South Florida Sun Sentinel from Fort Lauderdale, Florida • Page 50

mi 6D Sun-SantineL Tuesday, Jan. 24, 19M Baritone Hakan Hagegard has even, natural quality Music rcvisiv I By Tim Smith Male Writer Among'the many strong points in Ingmar Bergman's 1975 version of "Mozart's The Magic Flute, arguably the most effective opera film yet made, was the then-little-known Hakan Hagegard in the role of Papageno. His characterization and singing were engaging enough to attract worldwide attention, and in short order the Swedish baritone debuted with the Metropolitan Opera and other major companies. Hagegard's appearance Sunday vening at Temple Beth El in Boca Raton largely confirmed the reasons for his success. His voice has a natural quality about it; there is none of the artificial weight so often imposed by formal training.

It is even in all registers and capable of producing both subtle mezza voce and sufficient, though not imposing, volume. But it doesn't have a great deal of color, the same shortcoming that mezzo-soprano Frederica von Stade, another natural vocalist, dis- tably in Extase and Phidyle, which were both sung with an air of dreamy detachment from the world. An intriguing song cycle by Swedish composer Ture Rangstroem gave Hagegard a chance to demonstrate his flair for character. King Erik's Songs, written in 1918 to Gus-tav Froeding's texts about mad King Erik XIV, are full of clever touches. In A Song About Me and Herkules, the monarch's insanity is deftly captured by wild vocal leaps and some startling shifts in dynamics.

Momentary flashes of reason, laden with melancholia about a failed love affair, are poignantly reflected in A SongtoKarin When She Had Danced and A Song to Karin from the Prison and there is a wonderful resurgence of regal bearing in King Erik's Last Song. The tonality of the cycle is in a fairly conventional late 19th century mold, with effective use of piquant harmonies. Hagegard delivered the material in a highly emotive fashion that made the songs remarkably com prehensible, despite the lamentable fact that no English translation was provided. His use of mezza voce in the two Karin songs was most telling and he summoned sufficient vocal power for the king's more emphatic outbursts. Pianist Staffan Scheja, who is much more than an accompanist (he was the winner ofa the 197S Busoni Competition), tackled the often fiery piano parts with technical aplomb and a complementary flair for drama.

The baritone offeVed some sweet 'phrasing, but a limiting monochromatic tone, in Ravel's Don Qui-' chotte a Dulcinee. His handling of four folk songs arranged by Benjamin Britten was quite charming, particularly in the bittersweet The Sally Gardens (Hagegard's powers of concentration were further tested here, for the song was accompanied throughout by one listener's extraordinary coughing fit). His diction was not always clear, however, lessening the humor in Oliver Cromwell, and a more interesting tonal were variable in quality. Der Vogelfaenger bin icb ja, from The Magic Flute, was sung with the impish naivete that made his film performance so memorable, and there was much to admire in his approach to Rivolgete a lui lo sguardo, an aria originally intended for Cose fan tutte but later replaced by a simpler one. But Largo al factotum, from The Barber of Seville, was not as effortless as it should be, though Hagegard would no doubt have great success with the role in an intimate opera house.

And the basic lightness of his voice prevented him from doing full justice to the Champagne Aria from Don Giovanni. Scheja's contributions to the recital were consistently impressive. Unlike some accompanists (Martin Katz, who accompanied von Stade's program, comes to mind), Scheja did not recede into the background, but provided a solid base of support for the singer all evening. HAKAN HAGEGARD Barton toi racital with Staffan Scheja, pianitL A praaantation of Tampla Bath El'a Diatingultbad Artiata Bertee. Tampia Bath El, Boca Raton, Sunday played a few weeks ago in her Palm Beach recital.

At least in Hagegard's case, his flair for expressive phrasing offered considerable compensation. This was especially true of his handling of four Duparc songs. The subtlety of this music requires extraordinary concentration and an ability to shade the voice in a wide variety of ways. The baritone certainly fulfilled the first part of this requirement and came quite close to fulfilling the second by means of some remarkably controlled singing. Even though there was little tonal diversity, there was an admirable sense of interpretation at work, no Hakan Hagegard approach would have given Early One Morning and Sweet Polly Oliver' an added dimension.

