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 Reviews

Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

Garsington Opera’s Silver Birch on BBC Arts Digital

Audiences will have the chance to feel part of a new opera inspired by Siegfried Sassoon’s poems with an innovative 360-degree simulated experience of Garsington Opera’s Silver Birch on BBC Arts Digital from midday, Wednesday 8th November.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

Schumann and Mahler Lieder : Florian Boesch

Schumann and Mahler Lieder with Florian Boesch and Malcolm Martineau, now out from Linn Records, following their recent Schubert Winterreise on Hyperion. From Boesch and Martineau, excellence is the norm. But their Mahler Lieder eines fahrenden Gesellen takes excellence to even greater levels

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.

Amusing Old Movie Becomes Engrossing New Opera

Director Mario Bava’s motion picture, Hercules in the Haunted World, was released in Italy in November 1961, and in the United States in April 1964. In 2010 composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon.

Rigoletto at Lyric Opera of Chicago

If a credible portrayal of the title character in Giuseppe Verdi’s Rigoletto is vital to any performance, the success of Lyric Opera of Chicago’s current, exciting production hinges very much on the memorable court jester and father sung by baritone Quinn Kelsey.

Wexford Festival Opera 2017

‘What’s the delay? A little wind and rain are nothing to worry about!’ The villagers’ indifference to the inclement weather which occurs mid-way through Jacopo Foroni’s opera Margherita - as the townsfolk set off in pursuit of two mystery assailants seen attacking a man in the forest - acquired an unintentionally ironic slant in Wexford Opera House on the opening night of Michael Sturm’s production, raising a wry chuckle from the audience.

The Genius of Purcell: Carolyn Sampson and The King's Consort at the Wigmore Hall

This celebration of The Genius of Purcell by Carolyn Sampson and The King’s Consort at the Wigmore Hall was music-making of the most absorbing and invigorating kind: unmannered, direct and refreshing.

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding.

Written on Skin: the Melos Sinfonia take George Benjamin's opera to St Petersburg

As I approach St Cyprian’s Church in Marylebone, musical sounds which are at once strange and sensuous surf the air. Inside I find seventy or so instrumentalists and singers nestled somewhat crowdedly between the pillars of the nave, rehearsing George Benjamin’s much praised 2012 opera, Written on Skin.

OPERA TODAY ARCHIVES »

Reviews

Lucy Crowe as Vixen Sharp Ears. [Photo by Bill Cooper courtesy of Glyndebourne Festival 2012]
30 May 2012

Glyndebourne Janáček The Cunning Little Vixen

Glyndebourne’s 2012 season started in great style with Leoš Janáček’s The Cunning Little Vixen. Its rapturous reception would suggest that this could become a Glyndebourne perennial.

Leoš Janáček: The Cunning Little Vixen

Forester: Sergei Leiferkus; Vixen (Bystrouška): Lucy Crowe; Fox: Emma Bell; Parson / Badger: Mischa Schelomianski; Harašta, a poacher: William Dazeley; Forester's Wife / Owl: Jean Rigby: Schoolmaster / Mosquito: Adrian Thompson; Pásek: Innkeeper: Colin Judson; Innkeeper’s Wife: Sarah Pring. Conductor: Vladimir Jurowski. The London Philharmonic Orchestra. Glyndebourne Chorus. Director: Melly Still. Set Designer: Tom Pye. Costume Designer: Dinah Collin. Lighting designer: Paule Constable. Choreographer: Maxine Doyle. Glyndebourne Festival Opera, Lewes, Sussex. 20th May 2012.

Above: Lucy Crowe as Vixen Sharp Ears.

Photos by Bill Cooper courtesy of Glyndebourne Festival 2012.

