Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Desert Island Delights at the RCM: Offenbach's Robinson Crusoe

Britannia waives the rules: The EU Brexit in quotes’. Such was the headline of a BBC News feature on 28th June 2016. And, nearly three years later, those who watch the runaway Brexit-train hurtle ever nearer to the edge of Dover’s white cliffs might be tempted by the thought of leaving this sceptred (sceptic?) isle, for a life overseas.

Akira Nishimura’s Asters: A Major New Japanese Opera

Opened as recently as 1997, the Opera House of the New National Theatre Tokyo (NNTT) is one of the newest such venues among the world’s great capitals, but, with ten productions of opera a year, ranging from baroque to contemporary, this publicly-owned and run theatre seems determined to make an international impact.

The Outcast in Hamburg

It is a “a musicstallation-theater with video” that had its world premiere at the Mannheim Opera in 2012, revived just now in a new version by Vienna’s ORF Radio-Symphonieorchester Wein for one performance at the Vienna Konzerthaus and one performance in Hamburg’s magnificent Elbphilharmonie (above). Olga Neuwirth’s The Outcast and this rich city are imperfect bedfellows!

Monarchs corrupted and tormented: ETO’s Idomeneo and Macbeth at the Hackney Empire

Promises made to placate a foe in the face of imminent crisis are not always the most well-considered and have a way of coming back to bite one - as our current Prime Minister is finding to her cost.

Der Fliegende Holländer and
Tannhäuser in Dresden

To remind you that Wagner’s Dutchman had its premiere in Dresden’s Altes Hoftheater in 1843 and his Tannhauser premiered in this same theater in 1845 (not to forget that Rienzi premiered in this Saxon court theater in 1842).

WNO's The Magic Flute at the Birmingham Hippodrome

A perfect blue sky dotted with perfect white clouds. Identikit men in bowler hats clutching orange umbrellas. Floating cyclists. Ferocious crustaceans.

Puccini’s Messa di Gloria: Antonio Pappano and the London Symphony Orchestra

This was an oddly fascinating concert - though, I’m afraid, for quite the wrong reasons (though this depends on your point of view). As a vehicle for the sound, and playing, of the London Symphony Orchestra it was a notable triumph - they were not so much luxurious - rather a hedonistic and decadent delight; but as a study into three composers, who wrote so convincingly for opera, and taken somewhat out of their comfort zone, it was not a resounding success.

WNO's Un ballo in maschera at Birmingham's Hippodrome

David Pountney and his design team - Raimund Bauer (sets), Marie-Jeanne Lecca (costumes), Fabrice Kebour (lighting) - have clearly ‘had a ball’ in mounting this Un ballo in maschera, the second part of WNO’s Verdi trilogy and which forms part of a spring season focusing on what Pountney describes as the “profound and mysterious issue of Monarchy”.

Super #Superflute in North Hollywood

Pacific Opera Project’s rollicking new take on The Magic Flute is as much endearing fun as a box full of puppies.

Leading Ladies: Barbara Strozzi and Amiche

I couldn’t help wondering; would a chamber concert of vocal music by female composers of the 17th century be able sustain our concentration for 90 minutes? Wouldn’t most of us be feeling more dutiful than exhilarated by the end?

George Benjamin’s Into the Little Hill at Wigmore Hall

This week, the Wigmore Hall presents two concerts from George Benjamin and Frankfurt’s Ensemble Modern, the first ‘at home’ on Wigmore Street, the second moving north to Camden’s Roundhouse. For the first, we heard Benjamin’s now classic first opera, Into the Little Hill, prefaced by three ensemble works by Cathy Milliken, Christian Mason, and, for the evening’s spot of ‘early music’, Luigi Dallapiccola.

Marianne Crebassa sings Berio and Ravel: Philharmonia Orchestra with Salonen

It was once said of Cathy Berberian, the muse for whom Luciano Berio wrote his Folk Songs, that her voice had such range she could sing the roles of both Tristan and Isolde. Much less flatteringly, was my music teacher’s description of her sound as akin to a “chisel being scraped over sandpaper”.

Rossini's Elizabeth I: English Touring Opera start their 2019 spring tour

What was it with Italian bel canto and the Elizabethan age? The era’s beautiful, doomed queens and swash-buckling courtiers seem to have held a strange fascination for nineteenth-century Italians.

Chameleonic new opera featuring Caruso in Amsterdam

Micha Hamel’s new opera, Caruso a Cuba, is constantly on the move. The chameleonic score takes on a myriad flavours, all with a strong sense of mood or place.

