Das Rheingold stands in relation to Wagner's mighty Ring tetralogy as The Hobbit does to the rest of the Tolkien cycle: the relatively short, self-contained prologue that eases one into the mythic wonders of the whole. It boasts transformations, power struggles and even some comic relief. The Academy of Vocal Arts stepped up to fill its decades-long (since a 1939 Met tour!) absence in this city with six performances. David Gately provided a solid staging that conveyed some of the needed drama if (partly due to the constraints of the small stage) less of its magic. As with Elektra last season, music director Luke Housner accompanied on piano—a valiant achievement, despite a few inevitable wrong notes. The loss of Wagner's sumptuous orchestration is felt most right up front, with that famous low E flat chord, and at some of the transitions. Sensibly, a recording is used for the wonderful hammers that mark the gods' transitions into and out of the dwarf realm, Nibelheim (a model of post-union factory capitalism that reminds one that Wagner, before his reactionary days, was a committed student revolutionary). But as the evening wears on, one grows accustomed to the piano, and this version does allow the young artists greater dramatic intimacy and vocal clarity.

GOLD MEDAL: Soprano Jessica Julin as Freia and mezzo-soprano Jennifer Hsiung as Fricka in Das Rheingold at The Academy of Vocal Arts. Photo By: Paul Sirochman

As always, AVA showcases many promising voices onstage; everyone contributes something of value. On Feb. 18, the low voices tended to dominate. Jason Switzer (Wotan) used his strongly projected bass-baritone with commendable dynamic variety, shaping words into telling phrases. Imposingly tall, Switzer needs to loosen up onstage, but his is a considerable talent. As the Valhalla-building giants, Jes&250;s Ibarra and Keith Miller looked and sounded great (Val J. Starr provided traditional, excellent costumes and wigs throughout), with Ibarra (Fasolt) in particular unleashing an impressive tone. Nicole Piccolomini furnished a vocally and visually striking cameo as the sage Earth Mother Erda. Costumed as Prince Valiant, Eric J. Dubin rose well to Donner's big hammer-swinging vocal moment. Filomena Francesca Tritto's dusky-voiced Flosshilde sounded ready for the big time. Best of all, the clever fire god Loge furnished tenor Jeffrey Halili with an excellent vehicle for his gifts; his dynamic characterization, deft verbal pointing and legato flow gave consistent pleasure. The projected surtitles proved well-judged except in consistently using "it's" for "its."

DAS RHEINGOLD Through March 3, Academy of Vocal Arts, 1920 Spruce St., 215-735-1685, www.avaopera.org