Music : Lakes in Local Debut Recital at Ambassador Auditorium

Too often, success in the opera house and accomplishment on the recital stage are mutually exclusive. When the exceptions to the rule--singers who add finesse and artistry to acknowledged vocal endowments--arrive, one wants to cheer.

Cheering was appropriate, then, at Ambassador Auditorium Saturday night, when American tenor Gary Lakes gave his local debut recital.

A veteran of Wagnerian engagements at the Metropolitan Opera as well as in Europe, the 40-year-old Lakes has appeared here, so far, only in orchestral concerts. As if to prove his resourcefulness, the large Texan offered a generous program of music by Handel, Beethoven, Wagner, Richard Strauss, Berlioz, Duparc and Donaudy, with Irish songs at the close.

If there has been controversy about Lakes’ eventual place in contemporary operatic history, there can be none about his artistry as demonstrated in this model recital.

Versatility, a commodity in short supply among tenors of every stripe, would seem to be Lakes’ strong suit: He appears to be at home not only in the power-demanding German repertory, but also in music by Italian, French and English-speaking composers where lyricism, sweetness and clarity take precedence.

More important than versatility, however, is the beauteous sound and wide resourcefulness of the voice itself. At this acknowledged first hearing, Lakes’ vocal instrument and the technique with which he uses it would seem to encompass myriad colors, dynamics, nuances and half-tints.

The intelligence guiding the singing made itself felt throughout this most satisfying, and lengthy, evening.

Arias from Handel’s “Semele” and “Jephtha” rediscovered textual details many singers cannot help but ignore. Beethoven’s trap-ridden “An die ferne Geliebte” cycle became an occasion for poetic communication and word-savoring. Four lieder of Strauss proved both manly and exquisitely touching in expression. Song-groups from the works of Duparc and Donaudy displayed an unstrained expertise in the French and Italian repertories many native singers might envy.

Small disappointments, disappointments of the moment one might guess, appeared in the excerpts from “Lohengrin” and “Damnation de Faust”: Oddly, the high notes seemed to come before the singer was quite prepared. Otherwise, firm and sturdy vocalism was the rule, throughout Lakes’ genuinely wide and even range.

At the end was a most unaffected but seductive group of Irish-song arrangements, followed by two encores: Tosti’s “L’alba separa dalla luce l’ambra,” and Siegmund’s “Wintersturme,” from Wagner’s “Die Walkure,” each one given its full due in musical style and emotional directness.

Pianist of the evening--maybe the month--was the smooth and accomplished Dan Saunders, who never followed, never led, never under- or over-played, but was always in the right place at the right moment, contributing strongly to the music at hand.