Also this issue:

Star Crossed
David Stephens’ installation at Gallery Joe takes a new look at an old symbol.
-Susan Hagen

Phantoms, No Opera
-David Shengold

Urban Tap
-Janet Anderson

MacHomer
-Steve Cohen

The Fever
-Debra Auspitz

Heckler
-Toby Zinman

A View From The Bridge
-David Anthony Fox

February 27-March 5, 2003

opera

Magic Flute

by David Shengold

Ken Cazan's interesting ideas on relocating Magic Flute's cosmology to Gandhi-era India don't quite gel onstage at AVA, but do raise telling questions about the piece's problematic gender and class relations. Peter Harrison's set makes clever use of revolving doors and a two-tiered playing space that allows telling juxtapositions (and snooping) among the characters; the Robert Wilson-like neon blue flute is a fine touch. Val J. Starr provides colorful attire: the Three Ladies' ultra-cool ninja Valkyrie look rocks. Allen G. Doak Jr.'s lighting is excellent. On the Warden stage, much of Cazan's blocking seemed too busy, moreover too low (lots of crouching and lying down) for maximal visibility; that should not affect the Haverford performances.

If you're just getting into opera, Mozart's Flute score is tops, and there's a lot to enjoy musically here. The most complete performance is that of Cristina Nassif, who really knows her way around both a stage and a musical phrase and has the savvy and discipline to adapt her vibrant persona and upper register to Pamina's more austere duties. Everything Nassif does here rewards attention; she really runs with Cazan's refreshing concept of a proud, daring princess. Second-year tenor Derek Taylor, like many Taminos a bit more Boy Scoutish than princely, has developed notably in control and phrasing and sings incisively.

Bass Keith Miller (Sarastro), an erstwhile football pro, shows remarkable vocal material and fine presence; with seasoning he'll be a great asset to AVA (and his new profession). Despite chancy high Fs, Ellie Dehn sings some sensational fioratura as the Queen: good work in a killer assignment. Jason Switzer's towering Speaker displays strong vocalism. Markus Beam's earthy Papageno is saddled with some seriously unamusing English dialogue by Andrew Porter. I found the vaguely sustained "stage Asian" accents unfortunate and was relieved every time the music resumed in (variably pronounced but clear) German. It's always a pleasure to hear the Chamber Orchestra of Philadelphia under Christofer Macatsoris; Kimberly Reighley (flute) and Jaime Shapiro (timpani) shine in their prominent moments.

Nothing against the Mozart "big four" operas, but how about AVA taking on some Handel, absent 18 years? Maybe Semele or Acis and Galatea? Outside of Philadelphia, virtually every major American company and festival performs his operas, ideal for young voices and ingenious stagings.

Magic Flute

Thu., Feb. 27, Academy of Vocal Arts at Centennial Hall, 450 Lancaster Ave., Haverford, 215-735-1685