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

Petrenko Directs Beethoven’s Missa Solemnis

The quick rise to prominence and thin catalog of recordings by Russian conductor Kirill Petrenko, outgoing General Music Director of the Bayerische Staatsoper and incoming chief conductor of the Berlin Philharmonic, renders each of his forays into the classic repertoire significant. Last Sunday morning, the Bayerisches Staatsorchester gave the first of three performances of Beethoven’s Missa Solemnis under his direction.

Faust in Marseille

We sat, bewildered, all of us, watching (enduring) Gounod’s sweet little tear jerker as a nasty drug trip. Except for the Australian Marguerite it was an all French cast and they all gamely played along, the sophisticated verse of Offenbach’s librettists Jules Barbier and Michel Carré clearly sailing out over an abrasive pit.

Down in flames: Les Troyens, Opéra de Paris

Hector Berlioz’s Les Troyens with Philippe Jordan conducting the Opéra National de Paris. Since Les Troyens headlined the inauguration of Opéra Bastille 30 years ago, we might have expected something special of this new production. It should have been a triumph, with such a good conductor and some of the best singers in the business. But it wasn't.

Andrew Davis conducts Berlioz’s L’enfance du Christ at Hoddinott Hall

A weekend commemorating the 150th anniversary of the death of Hector Berlioz (1803-1869) entitled Berlioz: The Ultimate Romantic was launched in style from Cardiff’s Hoddinott Hall with a magnificent account of L’enfance du Christ (Childhood of Christ). The emotional impact of this ‘sacred trilogy’ seemed to gain further weight for its performance midway between Christmas and Easter, neatly encapsulating Christ’s journey from birth to death.

Love Songs: Temple Song Series

In contrast to the ‘single-shaming’ advertisement - “To the 12,750 people who ordered a single takeaway on Valentine’s Day. You ok, hun?” - for which the financial services company, Revolut, were taken to task, this Temple Music recital programme on 14th February put the emphasis firmly on partnerships: intimate, impassioned and impetuous.

Philip Glass: Akhnaten – English National Opera

There is a famous story that when Philip Glass first met Nadia Boulanger she pointed to a single bar of one of his early pieces and said: “There, that was written by a real composer”. Glass recalls that it was the only positive thing she ever said about him

Rachvelishvili excels in ROH Orchestra's Russian programme

Cardboard buds flaming into magic orchids. The frenzied whizz of a Catherine Wheel as it pushes forth its fiery petals. A harvest sky threshed and glittering with golden grain.

Lucrèce Borgia in Toulouse

This famed murderess worked her magic on Toulouse’s Théâtre du Capitole stage, six dead including her beloved long lost son. It was Victor Hugo’s carefully crafted 1833 thriller recrafted by Italian librettist Felice Romano that became Donizetti’s fragile Lucrezia Borgia.

Amanda Majeski makes a stunning debut at Covent Garden in Richard Jones's new production of Kát’a Kabanová

How important is ‘context’, in opera? Or, ‘symbol’? How does one balance the realism of a broad social milieu with the expressionistic intensity of an individual’s psychological torment and fracture?

Returning to heaven: The Cardinall's Musick at Wigmore Hall

The Cardinall’s Musick invited us for a second time to join them in ‘the company of heaven’ at Wigmore Hall, in a recital that was framed by musical devotions to St Mary Magdalene and the Virgin Mary.

Diana Damrau’s Richard Strauss Residency at the Barbican: The first two concerts

Listening to these two concerts - largely devoted to the music of Richard Strauss, and given by the soprano Diana Damrau, and the superlative Bavarian Radio Symphony Orchestra in the second - I was reminded of Wilhelm Furtwängler’s observation that German music would be unthinkable without him.

De la Maison des Morts in Lyon

The obsessive Russian Dostoevsky’s novel cruelly objectified into music by Czech composer Leos Janacek brutalized into action by Polish director Krzysztof Warlikowski beatified by Argentine conductor Alejo Pérez.

La Nuova Musica perform Handel's Alcina at St John's Smith Square

There was a full house at St John’s Smith Square for La Nuova Musica’s presentation of Handel’s Alcina.

Ermonela Jaho is an emotively powerful Violetta in ROH's La traviata

Perhaps it was the ‘Blue Monday’ effect, but the first Act of this revival of Richard Eyre’s 1994 production of La Traviata seemed strangely ‘consumptive’, its energy dissipating, its ‘breathing’ rather laboured.

Vivaldi scores intriguing but uneven Dangerous Liaisons in The Hague

“Why should I spend good money on tables when I have men standing idle?” asks a Regency country squire in the British sitcom Blackadder the Third. The Marquise de Merteuil in OPERA2DAY’s Dangerous Liaisons would agree with him. Her servants support her dinner table, groaning with gateaux, on their backs.

Porgy and Bess at Dutch National Opera – Exhilarating and Moving

Thanks to the phenomenon of international co-productions, Dutch National Opera’s first-ever Porgy and Bess is an energizing, heart-stirring show with a wow-factor cast. Last year in London, co-producer English National Opera hosted it to glowing reviews. Its third parent, the Metropolitan Opera in New York, will present it at a later date. In the meantime, in Amsterdam the singers are the crowing glory in George Gershwin’s 1935 masterpiece.

Il trovatore at Seattle Opera

After a series of productions somehow skewed, perverse, and/or pallid, the first Seattle Opera production of the new year comes like a powerful gust of invigorating fresh air: a show squarely, single-mindedly focused on presenting the work of art at hand as vividly and idiomatically as possible.

Opera as Life: Stefan Herheim's The Queen of Spades at Covent Garden

‘I pitied Hermann so much that I suddenly began weeping copiously … [it] turned into a mild fit of hysteria of the most pleasant kind.’

Venus Unwrapped launches at Kings Place, with ‘Barbara Strozzi: Star of Venice’

‘Playing music is for a woman a vain and frivolous thing. And I would wish you to be the most serious and chaste woman alive. Beyond this, if you do not play well your playing will give you little pleasure and not a little embarrassment. … Therefore, set aside thoughts of this frivolity and work to be humble and good and wise and obedient. Don’t let yourself be carried away by these desires, indeed resist them with a strong will.’

Burying the Dead: Ceruleo offer 'Baroque at the Edge'

“Who are you? And what are you doing in my bedroom?”

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):