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Arts:Cantarella Paints Bold Abstracts And Sensitive SketchesAbstract paintings, with a primitive, highly textured quality, highlight Virginia Hoyt Cantarella's one person show at the Humanities Gallery of Long Island University.The paintings are bold and simplistic, with a dramatic use of texture resulting in an explosive work.Most of the paintings are done with metallic paint, adding a quality to the texture not unlike crudely melted steel. In addition, this texturized composition, the focus of the work, covers only a pattern on the canvas, the rest of which is done in a single shade of color which blends well with the composition. The bold but fluid pattern of metallic images creates the impression of movement, like the powerful waves of the ocean or the steady motion of the earth.Also exhibited are several realistic drawings by Cantarella. Much smaller, and less impressive, these are delicate, sensitive pencil sketches, void of any background color. Though not nearly as dramatic as the paintings, the sketches are quite good, and show another side of Cantarella's emotions.The paintings and drawings will be at the Brooklyn Center of Long Island University Humanities Gallery through November 22. Gallery hours are 9 a.m.-5 p.m. Monday-Fridav and on weekends, 10a.m.-5 p.m. For more information, call 834-6090%u2014 J.W.Gallery Displays Its Top TenA special exhibition commemorating the Community Gallery of the BrooklynMuseum%u2019s tenth anniversary has just gone on display. %u201cThe First Ten%u201d includes the works of ien Brooklyn artists, one chosen from each year since the opening of Community Gallery. The show lasts through December 10. Participating artists are Charles Bohannah, Audrey Frank, Carl Hecker, Onnie Millar, Sabra Moore, Shozo Nagano, Harold Olejarz, Gertrude Sappin, Laura Shechter and Linda Smith.Wooden Bodies, Curves that GlowDown Atlantic Avenue, Larry Sutton%u2019s fine wood carvings and some drawings add up to a fine one-person show at the Work of Art Gallery, through December 3. Sutton%u2019s sculptures are exaggerated carvings of the human form, emphasized by large, dramatically flowing curves. His work has recently been exhibited at the Brooklyn Museum. The opening reception is at the Gallery, 87 Atlantic Avenue, November 19. Gallery hours are Tuesday through Friday, 2 to 5 p.m. and on weekends from noon to 6 p.m. For more information, call 834-6977.Watt, How, WhyIs Electric Music?On the music scene, composer Roger Reynolds will explore electronic music in a special lecture/recital at Brooklyn College%u2019s Gershwin Theatre, November 20 at 7 p.m. Roger Reynolds is the Founding Director of the Center for Music Experiment at the University of California at San Diego, where he is a professor of music theory and composition. In this performance, Reynolds will explore sections of %u201cVoicespan,%u201d a medley of pieces composed for quadraphonic sound, and he will examine the problems of composition. Tickets are required, although there is no admission charge. For more information, call the box office at 859-1180.A %u00ab m%d a m s wagner is Dousing Ana uynamicBY C. FREDERIC JOHNOpera star Shirley Verrett and the Brooklyn Philharmonia under multi-talented conductor Lukas Foss, teamed up for the stunning all-Wagner program presented November 10, 11 and 12 at the Brooklyn Academy of Music (BAM). The artists overwhelmed the audience with the climax of the evening, the Prelude and Liebestod from %u201cTristan und Isolde.%u201d The concert also included three popular instrumental selections.The works performed were, with one exception, familiar items in the concert repertory. Included were the Overture and Bacchanale (or Venusberg Music) from %u201cTannhaeuser,%u201d Siegried Idyll, and the breathless Ride of the Valkyries. These works displayed the gamut of Wagners expressiveness, from melodic sweetness to harmonic sensuousness, from demonic vision to obsessive love.Shirley Verrett possesses a regal bearing that inspires awe and radiates a sense of self-assurance fully justified by her talents. She opened the second part of the program with the five Wesendonck Lieder, penned by Wagner while he was composing %u201cTristan%u201d in the late 1850%u2019s and orchestrated much later by a student. These songs betray a modernity in melodic line that stands out in their often contemplative setting and sparsely scored accompaniment. They were not, however, the best vehicle to show the soloist%u2019s powers. Wagner had referred to two of them as %u201cstudies%u201d for %u201c Tristan,%u201d and this, coupled with the uninspired orchestration, may account for their somewhat static effect.Verrett, Foss, and the Brooklyn Philharmonia brought down the house, however, with the Prelude and Liebestod (LoveDeath) from %u201cTristan.%u201d The Liebestod unleashes wave upon wave of emotionalenergy forcing an increasingly mounting tension to the limits of the bearable. Voice and orchestra adhere to independent but complimentary roles and their confulence, when guided by such superb artists as these, generates tremendous power.Verrett%u2019s glowing voice rose clearly above the swelling flood of sound flowing from the orchestra under Foss%u2019 firm control. The coordination evident between voice and instruments in gradually building up the emotional intensity ensured the success of their joint efforts.The first half of the program consisted of three instrumental numbers. The Brooklyn Philharmonia is a fine orchestra with an impressive sound, well-balanced and responsive to director Foss. The two %u201cTannhaeuser%u201d excerpts and the Siegfried Idyll received warm and sensitive renditions, though some sectional transitions did not really dovetail but seemed a bit abrupt. Otherwise Foss showed his close affinity to the music by his perfect pacing, here as everywhere else.The beginning of the dynamic %u201c Ride of the Vlakyries%u201d was somewhat disappointing. The various components set into motion require precision and drive, and while the precision was there, Foss failed to inject the necessary demonic energy into the crucial opening bars. Even the entrance of the famous fanfare motive lacked conviction. The situation soon improved, however, and Foss brought the work to a rousing, breathless finish.The Brooklyn Philharmonia under Lukas Foss will be joined by another outstanding soloist, violinist Itzhak Perlman in an all-Sibelius concert December 15, 16 and 17. 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