Tuesday, February 17, 1998
L.A. Opera recital lives up to lofty expectations
OPERA: Samuel Ramey delivers eclectic revue with gusto,
elegance
By John Mangum
Daily Bruin Contributor
To the uninitiated, the program for Samuel Ramey’s L.A. Opera
debut recital Friday evening probably read more like idolatry than
a level-headed source of information.
Statements like, "Samuel Ramey continues to reign as the
foremost interpreter of bass and bass-baritone concert repertoire,"
made by an anonymous biographer, and "Samuel Ramey can lay claim to
being one of the leading basses in the world, and certainly one of
the most important singers to have emerged in the last 25 years," a
more level-headed assessment from General Director Peter Hemmings,
certainly set the standards high from the outset.
But Ramey delivered. In spite of cancelling an appearance at New
York’s Carnegie Hall in a concert performance of Verdi’s
"Jerusalem" last Sunday, Ramey sounded like he was in good voice,
singing powerfully enough to fill the cavernous 3000-seat Dorothy
Chandler Pavilion.
In fact, he closed the first half of the program with an
extended scene from "Jerusalem," proving what those of us who never
leave Los Angeles already know from his numerous recordings, that
he is a master interpreter of Verdi’s dramatic bass roles.
The first half of the program focused on "classical" repertoire,
with works by Handel and a song cycle by Ravel prefacing the Verdi
extract. The three Handel pieces, taken from the composer’s
English-language oratorios, were not totally without problems.
The program got off to a shaky start with "Honour and Arms" from
"Samson," with otherwise admirable accompanist Warren Jones
sounding uncomfortable in the number’s muscular opening ritornello
and Ramey’s voice sounding momentarily unwieldy in Handel’s
machine-gun fire fioratura. The bass’s ringing, heroic tone
certainly compensated for these rare and unobtrusive moments of
discomfort both here and in the later aria "Arm, Arm ye Brave" from
"Judas Maccabeus."
Wedged between these two jingoistic calls to arms, "Leave Me,
Loathsome Light" from the dramatic oratorio "Semele" proved to be
one of the evening’s high points, at least until the encores that
followed the second half of the recital proper. Here, Ramey shaded
his voice beautifully, bringing a real sense of somnolence and
longing to the recently awakened Somnus’ plea to go back to
sleep.
In the Ravel cycle "Don Quichotte a Dulcinee," Ramey sounded
completely in his element. In the "Song of Prayer," his voice took
on an almost frenetic visionary quality when the focus of the song
shifted from devotional prayer to praise for the Virgin.
With the scene from "Jerusalem," the classical portion of the
program came to a close. The second half of the evening focused on
American popular and art songs.
Three works by Stephen Foster paralleled the Handel section of
the program. Two humorous songs, "Don’t Bet Your Money on the
Shanghai" and "If You’ve Only Got a Moustache" framed the ballad
"Gentle Annie." It was clear from the beginning of the evening’s
second half that Ramey would prove just as satisfying in these
American works as he was in those from the classical European
tradition.
Paul Bowles, perhaps more interesting for the life he’s led than
for the music he’s written, provided the next set of songs on the
program. Bowles, author of several stories and novels including
"The Sheltering Sky," gave up composing several years ago and moved
to Tangier, a popular spot for several well-known writers including
Tennessee Williams, William S. Burroughs, and the playwright Jean
Genet.
Williams provided the texts for Bowles’ "Blue Mountain Ballads,"
while an interview with death row inmate Joe Massey yielded the
words for "They Cannot Stop Death." This piece, and the "Ballads,"
while not particularly memorable in their own right, certainly
showcased Ramey’s talent in the more serious American song
repertoire.
The program closed with four well-known numbers by Cole Porter,
including "Don’t Fence Me In," "I’ve Got You Under My Skin" and
"Ev’ry Time We Say Goodbye." The ironic "Way Out West" rounded the
set off, and proved a fitting finale to an eclectic selection of
American works.
Ramey sang three encores. He trotted out highlights from two of
his most renowned roles, the devils in Boito’s "Mefistofele" and
Gounod’s "Faust." He sang "Ecco il mondo" from the former and
Mephistopheles’ serenade from the latter, an role he will sing
complete here two years from now. Both were perfect examples of his
consummate artistry, and they filled a hole in the program for
Ramey’s many fans.
Persuaded to return to the stage for one last encore by the
audience’s warm and overwhelming applause, Ramey chose the famous
"Ol’ Man River" from "Show Boat." It was a rousing end to an
amazing evening, and it brought the crowd to its feet for a
thunderous standing ovation.
OPERA: For more information about L.A. Opera, call (213)
972-8001.
L.A. Opera
Samuel Ramey appeared in recital at the Dorothy Chandler
Pavilion.