San Francisco Classical Voice

RECITAL REVIEW Opera Singer's Return In Another Role

February 11, 2001

Ann Panagulias

By Margot Power

Ann Panagulias, who has had considerable operatic acclaim here, last Sunday returned to the Bay Area in a recital, a less successful format for the young soprano.

In the Schubert group with which she opened her program in San Rafael's Osher Jewish Community Center, the singer was not yet settled into the music. Her portrayals were overdrawn both vocally and visually. Schubert demands a long legato line, which was lacking. Panagulias seemed most comfortable in her upper register, full and resonant, but the middle and low parts of the voice are poorly supported, often difficult to hear.

Four Mignon lieder by Hugo Wolf followed. These impassioned songs are beautifully set and full of opportunities for glorious vocalism, and Panagulias was more at ease here. Given the low tessitura of much of this music, however, she did not project the voice well, and her pitch suffered. The best of the group, to this listener was Mignon III, "So lasst mich scheinen" ("So let me appear to be (an angel)"). She sang the last song of the group "Kennst du das Land?" ("Do you know the land?") with great emotion and poignancy.

Ravel in Greek

Five Greek folksongs by Ravel, usually sung in French, were offered in Greek, with a lovely simplicity and a welcome absence of body movements. Speaking later of her own Greek heritage, Panagulias recalled her grandparents, so like people depicted in the melodies. During remarks she made after intermission, Panagulias paid a heartfelt tribute to the longstanding support of Dr. Jess Shenson, who was in the audience, as her sponsor in the Merola Program of the San Francisco Opera.

Among her five Britten songs set to poems of W.H. Auden, "Let the florid music praise!" was sung with the necessary declamatory style and much power. "As it is, plenty" is a humorous patter song, which was well done, Panagulias clearly comfortable in this style. The Poulenc songs seemed to strike an especially responsive chord in the singer. Her interpretations softened, and she moved around less. The subtle humor of the composer showed through in appealing fashion. Here, as in many of the works she chose, a sing-speak presentation was used for the rapid passages. More of a more vocal line would have been preferable for the melodic sections.

Panagulias was most successful with Kurt Weill's "One Touch of Venus," "Lady in the Dark," and " The Rise and Fall of the City of Mahagonny." These lighter, cabaret-style pieces were stylish and well done with appropriate acting and gesture and the audience responded more favorably and audibly to them.

Moving, Lovely Melody

Panagulias was accompanied by pianist-composer Richard Pearson Thomas, adept in his support of the singer even substituting on only 36 hours notice. The single encore was his song, "I never saw a moor," to Emily Dickinson. It is a moving and lovely melody with a haunting quality evocative of the poetry.

Panagulias is a talented performer who has had early success, however, she seems to have developed some unfortunate habits that detract from her performance. She moves about aggressively while singing and tosses her head when she ends a high note. The upper part of her voice can be compelling and beautiful, but it is often too loud in comparison with the weak middle and low register, giving rise to ungainly, abrupt dynamic contrasts. This part of the voice lacks a core and is often so soft that it can barely be heard. As a result her pitch sags regularly. Her acting abilities are considerable but better suited to opera than recital.

The spacious auditorium of the Bernard Osher Jewish Community Center is an attractive ambience for its Chamber Sundae Series, and this was its first classical vocal recital.

(Margot Power has performed solo roles with the Baltimore Civic Opera and San Francisco Spring Opera, with the Carmel Bach Festival, and with many symphony orchestras. Originally a concert pianist, she has more recently specialized in lieder singing.)