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

Cold Mountain, Philadelphia

Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.

Christian Gerhaher Wolfgang Rihm Wigmore Hall

For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.

Götterdämmerung in Palermo

There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

The Merry Widow at Lyric Opera of Chicago

For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.

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):