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

Cilea's L'arlesiana at Opera Holland Park

In a rank order of suicidal depressives, Federico - the Provençal peasant besotted with ‘the woman from Arles’, L’arlesiana, who yearns to break free from his mother’s claustrophobic grasp, who seeks solace from betrayal and disillusionment in the arms of a patient childhood sweetheart, but who is ultimately broken by deluded dreams and unrequited passion - would surely give many a Thomas Hardy protagonist a run for their money.

Prom 1: Karina Canellakis makes history on the opening night of the Proms 2019

The young American conductor Karina Canellakis made history as the first woman to conduct the First Night of the Proms last night (19 July 2019) as she conducted the BBC Singers, BBC Symphony Chorus and BBC Symphony Orchestra at the Royal Albert Hall with soloists Asmik Grigorian (soprano), Jennifer Johnston (mezzo-soprano), Ladislav Elgr (tenor), Jan Martiník (bass) and Peter Holder (organ) in Zosha Di Castri's Long is the Journey, Short Is the Memory (the world premiere of a BBC commission), Antonin Dvořák’s The Golden Spinning Wheel and Leoš Janáček’s Glagolitic Mass.

Barbe & Doucet's new production of Die Zauberflöte at Glyndebourne

No one would pretend that Emanuel Schikaneder’s libretto for Mozart’s Die Zauberflöte would go down well with the #MeToo generation. Or with first, second or third wave feminists for that matter.

Three Chamber Operas at the Aix Festival

Along with the celestial Mozart Requiem, a doomed Tosca and a gloriously witty Mahagonny the Aix Festival’s new artistic director Pierre Audi regaled us with three chamber operas — the premiere of a brilliant Les Mille Endormis, the technically playful Blank Out (on a turgid subject), and a heavy-duty Jakob Lenz.

Laurent Pelly's production of La Fille du régiment returns to Covent Garden

French soprano Sabine Devieilhe seems to find feisty adolescence a neat fit. I first encountered her when she assumed the role of a pill-popping nightclubbing ‘Beauty’ - raced from ecstasy-induced wonder to emergency ward - when I reviewed the DVD of Krzysztof Warlikowski’s production of Handel’s Il trionfo del Tempo e del Disinganno at Aix-en-Provence in 2016.

The Rise and Fall of the City of Mahagonny in Aix

Make no mistake, this is about you! Jim laid-out dead on the stage floor, conductor Esa-Pekka Salonen brought his very loud orchestra (London’s Philharmonia) to an abrupt halt. Black out. The maestro then turned his spotlighted face to confront us and he held his stare. There was no mistake, the music was about us.

Mozart's Travels: Classical Opera and The Mozartists at Wigmore Hall

There was a full house at Wigmore Hall for Classical Opera’s/The Mozartists’ final concert of the 2018-19 season: a musical paysage which chartered, largely chronologically, Mozart’s youthful travels from London to The Hague, on to Paris, then Rome, concluding - following stop-overs in European cultural cities such as Munich and Vienna - with an arrival at his final destination, Prague.

Tosca in Aix

From the sublime — the Mozart Requiem — to the ridiculous, namely stage director Christophe Honoré's Tosca. A ridiculous waste of operatic resources.

A terrific, and terrifying, The Turn of the Screw at Garsington

One might describe Christopher Oram’s set for Louisa Muller’s new production of The Turn of the Screw at Garsington as ‘shabby chic’ … if it wasn’t so sinister.

Mozart Requiem in Aix

Pierre Audi, now the directeur général of the Festival d’Aix as well as the artistic director of New York City’s Park Avenue Armory opens a new era for this distinguished opera festival in the south of France with a new work by the Festival’s signature composer, Wolfgang Amadeus Mozart.

A Rachmaninov Drama at Middle Temple Hall

It is Rachmaninov’s major works for orchestra - the Second and Third Piano Concertos, the Rhapsody on a Theme of Paganini, the Symphonic Dances - alongside the All-Night Vespers and the music for solo piano, which have earned the composer a permanent place in the concert repertoire today.

