Carol Vaness

In spite of the counsel of certain ancient Greek philosophers, moderation is not always a virtue. Soprano Carol Vaness' Monday evening recital at Sherwood Auditorium was awash in moderation: moderate tempos, moderate dynamic levels, a moderate display of emotion, and--not surprisingly--moderate musical rewards. Both her programming and her manner suggested the thoughtful restraint of a performance tailored to the demure tastes of an afternoon women's club.

The word "diva" comes from the Latin term for "goddess." We've come to think of her merely as a prima donna in the negative sense. But she is actually a glorious being with the power to stir our deepest emotions, a consummate artist with a larger-than-life persona to match. Such a creature is Carol Vaness, a Southern California native who also happens to be one of the leading American sopranos of her generation.

The word "diva" comes from the Latin term for "goddess." We've come to think of her merely as a prima donna in the negative sense. But she is actually a glorious being with the power to stir our deepest emotions, a consummate artist with a larger-than-life persona to match. Such a creature is Carol Vaness, a Southern California native who also happens to be one of the leading American sopranos of her generation.

The fine art of songwriting, in the art song tradition, has been a practice paid ambivalent attention in our century. San Francisco-based pianist and composer Heggie has taken it upon himself to delve into the venerable songwriting tradition, often referring, stylistically, to romantic 19th century models and hints of smarter Broadway musical thinking, and now has well more than 100 pieces to show for the effort.

In a world of many figurative prima donnas, Carol Vaness is a literal one. Soprano Vaness is in such demand that she's booked in opera houses and concert halls through 2000. Her exceptional stage presence helped make L.A. Opera's recent "Tosca" a near sell-out every night. Her clear, refined voice has made her a favorite for Mozart and Verdi roles around the world. But she doesn't talk like a diva.

Looking statuesque and radiant in a black lace gown, soprano Carol Vaness stepped to the front of the stage before her recital Thursday at the Alex Theatre in Glendale. The texts for the arias and songs had not arrived in time to be included in the program, she said, so she would introduce the works (by Rossini, Beethoven, Strauss, Chausson and Mozart) with a few remarks. So, in addition to hearing her usual artistry, the audience encountered her friendliness and wit.

Carol Vaness is a highly accomplished operatic singer, as she has now been proving for more than half a decade in important opera theaters, including those in New York and London. But Vaness is not a deeply satisfying recitalist, as she showed in her recital debut--sponsored by the Los Angeles Philharmonic Assn.--in the Pavilion of the Music Center, Wednesday night.

The fine art of songwriting, in the art song tradition, has been a practice paid ambivalent attention in our century. San Francisco-based pianist and composer Heggie has taken it upon himself to delve into the venerable songwriting tradition, often referring, stylistically, to romantic 19th century models and hints of smarter Broadway musical thinking, and now has well more than 100 pieces to show for the effort.

Saturday night was a milestone for L.A. Opera, its 500th performance. The occasion at the Dorothy Chandler Pavilion was a new production of "Il Trovatore," once Verdi's most popular opera but now seen as a creaky melodramatic relic. This is a company that knows a thing or two about creaky melodrama. It began the season with one, Giordano's "Fedora," in which the heroine, a Russian princess, is driven by love to take poison.

Mark Swed reviews the opening of Los Angeles Opera's "La Rondine," with Carol Vaness, at the Dorothy Chandler Pavilion.

Saturday night was a milestone for L.A. Opera, its 500th performance. The occasion at the Dorothy Chandler Pavilion was a new production of "Il Trovatore," once Verdi's most popular opera but now seen as a creaky melodramatic relic. This is a company that knows a thing or two about creaky melodrama. It began the season with one, Giordano's "Fedora," in which the heroine, a Russian princess, is driven by love to take poison.

Looking statuesque and radiant in a black lace gown, soprano Carol Vaness stepped to the front of the stage before her recital Thursday at the Alex Theatre in Glendale. The texts for the arias and songs had not arrived in time to be included in the program, she said, so she would introduce the works (by Rossini, Beethoven, Strauss, Chausson and Mozart) with a few remarks. So, in addition to hearing her usual artistry, the audience encountered her friendliness and wit.

In a world of many figurative prima donnas, Carol Vaness is a literal one. Soprano Vaness is in such demand that she's booked in opera houses and concert halls through 2000. Her exceptional stage presence helped make L.A. Opera's recent "Tosca" a near sell-out every night. Her clear, refined voice has made her a favorite for Mozart and Verdi roles around the world. But she doesn't talk like a diva.

In spite of the counsel of certain ancient Greek philosophers, moderation is not always a virtue. Soprano Carol Vaness' Monday evening recital at Sherwood Auditorium was awash in moderation: moderate tempos, moderate dynamic levels, a moderate display of emotion, and--not surprisingly--moderate musical rewards. Both her programming and her manner suggested the thoughtful restraint of a performance tailored to the demure tastes of an afternoon women's club.

Carol Vaness is a highly accomplished operatic singer, as she has now been proving for more than half a decade in important opera theaters, including those in New York and London. But Vaness is not a deeply satisfying recitalist, as she showed in her recital debut--sponsored by the Los Angeles Philharmonic Assn.--in the Pavilion of the Music Center, Wednesday night.

Recital on Hold: American soprano Carol Vaness, scheduled to appear in recital April 14 at the Dorothy Chandler Pavilion of the Music Center, has canceled due to illness. A spokesperson for Music Center Opera, sponsor of the MCO fund-raising event, said ticketholders may request refunds at the point of purchase.

Spanish mezzo-soprano Teresa Berganza has been forced by illness to cancel her recital Wednesday at 8 p.m. in the Dorothy Chandler Pavilion, according to a spokeswoman for the sponsoring Los Angeles Philharmonic. Soprano Carol Vaness will replace the indisposed singer, assisted by pianist Warren Jones. Vaness, locally born and trained, has sung with San Francisco Opera and New York City Opera and is now on the roster of the Metropolitan Opera.