MEHTA, L.A. PHIL OFFER A MIXED BAG OF WEILL, SCHUBERT.

Byline: David Mermelstein Correspondent

Zubin Mehta's second and final week leading the Los Angeles Philharmonic this season is distinguished by marked contrast. The program's first half consists of Kurt Weill's slinky ``Seven Deadly Sins,'' a so-called sung ballet; the second half is Schubert's affirming ``Great'' C-major Symphony.

This year marks the 100th anniversary of Weill's birth, as well as the 50th anniversary of his death, and the Philharmonic chose to note the occasion with a work it hasn't performed in nearly two decades. Written in 1934, at the height of the composer's European fame, the work proved to be the last collaboration between Weill and Bertolt Brecht, whose legendary partnership produced such masterpieces as ``The Threepenny Opera'' and ``The Rise and Fall of the City of Mahagonny.''

The plot of ``Seven Deadly Sins,'' such as it is, involves responsible Anna and her wild doppelganger. The particulars are irrelevant, save that Anna's adventures touch on the proverbial sloth, pride, gluttony, etc.

Written for Weill's famous singing wife, Lotte Lenya, ``Seven Deadly Sins'' was to be sung in English at these concerts, by Broadway star Audra McDonald. But she was forced to cancel, and so soprano Sheri Greenawald substituted. Singing the work in its original German, Greenawald on Thursday brought images of Lenya to mind, a somewhat mixed blessing. Greenawald sang with bite and with what charitable listeners might term ``character.'' Less forgiving souls may call her approach strained or weathered. Nonetheless, she got through the music robustly.

That was less true of Mehta and the Philharmonic, sounding careful and correct, but not inspired or idiomatic. Filling out the vocal parts were four members (two tenors, a baritone and a bass) of the Hudson Shad, a group of singers modeled on the Comedian Harmonists, a European a cappella ensemble popular during Weill's prewar heyday.

Unlike last week's account of Mahler's ``Resurrection'' Symphony, glorious from the get-go, Mehta's reading of Schubert's final completed symphony took time getting started. This was a loose-limbed performance, often stately and well-balanced, occasionally sumptuously played. But it was not well-structured, and too often it meandered. All that changed in the finale, when much-anticipated fervor finally arrived. At last, there was swagger in the brasses and surging swells from the strings. Late in coming, yes, but welcome just the same.

This weekend's concerts are dedicated to two recently departed Philharmonic stalwarts, David Frisina and Harold Dicterow, both violinists. Frisina, a former Philharmonic concertmaster, spent nearly 40 years with the orchestra. Dicterow was the Philharmonic's principal second violinist for more than 50 years. Heartfelt bravos (and fond, final farewells) to them both.

ZUBIN MEHTA AND THE LOS ANGELES PHILHARMONIC

Where: Dorothy Chandler Pavilion, 135 N. Grand Ave., Los Angeles.

When: 8 tonight and 2:30 p.m. Sunday.

Tickets: $10 to $70. Call [phone].

Our rating: Two and one half stars