Ernst Krenek: Karl V, Bayerisches Staatsoper

Ernst Krenek’s Karl V op 73 at the Bayerisches Staatsoper, with Bo Skovhus, conducted by Erik Nielsen, in a performance that reveals the genius of Krenek’s masterpiece. Contemporary with Schreker’s Die Gezeichneten, Schoenberg’s Moses und Aron, Berg’s Lulu, and Hindemith’s Mathis der Maler, Krenek’s Karl V is a metaphysical drama, exploring psychological territory with the possibilities opened by new musical form.

A Sparkling Merry Widow at ENO

A small, formerly great, kingdom, is on the verge of bankruptcy and desperate to prevent its ‘assets’ from slipping into foreign hands. Sexual and political intrigues are bluntly exposed. The princes and patriarchs are under threat from both the ‘paupers’ and the ‘princesses’, and the two dangers merge in the glamorous figure of the irresistibly wealthy Pontevedrin beauty, Hanna Glawari, a working-class girl who’s married up and made good.

Mozart: Così fan tutte - Royal Opera House

Così fan tutte is, primarily, an ensemble opera and it sinks or swims on the strength of its sextet of singers - and this performance very much swam. In a sense, this is just as well because Jan Phillip Gloger’s staging (revived here by Julia Burbach) is in turns messy, chaotic and often confusing. The tragedy of this Così is that it’s high art clashing with Broadway; a theatre within an opera and a deceit wrapped in a conundrum.

Gavin Higgins' The Monstrous Child: an ROH world premiere

The Royal Opera House’s choice of work for the first new production in the splendidly redesigned Linbury Theatre - not unreasonably, it seems to have lost ‘Studio’ from its name - is, perhaps, a declaration of intent; it may certainly be received as such. Not only is it a new work; it is billed specifically as ‘our first opera for teenage audiences’.

Elektra at Lyric Opera of Chicago

From the first moments of the recent revival of Sir David McVicar’s production of Elektra by Richard Strauss at Lyric Opera of Chicago the audience is caught in the grip of a rich music-drama, the intensity of which is not resolved, appropriately, until the final, symmetrical chords.

Expressive Monteverdi from Les Talens Lyriques at Wigmore Hall

This was an engaging concert of madrigals and dramatic pieces from (largely) Claudio Monteverdi’s Venetian years, a time during which his quest to find the ‘natural way of imitation’ - musical embodiment of textual form, meaning and affect - took the form not primarily of solo declamation but of varied vocal ensembles of two or more voices with rich instrumental accompaniments.

OPERA TODAY ARCHIVES »

Performances

Leoš Janácek: The Cunning Little Vixen [Chautauqua Opera]
30 Jul 2008

Foxy Chautauqua

I discovered many delights in my first ever visit to the Chautauqua Opera, not least of which was the lovely environment of the hilly Chautauqua Institution grounds which are dotted with picturesque and inviting old frame houses.

Leoš Janácek: The Cunning Little Vixen

Vixen (Sari Gruber), Forrester (Philip Cokorinos), Fox (Elizabeth Pojanowski) and Harasta (Seth Carico). Chautauqua Opera, Ari Pelto (cond.)

 

And then there is the beautiful lake itself of the same name, the nearby charming town of Mayville, and the less charming Jamestown, which is nonetheless the birthplace of Lucille Ball and has given itself over to All Things Lucy, including two Lucy-Desi “museums.”

But checking out the opera was my top priority here and “The Cunning Little Vixen” did not disappoint, offering high quality lyric drama for about fifty bucks, less than half the cost of the best seats at other well known American summer festivals. Like those other festivals, Chautauqua has an established young artists program to help train singers as they embark on a career. Based on the quality of this summer’s ensemble, the future of opera is quite secure.

From this group of Apprentice Artists, kudos must go to Ryan Kuster, whose solid bass was deployed in outstanding service to his portrayal of the conflicted “Father Aloysius;” pleasant lyric tenor Vernon Di Carlo who was by turns self-assured and self-pitying as the “Schoolmaster;” and most especially the dynamic presence of Seth Carico, whose ringing baritone gave much pleasure as “Hypolit Harast,” aka the poacher.

Indeed, all of the minor roles were well taken with the three “Sunflowers” very well sung by Maria Fasciano, Lee Heinz, and Jennifer Hsiung. Amanda Tarver had personality, poise and a sound (slightly howling) take on “Lapaf, the Forester’s Dog.” All of the “Hens”-too- numerous-to-mention were charmingly done, laying their eggs comically and magically without a theatrical hitch, and dying on their backs with legs held up (very good for the thighs!) as the titular vixen offs them one by one.

But the whole show was cast from strength, starting with Sari Gruber as “Sharp-Ears, the Vixen.” My past several happy experiences with this wonderful soprano were now joined by this vibrant portrayal which featured a cleanly focused sound, ever secure musicality, and a thorough understanding of the role’s dramatic journey. If I found myself perhaps wanting a more silvery sheen in the introspective passages and on the floated high notes, well, small matter. This was a performance that would be welcome on any world stage.

