ELLY AMELING SINGS CABARET

But how does she sing Gershwin? And what about Ellington?

Those were the questions skeptics had to ask when Elly Ameling returned Saturday to Royce Hall, UCLA. For instead of the usual recital of Lied specialties for which she is justly adored, the Dutch soprano promised a cabaret program--everything from the Piaf signature “Les Feuilles mortes” to “The Girl From Ipanema.”

Not even Ameling, who manages to be unfailingly true to the idiom of her songs, could dispel doubts in advance of trying out all this unusual fare. The consummate chanteuse? Maybe--although her somewhat matronly manner might not gibe with the glamorous image of a Schwarzkopf or Dietrich. But the torch singer who leans against the piano and pours out “The Man I Love?” Unlikely.

Wonder of wonders, she qualifies. In her deliberate American--and that means hard consonants--Ameling tapped into this drama of yearning as movingly as the best of the belters. Her style, strongly reminiscent of Helen Morgan, was direct and pure, but never precious, even though her refinement and musical breeding may have slightly compromised spontaneity.

Ameling’s conscientious accompanist, Rudolf Jansen, would have lent greater support here with less timidity and definitely needed more presence for Jobim’s bossa nova. But, when the singer reveled in waltzes by Satie and Poulenc--stretching out deliciously sexy phrases and slinking softly onto sustained high notes--he satisfied.