graham, mezzo-soprano

Mozart: Ch'io mi scordi di te...Non temer amato bene
C.P.E. Bach: Keyboard Concerto in D minor
Mozart: Vitelia's scene and Sesto's "Parto parto" from La Clemenza di Tito
Beethoven:   Creatures of Prometheus, Op.43 - Selections


Saturday, October 30, 2010 at Walt Disney Concert Hall

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his concert was noted mainly for the great artistry of mezzo-soprano Susan Graham.   Ms. Graham, who gave us a sublime portrayal of the Carthage queen Dido in seasons past, again did not disappoint.   It was an undiluted pleasure to hear Mozart sung with such faultless virtuosity and overflowing tender passion as demonstrated by Ms. Graham in the concert aria (with piano obbligato) “Ch’io mi scordi di te? Non temer, amato bene” (K.505) and, post-intermission, scenes from La Clemenza di Tito (K.621).   Although primarily known for her mezzo and ‘pants’ roles, Ms. Graham commands an easy upper extension that would envy many sopranos.  Schooled in the Belcanto art of ‘beautiful singing’, the voice nonetheless could take quite a beating from a full-sized orchestra without losing its core of loveliness.   It is a voluminous, voluptuous instrument that is also capable of dramatic emotions contained in the two Mozart numbers.  “Ch’io mi scordi di te” was intended as a salon showpiece by Mozart for his prized soprano, but here it was transformed into a mini-operatic scene by Ms. Graham’s impassioned delivery.  Vitelia’s scene and Sesto’s aria “Parto parto” from La Clemenza similarly received dramatic treatments from Ms. Graham, particularly memorable being her crystalline Italian diction on those chilling words of Sesto “Saro qual piu ti piace” (I will do anything you [Servilla] want… [including murder and setting fire to Rome]), perfectly conveying the subject’s mental anguish.  

Too bad the rest of the program was less than inspiring.

That might be the fault of conductor Christian Zacharias, who opted for jaunty rhythms and dry phrasing that took a lot of humanity out of the featured Classical composers.   The valiant L.A. Phil musicians tried hard to adapt, but it was nearly impossible to switch gear so soon after all the passions of Berlioz last week.  The result was a failed, half-hearted attempt to deliver the classics.  The choice of C.P.E. Bach’s Keyboard Concerto in D minor was ill-considered for its excessive length and lack of melodic inventions.   A much better choice would have been a genial work by Mozart’s good friend J.C. Bach (the ‘London’ Bach), that provided a needed respite between two dramatic vocal works.   Beethoven’s ballet, The Creatures of Prometheus, Op. 43, did not sound particularly ingratiating or dance-like.  The ‘big tune’ in the finale was completely devoid of the light-footed giddiness of, say, the very fine Orpheus Chamber Orchestra version. 

Nonetheless, I wish to end this review on a positive note by saying that the exceedingly varied program – featuring orchestral music, piano and opera – were quite the norm in Beethoven and Mozart’s days, but sadly went out of fashion in the 19th Century.   It was great to see the return of the retro-format, even if only the operatic portions were entirely successful.

 

To purchase tickets for Los Angeles Philharmonic's 2010/11 season, call (323) 850-2000 or visit online www.laphil.org

 

   

Truman C. Wang is editor-in-chief of Classical Voice, whose articles have appeared in the San Gabriel Valley Tribune, the Pasadena Star-News, other Southern California publications, as well as the Hawaiian Chinese Daily.

 

 

 

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