Sumi Jo Colors Even the Blandest Works

Only the most cynical observer could dismiss Sumi Jo as less than the virtually complete recitalist and vocal artist she is. As the Korean soprano demonstrated again Saturday night, she makes music, she entertains an audience, and her sincerity is irresistible. One has to go all the way back to the beauteous Mary Costa for an example of such irrepressibility on the recital stage.

An observant and willing-to-be-delighted audience in the commodious Alex Theatre in Glendale abetted Jo’s effortless performance, and by the end, after several encores, they were still fresh. So was Sumi Jo.

Aside from the high notes, for which everyone is waiting, the coloratura repertory can be bland. Jo clearly doesn’t subscribe to that opinion. A highly musical singing artist, she uses all manner of details to bring out the character in music other people might consider saccharine.

On Saturday, she had the solid collaboration of pianist William Vendice--a wonderful contrast to her flights of rubato and instinct in his buttoned-down, authoritative, handsome playing. Together, they brought into focus a most pleasing mixed program.

As must be the case, the best came last, in operatic excerpts from Bellini’s “I Capuleti e i Montecchi” and Verdi’s “La Traviata” and the encores: three Korean songs, “Ulsan,” “Kumgangsan” and a lullaby; Puccini’s “O mio babbino caro”; and Victor Herbert’s Italian Street Song. In this portion, the soprano used many colors and nuances to illustrate the varying texts. She also zonked a champion’s quota of climactic notes above the staff, most of them perfectly thrilling.

Earlier, and aside from strong high notes, the thrills were in some ravishing legato singing, particularly in Mendelssohn’s “Auf flugeln des Gesanges” and Eva Dell’Acqua’s “Villanelle.”

The evening began with a charming group of Rossini songs and four early chansons by Debussy. Then, after an overdecorated but admirable arrangement of the Korean song “Arirang,” Jo and Vendice closed the first half with Arditi’s showy “Il Bacio.”