HITTING ALL THE HIGH NOTES GRAVES TAKES ON CHALLENGES OF A RECITAL AT ROYCE HALL.

Byline: David Mermelstein

Correspondent

For those who assume that opera singers alter their personalities to fit the characters they sing, allow us to introduce Denyce Graves. Not that Graves, an American mezzo-soprano much in demand throughout the world, needs an introduction.

Her fierce portrayals of Carmen in Bizet's opera of the same name and as Dalila in Saint-Saens' "Samson et Dalila" are renowned. Local opera lovers will doubtless recall her as the latter, opposite Placido Domingo in 1999. More recently, Graves had a scene-stealing cameo as the Dragon in Elliot Goldenthal's "Grendel."

The singer says she is attracted to strong characters, in particular to Dalila, based on the biblical figure best known for shearing Samson's locks. Graves began making the role her own in the mid-1990s, shortly before laying claim to Carmen.

"I much prefer Dalila," Graves says. "It's a great fit for my instrument and temperament. I think there's a reason those really strong women have remained timeless. It's because they speak for all women. I've become a better woman through portraying these two, and I know other women identify with them. They're so confident and strong and in charge of their lives and their sexuality. They don't care what others think of them."

Graves herself seems indomitable, at least to judge by the recital program she brings to Royce Hall on Thursday, with the estimable pianist Warren Jones accompanying. The bill is a veritable tour through music history, with songs and arias spanning five centuries -- everything from works by 17th-century English composers John Dowland and Henry Purcell to a song cycle by Robert Saari, a living American composer.

Somewhat surprisingly given her success on the operatic stage, the mezzo insists she prefers recitals to opera.

"I get more satisfaction from recitals, absolutely," she says. "Opera is a collaborative effort. You don't always see the whole artist. But you do in recital."

Yet they exact a high price. "The pressure is greater," says Graves, "because the glory, or blame, rests on your shoulders."

She did enjoy participating in the premiere of "Grendel," though, at least in part because she was involved in the creative process. "Both Julie and Elliot were so open," says Graves, referring to the composer and his creative and life partner, director Julie Taymor.

"I haven't always had that experience, of going back and forth, of having something tailor-made. Elliot asked me what I felt, and we were making changes all the time, right up until the performance. I found that really exciting. That's the great joy of creating something new: You set the standard."

If Graves has a complaint regarding "Grendel," it's that her part was too short. "It's a great role," she says, "but I wish there were much more. " She also wishes Goldenthal had provided even greater vocal challenges. "I would like to extend the top end of it," she says. "I'd want the role to be even higher."

Yet not every aspect of the production proved so easy. "Getting into that costume took longer than singing the role," Graves says. "What was challenging were the logistics. All that time I had to stay in the dragon's mouth, and the smoke! I was worried it would irritate my voice."

It didn't in the end, and her performance found favor with many critics.

Writing in the San Francisco Chronicle, Joshua Kosman called the mezzo "the great Denyce Graves" and lauded her "star turn." And in the Financial Times, Allan Ulrich wrote of Graves "singing in registers never intended by nature."

Graves' role in "Grendel" was not her only contribution to new music recently. In 2005, she starred as the title character in "Margaret Garner," an opera with music by Richard Danielpour and a libretto by novelist Toni Morrison.

Following the premiere, David Patrick Stearns of the Philadelphia Inquirer wrote: "In the title role, Graves put her famous Carmen characterization to shame, finding sounds in her lower range that made your blood run cold."

Carmen and Dalila may always loom large for Graves, but the mezzo is looking for other parts to claim. "I certainly would like to do more Amnerises," she says, referring to Aida's rival in Verdi's opera. "And I'd love to do some Wagner as well. I've had some interesting offers. I feel I could do it at this point. I feel more solid and secure, more confident than I ever have before. I'd like to sing Venus (in 'Tannhauser') and Brangane (in 'Tristan und Isolde').

Graves appreciates that many factors, some beyond her control, will determine her future as a performer.

"I am drawn to interesting characters," she says, "but I can only sing with the voice I have. So the music has to suit the instrument and show it off in its best light. And I have to feel it's something about which I have something to say."

DENYCE GRAVES

What: The mezzo-soprano, accompanied by pianist Warren Jones, performs songs and arias from five centuries.

Where: Royce Hall, UCLA campus, Westwood.

When: 8 p.m. Thursday.

Tickets: $38 to $63. [phone]. www.uclalive.com.

CAPTION(S):

photo

Photo:

(color) Mezzo-soprano Denyce Graves says she is attracted to the roles of "really strong women."