MUSIC REVIEW : Alexander Brings Together Colossal ‘Carmina’

It may have taken a while for conductor John Alexander to get around to the pounding strains of “Carmina Burana” at a packed Pasadena Civic Auditorium Tuesday night, but when he did, the work resounded in most of its glory.

But first: something completely different. With his Angeles Chorale on stage and the Pasadena Symphony in the pit, Alexander led off with the wafting breezes and meandering streams of Vaughan Williams’ “Serenade to Music” (words by Shakespeare) and followed it with the soothing philosophies and luxuriant instrumentalism of James Hopkins’ “Songs of Eternity” (words by Tagore). Forty minutes later, and with “Carmina” still to come, it seemed like too much of a lulling thing.

All concerned--including (in the “Serenade”) soprano Kerry O’Brien, mezzo-soprano Tracy Chiappone, tenor Bruce Johnson and baritone Zheng Zhou--showed solid professionalism in their tasks, but, overall, the level of polish and elegance wasn’t compelling.

The second half proved another matter. With several components--the conductor, two vocalists and the Oakland Ballet in John Butler’s staging (previously reviewed)--carried over from an Orange County performance, this “Carmina” had the Pasadena Symphony giving a crisp and vivid account of the score. Alexander guided them with efficiency and relative taste; the skillful orchestration rang with clarity.

Positioned for disaster at the back of the stage, a long way from its conductor, the Angeles Chorale avoided pitfalls, singing alertly, nimbly and usually with enough force to balance the instrumental thunder. Only its hooded-monk attire was regrettable.

The Angeles Chorale Children’s Chorus added a tidy contribution. Zhou shone brightly in his solos, dramatically pointed and fluent, even in falsetto. Johnson nailed the tricky high-wire act of the roasted swan’s song. O’Brien offered suitable prettiness and purity.