Fun, Frothy, and Frivolous: L’elisir d’amore at Las Vegas

There are a dizzying array of choices for music entertainment in Las Vegas ranging from Celine Dion and Cher to Paul McCartney and Aerosmith. Admittedly, these performers are a far cry from opera, but the point is that Las Vegas residents have many options when it comes to live music.

McVicar's production of Mozart's Le nozze di Figaro returns to the Royal Opera House

David McVicar's production of Mozart's Le nozze di Figaro at the Royal Opera House, Covent Garden, has been a remarkable success since it debuted in 2006. Set with the Count of Almaviva's fearfully grand household in 1830, McVicar's trick is to surround the principals by servants in a supra-naturalistic production which emphasises how privacy is at a premium.

The Cunning Little Vixen at the Barbican Hall

The presence of a large cast of ‘animals’ in Janáček’s The Cunning Little Vixen can encourage directors and designers to create costume-confections ranging from Disney-esque schmaltz to grim naturalism.

Barbe-Bleue in Lyon

Stage director Laurent Pelly is famed for his Offenbach stagings, above all others his masterful rendering of Les Contes d’Hoffmann as a nightmare. Mr. Pelly has staged eleven of Offenbach’s ninety-nine operettas over the years (coincidently this production of Barbe-Bleue is Mr. Pelly’s ninety-eighth opera staging).

The Princeton Festival Presents Nixon in China

The Princeton Festival has adopted a successful and sophisticated operatic programming strategy, whereby the annual opera alternates between a standard warhorse and a less known, more challenging work. Last year Princeton presented Puccini’s Madama Butterfly. This year the choice is Nixon in China by modern American composer John Adams, which opened before a nearly full house of appreciative listeners.

Humperdinck's Hansel and Gretel at Grange Park Opera

When Engelbert Humperdinck's sister, Adelheid Wette, wrote the libretto to Hansel and Gretel the idea of a poor family living in a hut near the woods, on the bread-line, would have had an element of realism to it despite the sentimental layers which Wette adds to the tale.

Handel’s Belshazzar at The Grange Festival

What a treat to see members of The Sixteen letting their hair down. This was no strait-laced post-concert knees-up, but a full on, drunken orgy at the court of the most hedonistic ruler in the Old Testament.

Don Giovanni in Paris

A brutalist Don Giovanni at the Palais Garnier, Belgian set designer Jan Versweyveld installed three huge, a vista raw cement towers that overwhelmed the Opéra Garnier’s Second Empire opulence. The eight principals faced off in a battle royale instigated by stage director Ivo van Hove. Conductor Philippe Jordan thrust the Mozart score into the depths of expressionistic conflict.

A riveting Rake’s Progress from Snape Maltings at the Aldeburgh Festival

Based on Hogarth’s 18th-century morality tale in eight paintings and with a pithy libretto by W.H. Auden and Chester Kallman, Stravinsky’s operatic farewell to Neo-classicism charts Tom Rakewell’s ironic ‘progress’ from blissful ignorance to Bedlam.

OPERA TODAY ARCHIVES »

Performances

Leoš Janáček
23 Jun 2011

The Cunning Little Vixen, New York

One of Richard Wagner’s most enduring contributions to music history is a concept known as gesamtkunstwerk.

Leoš Janáček: The Cunning Little Vixen

Click here for cast and other information relating to this production.

Above: Leoš Janáček

 

In Wagner’s day, the idea that the operatic experience should be the sum of all its parts was revolutionary. Today, the conception of opera as a total theatrical experience is de rigeur, and as a consequence, is at the heart of the revival of New York’s classical music scene. This is evident in the figures of Alan Gilbert and Peter Gelb, who recently took hold of the helms of the New York Philharmonic and the Metropolitan Opera, respectively.

The past two years have seen the presentation of two fully staged operas at the Philharmonic. In both cases, the choice of repertoire has been less than conventional. This year, Janáček’s The Cunning Little Vixen continues what seems to be an auspicious tradition begun by Ligeti’s Le Grand Macabre.

