MUSIC REVIEWS : Soprano and Pianist Give Varied Chapman Recital

A dedicated audience shed jackets, wiped brows and willingly sweltered through a recital presented by soprano Ruth Golden and pianist James Barbagallo at Chapman College in Orange on Friday night. And indeed, there were moments definitely worth braving the closeness of an unventilated hall--especially from Golden.

Both artists are conducting master classes for local high school and college students as part of the Chapman Music Department Summer Seminar. Golden, in particular, seemed to have programmed the evening with attending students in mind.

Stylishly accompanied by Chapman staff member Timothy Steele, the New York City Opera soprano offered conservative but varied fare. Mozart, Bizet and engaging sentimentality of three contemporary Americans--Richard Hundley, Ricky Ian Gordon and Dominick Argento--required linguistic facility, stylistic acumen and dramatic versatility, all part of thorough vocal education.

But pedagogical considerations did not create a pedantic performance. Golden’s musicianship and charming presence, immediately established with Mozart’s much-beloved “Exsultate, jubilate,” dominated the evening. Her Mozart was spirited and gracious, with lines that unfolded gracefully and naturally. Fluidity between registers and impeccable intonation, regardless of dynamic level or ornamentation, contributed to Mozartean grace.

While Mozart calls for a supple subtlety, Bizet requires a more overt dramatist. Here too Golden rose to the occasion, particularly in the second selection, “Adieux de l’hotesse arabe.” Here she allowed an edge to creep into the chest tones and, combined with admirable dynamic control (tricky fare in echoey Salmon Recital Hall), offered a coquettish farewell to Victor Hugo’s “handsome stranger.”

While Golden studiously chose from three historical periods, Barbagallo elected two very contrasting styles within the 20th Century--those of Claude Debussy and of Samuel Barber. However, the 1982 Tchaikovsky Competition bronze medalist was clearly more at home with Barber’s exacting clarity than with Debussy’s dreamy colors. Barbagallo approached “Pagodes,” from the 1913 “Estampes,” with a simplicity bordering on studiousness, with strict rigidity of tempo and a sameness throughout. His “Poissons d’or” fared much better, however, saved by facile fingers that kept the fluttering theme and fast-paced repetitive chords easy and light.

Actually, one had the sense that the pianist really did not warm up until the third movement of the Barber Sonata, the final offering on the program. The first movement was romantic but without the aggressive insistence or mystery the music needs. The second was light and generally good-humored, but opportunities to shape lines slipped by unnoticed.

Still, a pianist of authority and musicality emerged in the third movement. At last, the dynamic possibilities inherent in the rise and fall of Barber’s haunting melody were recognized, and the tortured climax was achieved with power and control.

Authoritative control extended into the fugal movement as well. Finally, clearly refined voicing, playful interludes juxtaposed against romantic passages and a relaxed and sure technique served compelling intensity of both pianist and composer.