Music Reviews : Carolyn Sebron Sings at Museum

Who builds a notable career and who doesn’t often depends on ambition and political savvy. If Carolyn Sebron, in her local debut Wednesday at the County Museum’s Bing Theater, can tap these essentials there’s little reason why the American mezzo-soprano should not earn high visibility on the musical horizon.

Statuesque, elegant, poised--resplendent, even, in a sequined top and long black skirt--Sebron boasts a bright, pleasantly grainy, forward-placed voice of considerable size and depth.

What’s more, the Cincinnatian, who has won a slew of contests, knows about simplicity: the importance, as a recitalist, of presenting herself in physically economic and meaningful terms.

But in a program that sampled only French and Spanish songs and for some tastes was short on contrast, she also revealed one significant weakness--mushy or lazy enunciation.

It proved a liability, especially for the French half of the agenda. The exquisite chansons of Duparc and Debussy require the kind of word pointing Sebron did not deliver.

A pity, because her other attributes--a slightly nasal sound and a liquid timbre--suggest the Gallic sensibility.

She fared best in “Chants de desir” by Rudolf Escher, nephew of the graphic artist, particularly the first one with its big, declamatory, dramatic opportunities.

Songs by Falla, Granados and Obradors brought out Sebron’s gregarious facets--a glinting mischief here and a subtly sardonic touch there, as well as luxurious high notes, easy power and agility.

Eliza Garth was the conscientious accompanist.