Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

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):