Christine Brandes

by David Shengold

Who knew singing Mozart arias could be compared to mountain climbing? In conversation, soprano Christine Brandes displays the same intelligence and charm she does in her colorful, expressive singing. A Philadelphia favorite for her frequent work with the Opera Company, this week she tackles three of Mozart's sublime concert arias for a debut with the Chamber Orchestra (whose energetic young maestro, Ignat Solzhenitsyn, plays the piano part underlying Brandes' vocal line in "Ch'io mi scordi di te?" and leads Mozart's two G minor symphonies, the 25th and the famously brooding 40th).

She tells City Paper her favorite things about Philly, why she loves The Marriage of Figaro and why you'll never see a crossover album from her in your local Tower Records.

City Paper: What are the particular attractions and challenges of Mozart's music?
Christine Brandes: He's a complete and utter genius, and that's always compelling. He writes incredibly well for the voice and the music always serves the emotional or theatrical moment — never pandering but always inventing, challenging, surprising, inspiring and/or seducing the listener or player. (Boy, it's not easy to articulate what's so fundamentally perfect about old Wolfgang.) As for the challenges: Achieving effortless perfection. Being from northern Ohio, I grew up listening to [George] Szell's Cleveland Orchestra recordings; I still look to that unbelievable string section for guidance and inspiration. Singing Mozart arias strikes me as being a bit like what I imagine mountain climbing to be: Everything is easily managed at the beginning, clear where the next breath (or footstep) will be, and the difficulty increases a bit as you go, but the summit (or the last quarter or even eighth of an aria) is where Mozart challenges the singer. Not always, but often enough.

CP: You scored major successes with the Opera Company in Marriage of Figaro, Magic Flute and Don Giovanni. What's your favorite Mozart role?
CB: There is no doubt — Susanna in Marriage of Figaro. I could sing five productions a year and never tire of it. Not only is the role a joy to sing, but it's one of the very best — maybe the single greatest — opera, from every possible standpoint. And no one dies! As for a favorite non-Mozart role: hard to say. Cleopatra in Handel's Julius Caesar is up there, with divine music challenging on all levels and complex character development.

CP: Please characterize the concert arias you will be performing.
CB: "Bella mia fiamma" and "Ch'io mi scordi di te?" are fantastic pieces with all of the challenges I have described. "Vado, ma dove" is less remarkable. "Bella mia fiamma" is the most theatrical in its text setting and vocal writing. "Ch'io mi scordi di te" is less about the text and more about the interplay between the voice and solo piano. This piece was written as a goodbye present to a retiring soprano with whom Mozart had worked (and probably slept). The sheer joy of the rondo in the last movement and its opportunities for ornament and musical cat-and-mouse, if you will, reveals the nature of the relationship between the soprano and the composer/pianist, Mozart.

CP: What other types of music do you enjoy singing (and hearing)? How do you relax?
CB: You really don't want to hear me singing anything else. You will never see a crossover CD by Ms. Brandes. I love listening to jazz, some world music and orchestral and chamber music. For relaxing, the basics: gardening, cooking, reading, going to the gym, dinner parties with dear friends, fantasizing about how to effect social justice in the world.

CP: What are your favorite things about Philadelphia?
CB: I love walking through the historic neighborhoods, trying new restaurants and going to old favorites, browsing and shopping in the small, family-run shops: Fante's and Joseph Fox Bookshop spring to mind. The museum is always wonderful, and I'm hoping to have the chance to hear something at the Kimmel Center while in town.

All Mozart concert, Philadelphia Chamber Orchestra with Christine Brandes, soprano; Sun., Dec. 5, 2:30 p.m. and Mon., Dec. 6, 7:30 p.m., $23-$78, Perelman Theater at the Kimmel Center, 300 S. Broad St., 215-545-5451, www.chamberorchestra.org.