Hagegard's operatic selections 'Doors of Death' should be under lock and key mixing of a stereo sound track in well, if not movie history, than certainly horror movie history. The film's second, and stronger, distinction is its photography, which is sometimes quite good. The problem is, whenever someone in the film is trying to act, the camera is recording something that's really not worth seeing. So the atmospheric photography is obviously a limited draw. We get a few eerie seconds at the beginning of each scene, and then some fool actor wanders in and ruins everything.

What else is there to discuss? Ah, the plot. A woman inherits a Louisiana hotel, where a warlock was tortured and killed half a century earlier. His spirit returns as the place is being renovated, and the body count begins. There's also some mumbo jumbo about the hotel having been constructed over one of seven earthly portals leading to hell. The star-and-a-half rating lifting Seven Doors of Death marginally above such recent stiffs as Deadly Spawn and Gates of Hell is for the camera work, and the pre-credits sequence (set in 1927), which isn't bad.

By Bill Kelley Enirrtitnmcnl Writer Next time you're in New Orleans, don't stay at the Seven Doors Hotel. And next time you go to the movies, don't see Seven Doors of Death, which is about what happens at the hotel. This week's grade-Z horror movie, made by and cast with unknowns, has two minor distinctions, and you can learn all you need to about both of them merely by reading this review. A trip to your local theater is not necessary. The first is the movie's sound PASSENGERS "A Palm Beach Festival calendar crowded Tickets are available for the sixth annual Palm Beach Festival, which runs March 19 through April 15.

The festival will include performances by the National Ballet of Canada with Carla Fracci and Peter Schauf uss; John Houseman's The Acting Company; Mummenschanz; Kevin McCarthy in Give 'Em Hell Harry; duo-pianists Lnadsberg and Yount; Spanish dancers Olivera and Del Moral; an Early Music Series; and other events. Tickets for all events may be purchased from the Palm Beach Festival Ticket Services (with Mastercard or Visa only) by calling 686-6841 or by writing to the Palm Beach Festival, Box 3511, West Palm Beach, Fla. 33402. National Ballet of Canada tickets are also on sale at the West Palm Beach Auditorium, 683-6012 and all BASS and Select-A-Seat Outlets in Palm Beach, Dade and Broward counties. Non-subscription tickets for all performances of The Saint Paul Chamber Orchestra also are now available and may be purchased by calling the Palm Beach Festival Ticket Services at 686-6841 or writing to the Palm Beach Festival at Box 3511, West Palm Beach, Fla.

33402. The 42-member Saint Paul Chamber Orchestra will be at the Palm Beach Festival from April 6 to April 12 and will present two series of three concerts each plus a Special Benefit Concert. The concert schedule for The Saint Paul Chamber Orchestra is as follows: April 6, Special Benefit Concert, Isaac Stern and Pinchas Zukerman, soloists tickets $75 each, tax deductible contribution included. April 7 and 9, Program No. 1, Pinchas Zukerman, soloist tickets $20 each.

April 8 and 10, Program No. 2, Vladimir Ashkenazy, soloist tickets $30 each. April 11 and 12, Program No. 3, Kalichstein-Laredo-Robinson Trio and Pinchas Zukerman, soloists tickets $20 each. All concerts start at 8 p.m.

in the Royal Poinciana Playhouse. Tickets for the concert series are still available for $63, a 10 percent savings. For a complete festival brochure, call 686-6800. Movie review jfVt SEVEN DOORS OF DEATH A warlock'a spirit haunts a New Orleana hotel built over one ol aavan portal leading to hall. Credit: With Katharine MacColl, David Warbeck.

Written by Roy Corchoran. Directed by Louie Fuller. Rated (graphic violence). Poor Fair Good Encallani track, which is very loud. It is also in stereo selected theaters," say the ads), but it is perhaps the worst LIMITED TIME ONLY! SPECIAL GROUP RATES ON OUR LUNCHEON DINNER CRUISES.

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