Precise, Moving Performance of Mozart Works

Rarely, even in the opera house, does an overture embody the drama to come as intensely as did the “Idomeneo” overture under the baton of Jorge Mester when he opened a Mozart program by the Pasadena Symphony on Saturday at the Civic Auditorium.

Mester found the depth, complexity and power in the music, and the orchestra--reduced to about 45 musicians--played with sweep, precision, fullness of sound and energy.

Without a pause, Mester followed the overture with selections from the ballet music for the opera, revealing a less familiar but equally beguiling aspect of the composer, and creating virtually a new piece that moved from dramatic conflict and tension to stately triumph and sparkling resolution.

After intermission came the major work on the program, the Requiem, K. 626, performed in the superior Beyer edition, which aims to correct generally conceded instrumental, stylistic and musical errors (in harmony, among other details) that Sussmayr made when he completed the work upon Mozart’s death.

The chorus was the Pacific Chorale, honed by its director, John Alexander, to a silvery, unified force that sang with wonderfully clear diction and brought an almost Verdian scope to the music. This was not small-scale Mozart.

Even so, Mester made sure that the chorale, at more than 80-some voices, did not overwhelm the instrumental lines. Counterpoint and lovely details in the orchestra were always clear.

The weak link in the chain was the uneven solo quartet--soprano Maurita Phillips-Thornburgh, mezzo-soprano Catherine Cook, tenor Beau Palmer and bass Kenneth Cox. Most of these singers have been heard sounding more steady and resonant on other occasions.