Also this issue:

Northern Lights
A report from Toronto’s World Stage festival.
-Toby Zinman

Are You Hot?
Two artists answer that question with technology, not washed-up celebrity judges.
-Robin Rice

Artsbeat
-Debra Auspitz

No Show
-Patrick Rapa

La Traviata
-David Shengold

Mamma Mia!
-Debra Auspitz

"Back to the Future" at SkateNerd Gallery
-Brian White

Miami City Ballet
-Janet Anderson

May 1- 7, 2003

opera

Faust

by Peter Burwasser

Attendees of Academy of Vocal Arts operas can usually count on two highly positive constants in the productions. First, although the casts vary from year to year as the school sends singers out onto the main stages of the world, every class is a brilliant showcase for the excellence of this wonderful institution. I don’t think I’ve ever been to an AVA presentation over the years where there has been singing that was less than spectacular, and this season-closing Faust was no exception.

The other sure thing at AVA is the energy and expressiveness of Christofer Macatsoris' work in the orchestra pit, or in the case of the tiny Helen Corning Warden Theater, the orchestra floor. The musicians share nearly half the floor space with the audience, and the sound of the score laps around our feet like so much musical lava. It is a unique thrill that distinguishes AVA as a local treasure, despite lousy sight lines and a quirky heating system. And because of these special strengths of AVA, its productions tend to be self-recommending, as is the case with this Faust, even when its Achilles' heel, namely, troublesome production values, is exposed.

Theatrically, this Faust is a bit of a mess. Ken Cazan sets the action in 1914 Germany, and some of the male characters appear in khaki, but the director stops short of adding any historical resonance to the plot, leaving his concept adrift. The costuming, in general, is confusing and even silly. More significantly, the central character Méphistophélès is drawn alternately as a truly violent and nefarious spirit and a goofy comic-book caricature of the devil.

On this latter point, it is not clear whether this dramatic split personality derives from the direction, or Burak Bilgili's impersonation. The leather-throated basso seemed to relish the inky naughtiness of his role in a manner that would be better suited to the role of Leporello (which he debuts at the Met next season). Certainly, his powerful and supple voice was a pleasure to hear, well matched to the athletic tenor tones of this evening's Doctor Faust, James Valenti. The standout voice belonged to Latonia Moore (as Marguerite), a third-year student with a clutch of major awards and big opera-house experience. Not only does she have a luscious-sounding soprano, but she maintains a beautiful tone across a wide dynamic range. Her splendid voice was a perfect emblem for this enterprise.

Faust Fri., May 2 and Sun., May 4, Academy of Vocal Arts, 1920 Spruce St.; Tue., May 6 and Thu., May 8, Centennial Hall, 450 Lancaster Ave., Haverford; Sat., May 10, Central Bucks East Auditorium, Anderson and Holicong rds., Holicong 215-735-1685.