Pasadena Pops Mixes Standards, Lesser-Known

Now in its 10th performing year, the Pasadena Pops Orchestra, which until recently played mostly in hotel ballrooms, has moved outdoors. Its 1997 season at Descanso Gardens in La Canada Flintridge ends Oct. 4; last weekend, the orchestra hosted guest conductor Lucas Richman, who put together a breezy but substantial program called “Broadway Bound.” Saturday night, he led the ensemble through it with vigor and great stylishness.

Anthology agendas, particularly in the Broadway-show repertory, can be deadly and predictable. Richman avoided formulas and cliches, even though a good part of his program was recognizable. But he mixed the familiar with the lesser-known, paid tribute to the giants and did not avoid music of recent vintage.

In this, he had the strong resources and adaptability of the orchestra itself--which sounded crassly over-amplified near the front of the table-seating area, much more mellow at the back--and the expertise and talents of three veteran vocalists as soloists.

The irrepressible Nancy Dussault, well-remembered from her star turn in “Candide” at the Ahmanson in 1996, again showed her deep and admired versatility--she can sing anything, and convincingly. Among other special moments, she excelled at “Make Someone Happy,” “Hello, Young Lovers,” “Broadway Baby” and “Shine On, Harvest Moon,” different challenges all, and all met splendidly.

Dussault also shared the stage with tenor Gary Bachlund and soprano Ann Winkowski, who met her level of versatility and professionalism in, among other offerings, “Getting Married” from “Company.”

Bachlund, who usually sings grand opera heroes with major American companies, reasserted the breadth of his repertory in standard Broadway fare, but particularly in a touching account of “Bring Him Home,” from “Les Miserables.”