Patriarco Returns With Uneven Effort

American baritone Earle Patriarco, who made important debuts at the Metropolitan Opera and in Paris last season, continues his rise in the operatic world. And the Californian, last observed in the title role of “Barbiere di Siviglia” with the Pacific Opera in Orange County four months ago, will make a number of international first appearances in 1996-97.

Wednesday, Patriarco returned to Southern California, where his training began, to give a recital in the Carpenter Center at Cal State Long Beach as part of the CSU Summer Arts program. It was a happy occasion, but raised some questions.

In music by Mozart, lieder of Hugo Wolf, Poulenc’s “Chansons Villageoises” and in a second half devoted to 20th century English-language songs, the personable singer proved strongest at capturing sense and emotions related to the American experience, weakest at projecting the colorful details in German and French texts.

A panorama of effective songs by Christopher Berg, John Musto, William Bolcom, Samuel Barber and Gene Scheer kept the listener rapt and amused. Patriarco delivered words clearly and with relish and gave each composer careful attention.

Even so, Patriarco showed signs of inconsistent technique not in evidence when he sang Rossini in March. At dynamic levels below mezzo-piano, his voice sounded quavery and disconnected. Sometimes, a lack of legato marred the vocal line, which came out choppy. The singer couldn’t always transfer the healthy Italian sound he made as Figaro to other musical locales.

Oddly enough, these problems seemed to disappear altogether when Patriarco took encores--songs by Richard Strauss and Lee Hoiby--at the end of the evening, and sang both gorgeously.

At the piano, David Clemenson was Patriarco’s game and serviceable partner.