Gilbert has stated that his main reason for presenting such unfamiliar repertoire is his desire to demonstrate the prowess of the Philharmonic orchestra, as opposed to solely the singers. However, both The Cunning Little Vixen and Le Grand Macabre were treated in such a way that depicted these works not only as great music but also as great theater. Furthermore, Gilbert can congratulate himself on the large number of young people who have attended these performances.

The Philharmonic’s Cunning Little Vixen is certainly a star-studded event. The well-known Grammy-winning soprano Isabel Bayrakdarian is the eponymous heroine. The production is directed by Doug Fitch, who directed Le Grand Macabre to great acclaim. However, the true star of the evening was Alan Gilbert and the New York Philharmonic.

As usual, Gilbert proved himself to be adroit in handling both dynamics and textures. Additionally, he frequently highlighted the rhythmic pulse behind the music. This was especially apt as folk melodies served as inspiration for much Eastern European music.

As the opera progressed, Gilbert also managed to expose the audience to similarities between Janáček and Puccini as well as Richard Strauss . As Janáček was influenced by Puccini, this was especially relevant. Still, it must be acknowledged that in his zeal to show off the Philharmonic in all its glory, there were times when the Tim Burtonesque nature of the score seemed to suffer. However, those moments were few and fleeting.

As Sharp Ears, Miss Bayrakdarian conceived the vixen as the type of strong, independent heroine opera audiences have come to know and love. Her portrayal pointed at a central facet of the opera, which has endeared it to audiences through the decades. Despite its short duration, Janáček’s music depicts the vixen at all stages of life and growth. The audience gets the chance to see a character grow not just physically, but emotionally, and mature into adulthood. Miss Bayrakdarian’s performance was dynamic and demonstrates all facets of this deceptively simple yet complex character.

Miss Bayrakdarian’s voice has a smooth silvery quality to it. This is thrilling to experience in performance. Unfortunately, her diction and ability to project left much to be desired. It was very difficult to hear her in the back row. What is more unfortunate is that this problem was symptomatic of most women in the cast. That said, there were many wonderful performances. Kelley O’Connor, as the dog Lapák, demonstrated the extent of her rich mezzo voice. Her lovelorn howls added a tragicomic element to the character, which served to great effect. Marie Lenormand portrayed the fox as a boyish bon vivant who was at the same time charming.

In terms of diction, the men fared much better. As the Forester, Alan Opie gave a nuanced portrayal. He brought pathos to his closing aria, which drew parallels between the despair of the human characters and the felicity and fulfillment of their animal counterparts. Also, his stentorian voice was a joy to listen to.

However, there was a confusing inconsistency in the portrayal of his character. The Forester is supposed to protect the animals from poachers. This seemed at odds with his harsh treatment of the vixen. As the poultry dealer, Joshua Bloom sang lyrically and brought nonchalance to the role.

Doug Fitch, who directed the production, presented the opera in an imaginative and eco-friendly light. Many of the costumes were made of recycled objects. The beetle costume, for instance, was made out of a garbage can. More importantly, they used Avery Fisher Hall as a performance space. An extension was put onto the proscenium, which allowed the singers to sing from the middle of the orchestra.

Performers also entered and exited through the auditorium’s center aisle, as opposed to solely on stage. To aid in this aspect, the lights were used to create the illusion of sun shining through treetops on the center aisle. Additionally, the English translation was immensely funny and full of jokes that appealed to kids and adults alike. Perhaps more important, however, was the fact that the translation fit the music.

Despite occasional flaws, the New York Philharmonic can congratulate itself on concluding its season in grand style. The fact that the auditorium was nearly full attests to the success of Gilbert’s initiative, yet there is another goal that is also being met in this production. The Cunning Little Vixen has not been seen in New York in twenty years, perhaps not since Beverly Sills commissioned a production of it for City Opera. That this opera is part of the standard repertory is not to be disputed, but the fact remains, it does not have the reputation it should. It can only be hoped that the Philharmonic’s imaginative production brings this opera one step closer to garnering more popularity.

Gregory Moomjy

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):