Pop Music Review : Melodrama Overshadows Yanni’s Art

Dressed in white and illuminated with heavenly backlighting, Yanni took the Universal Amphitheatre stage on Thursday--in front of a 45-piece orchestra--like the herald angel of good vibes. Combining the heartthrob appeal of a Fabio with the earnest sensitivity of a New Age mystic, the Greek-born adult contemporary keyboardist-composer had no trouble charming his audience from the start. Cries of “We love you” punctuated the evening’s performance.

Most of Yanni’s pop symphonic compositions blend simple, mournful melodies with pulsing Mediterranean rhythms. There is undeniable artistry and honest passion in his music. But at this show--the first of three sold-out Universal appearances--his arrangements grew so relentlessly melodramatic that the music became irritating rather than affecting.

With insistent musical epiphanies arriving every few measures, many pieces developed the manipulative emotional tug of corny TV movie soundtracks. The evening’s musical highlights were provided by violinist Karen Briggs, whose wild, virtuosic improvisations were showcased in several pieces.

At several points in the show, Yanni took some time to speak to the crowd, offering thoughts on the magic of romance, the preciousness of life and the power of belief in dreams. A belief in Yanni’s romantic aesthetic seems to be a crucial prerequisite for enjoying his music. Believers find uplift in his soothing sounds, while the faithless are left merely numb.