Soprano Vaness Hits All the Right Notes With Audience

Looking statuesque and radiant in a black lace gown, soprano Carol Vaness stepped to the front of the stage before her recital Thursday at the Alex Theatre in Glendale.

The texts for the arias and songs had not arrived in time to be included in the program, she said, so she would introduce the works (by Rossini, Beethoven, Strauss, Chausson and Mozart) with a few remarks.

So, in addition to hearing her usual artistry, the audience encountered her friendliness and wit. Rossini’s “L’Orgia” (The Orgy), one of the three “Serate Musicali,” for instance, was “a song about the 70s.”

In this and in Rossini’s “Regata Veneziana,” Vaness sang with creamy tone and vivid dramatic projection, qualities she showed also in Beethoven’s “Ah! Perfido” and “Non piu di fiori” from Mozart’s “La Clemenza di Tito.”

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But it was in lieder by Strauss and songs by Chausson that she most triumphed, endlessly floating lines of pure tone, introducing a disarming lighter timbre, projecting the texts with a sense of discovery.

Strauss’ “Zueignung” (Dedication), for instance, became a heartfelt confession. Chausson’s “Serenade Italienne” hovered and glowed.

Vaness did all this without much musical rapport--for all the congeniality shown between the two on stage--with her pedestrian accompanist Leticia Austria.

Two encores: “Io son l’umile ancella” from Cilea’s “Adriana Lecouvreur” and “Come scoglio” from Mozart’s “Cosi fan tutte.”