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

Fortepiano Schubert : Wigmore Hall

The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.

MOZART 250: the year 1767

Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos … this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.

Monteverdi, Masters and Poets - Imitation and Emulation

‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’

Visionary Wagner - The Flying Dutchman, Finnish National Opera

An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.

Don Quichotte at Chicago Lyric

A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.

Written on Skin: Royal Opera House

800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.

Madama Butterfly at Staatsoper im Schiller Theater

It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.

It’s the end of the world as we know it: Hannigan & Rattle sing of Death

For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.

A Vocally Extravagant Saturday Night with Berliner Philharmoniker

One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.

Les Troyens at Lyric Opera of Chicago

Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.

Merry Christmas, Stephen Leacock

The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.

A Christmas Festival: La Nuova Musica at St John's Smith Square

Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.

Fleming's Farewell to London: Der Rosenkavalier at the ROH

As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.

Loft Opera’s Macbeth: Go for the Singing, Not the Experience

Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!

A clipped Walküre in Amsterdam

Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.

A Leonard Bernstein Delight

When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

La finta giardiniera at the Royal College of Music

For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.

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):