Music Reviews : Bruckner/Verdi Program by Pacific Symphony

If all had gone according to plan, Pacific Symphony audiences would have heard Verdi’s Requiem on Wednesday and Thursday at the Orange County Performing Arts Center in Costa Mesa.

Outgoing music director Keith Clark was to have conducted the orchestra, the Pacific Chorale and up-and-coming soloists, soprano Aprile Millo and mezzo-soprano Dolora Zajick (tenor and bass soloists were never announced) in Verdi’s operatic Mass for the Dead.

Orchestra management, however, yanked the Requiem more than two months ago in a budget-balancing move that saved about $75,000. Zajick agreed to appear during the 1990-91 season. Millo, apparently, was determined to stick to the original dates.

Hence, audiences heard the curious program that enlisted Millo in a grab-bag selection of excerpts from Verdi operas, followed by Bruckner’s Symphony No. 9.

There may be a conductor who can make a case for pairing Verdi, the passionate dramatist, and Bruckner, the transcendental mystic. But it wasn’t Clark. At least, not on Wednesday.

In fact, Clark could not make much of a case for either of the two, despite the formidable Millo.

Resplendent in a clinging black gown, with scooped neckline and silver beading cascading down the front, Millo sang “Tacea la notte placida” from “Il Trovatore,” the Willow Song and “Ave Maria” from “Otello” and “Pace, pace, mio Dio” from “La Forza del Destino.”

The Metropolitan Opera soprano had moments of vocal dryness and wobbliness under pressure, but essentially the voice was powerful, luscious, focused and full. She floated ethereal pianissimos and made them seem effortless.

Others may have plumbed the emotional depths deeper and pointed the words with more insight. But Millo is only 31 and has time.

Her stage manner reflected confidence and a certain informality. (She had prefaced her first selection by dedicating the program to Lucille Ball, who had died earlier that day.) She offered few oppressive diva mannerisms and confined her acting to gestures such as crossing herself during Desdemona’s “Ave Maria.”

(Incidentally, texts were not provided, although they were promised for the Thursday concert; and program notes did not always correspond with works played.)

Unfortunately, Millo could only accomplish so much given Clark’s insensitive, unstylish approach to Verdi, revealed oppressively in his hurdy-gurdy account of the Overture to “Luisa Miller.”

Post-intermission, Clark addressed Bruckner’s Ninth without score and without much sympathy, insight or grasp of coherence.

The orchestra played with the sloppiness that is becoming all-too-typical of concerts during Clark’s final days. His last subscription pair: May 10 and 11.