In the all-important courtship scene, she was so ably partnered by the beautifully limpid singing from Apprentice Artist Elizabeth Pojanowksi (“Golden Mane, the Fox”) that it seemed a pity Janacek did not give her more to sing. She already possesses a luminous voice and presence, and she contributed affecting phrasing which ably complemented Ms. Gruber. While I did feel that the vocal technique is not yet quite “finished,” time and experience should ensure a good future for this appealing young mezzo.

This engaging pair was matched, and arguably surpassed by a tremendous performance from Philip Cokorinos as “Bartos, the Forester.” Mr. Cokorinos’ rolling, commanding baritone; his heartfelt outpouring of thoroughly internalized text; and his sympathetic demeanor didn’t just merely touch me, but rather became the heart of the piece, making the opera work for me in a way that no previous mounting had.

Ron Kadri’s set design worked much better than it looked. The basic structure featured a raised upstage platform that spanned the width of the stage, with a set of rustic stairs to stage level on each side. The rake allowed for characters to “disappear” in a shallow pit upstage between the stairs. Wooden cutout trees were tracked to open up the stage or trim it in, and other simple inserts were flown-rolled-carried in seamlessly as needed.

This was all so functional and appropriate, affording good blocking opportunities using levels and varied traffic patterns, that I wished that it had been painted with more care and detail. I just didn’t want it to look so. . .flat, but rather as fanciful as the clever and (mostly) colorful costumes by Nancy Leary. A highly important element to the look of the show was Georgianna Eberhard’s wig and make-up design which was evocative without being gratuitously over the top.

Mr. Kadri was superbly abetted by lighting designer Christopher Ostrom especially in such inventions as the large moon revealed by sliding panels up center, which incorporated a silhouette effect that was particularly haunting. There were simple gobos and isolated spots throughout that greatly enhanced the production. The white circular ground cloth to indicate the winter was augmented by atmospheric lighting and a falling snow, providing all the ambiance that was required.

Budget considerations may have mandated these scenic solutions, and certainly there was nothing about this economical design that was self-indulgent. Nonetheless there were many witty touches. One such example: the “Vixen,” having killed the chickens and having subsequently displaced the “Badger” from his lair, tears down the ratty cloth covering his seedy digs and replaces it with a wildly colorful drape with cartoon images of . ..chickens!

Jay Lesenger, the Artistic and General Director of Chautauqua Opera directed cleanly, and he was well served by the simple choreography devised by Maris Battaglia. Generally there were excellent character relationships developed with well motivated movement that served all the physical action required by the concise libretto, although there were a few slack lapses when characters were left standing and the time was not filled meaningfully until the characters came back to life as they sang again.

I had a little problem with the concept of the “animal” movement. Remember the classic “Far Side” where the cows are standing upright in a field until one of them yells “Car!”? The next frame shows them on all fours chomping hay, assuming a role for the benefit of the passing motorists. That is sort of how I felt here as the animals sometimes crawled on all fours, or hippity-hopped in crouching positions with “paws” extended, but more often than not they just stood up and walked around. I would have favored more of the latter approach.

Too, for all of the cleanliness of the choreography for the young (grade school to HS age) animal extras, “cute” was milked a bit too much. Of necessity, there was a simplicity and repetition in the steps that verged on being a very well-rehearsed youth dance studio recital, or school pageant. Still, such touches as having the “Little Foxes” (pace Lillian Hellman) poke their heads up one by one in turn over the lip of the upstage rake warmed my heart, and the entire pace of the entrance and exits, and overall traffic management of this large cast was meticulous.

Conductor Ari Pelto led a taut, rakish, and (at the right times) sentimental reading of this tricky score in a sanctioned orchestral arrangement by Jonathon Dove for nineteen players that features only six strings, winds and brass, percussion, accordion and synthesizer. This was a very interesting sound, bordering at times on Kurt Weill. What it gained in bite and tension, it sacrificed in lyric power for the soaring themes, and dramatic punctuation for scene endings. Indeed, the final stinging notes of the night were tamer than required.

The pared-down version also makes even more demands than usual on what is now a group of soloists. While the players were called upon for virtuoso playing and mostly met that call, there were a few spots of smudgy phrases in the exposed strings and some slightly dodgy overall intonation especially in the block chords periodically assigned to the horns/trombone. I must mention however, that it was extremely hot, which would certainly have further challenged these fine instrumentalists.

This production marked the stage premiere of the English translation by David Pountney. The excellent diction by all made a good case for this colloquial, hip, irreverent, and accessible stage version.

Overall then, how delightful to encounter such an enjoyable festival experience, and to find renewed joy in a familiar piece with Chautauqua Opera’s high quality mounting of “The Cunning Little Vixen,” cunningly staged and winningly performed.

James Sohre

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):