 

Inspired by a novella illustrated by cartoons, the story of Vixen Sharp Ears has great charm. The production glows with gorgeous colours, on stage and in the pit. Vladimir Jurowski conducts the London Philharmonic Orchestra with lustrous style: you can hear the “birds” in the score, feel the sunshine and thrill to the starlit night sky in the final scene.

teacher_bill_cooper.gifAdrian Thompson as The Schoolmaster

The Cunning Little Vixen is about nature, but it’s not naturalistic. Janáček observed nature closely, but doesn’t write about animals so much as about human nature. Thus the intense gemstone colours of Tom Pye’s designs dazzle gloriously. Like the World Ash Tree in Wagner’s Ring, a huge construction looms over the stage. It’s a tree which changes with the seasons : spring blossom, autumn golds, bare winter branches. Since one of the themes in this opera is the passing of time, the tree is a natural metaphor. There’s a slide behind it from which animals pop up and observe. Later, it’s shown as the lair in which the foxes live. This vividness reflects Jurowski’s approach to the music. Although Jurowski softens the sharper edges of Janáček’s idiom, he creates surges so lush that he brings out the vigorous life force that’s fundamental to the meaning of this opera. The Vixen dies, the Forester grows old, but nature renews itself each year, and the grandchildren of foxes and frogs continue the cycle of life.

“Kontrapunkte, Kontrapunkte”, the Forester (Sergei Leiferkus) tells the Schoolmaster (Adrian Thompson) He’s explaining that the dry old schoolmaster’s not right for a woman like Terinka. It’s a wry joke, not something a woodsman would say, but a composer might. Perhaps Janáček identified with the Schoolmaster, withering away without love. Significantly, he found new creative momentum in old age, when he met Camila Stösslová. Janáček is quite explicit about what makes the sap rise in human beings. “How many children do we have, dear?” asks the Fox of the Vixen. “We’ll make many more”.

vixenfox_bill_cooper.gifLucy Crowe as Vixen Sharp Ears and Emma Bell as Fox

In this production, one of the finest scenes is the one where the Fox (Emma Bell) courts the Vixen (Lucy Crowe), just as a formal, old-fashioned formal couple might have done in Janáček’s youth. “May I call upon you?” he asks, and she responds coyly. Very decorous. Animals don’t beat around the bush like that. Janáček then becomes even more daring. “Do you smoke?” asks the Fox. Is the Vixen A Modern Woman, emacipated like Stösslová, and not domesticated like Zdenka, the composer’s wife? The Vixen lives independently (in a treehouse inherited from “Uncle Badger” (Mischa Schelomianski). “My ideal woman!” cries the Fox. There are cryptic personal meanings in The Cunning Little Vixen which can easily be missed. Please see my piece “Janáček, Cunning Vixen and Subversion”. The scene isn’t heavily scored, so the words carry weight and Jurowski lets them be heard clearly, Then, when the mood shifts, orchestral textures become more dense, even sinister. Listen for the triumphant finale, which could be sheer Hollywood (though it was written long before film had sound). As life ebbs from the Forester’s body, his spirit breaks free. You can imagine Janáček joyfully defying convention. The Forester doesn’t die with “The Old Woman”, his wife (Jean Rigby) but with the spirit of the Vixen and her wild ways.

Sergei Leiferkus’s Forester is outstanding, created with real vigour. He’s of course an extremely experienced singer, but he’s also a strong actor with a wonderful sense of humour. He does Shostakovich satires with panache. In 2010, he sang Edward German’s Who were the Yeomen of England at the reconstruction of a 1910 Prom. He sang with a heavy accent, but with such glee that it felt more sincere than any dour, irony-free performance. Adrian Thomnpson, as the Schoolmaster/Mosquito, was sadly underused. He can sing Czech better than most Englishmen, and has done a lot of Janáček. He deserves a higher profile. Lucy Crowe as The Vixen was clear. pert and spirited, as a good Vixen should be.

This Glyndebourne Cunning Little Vixen is great entertainment, and orchestrally rewarding. It’s let down, however, by direction that’s less incisive. While Janáček defines the roles vividly, Melly Still turns characters into caricatures. Dressing humans as animals is almost as tricky as dressing animals as humans. From time to time, the cast move like animals, but that’s not enough. The focus should be on who the animals really represent. Partly the problem lies in the costumes (Dinah Collin) which make it hard to realise who’s who unless you’ve read the synopsis.

forester_wife_bill_cooper.gifSergei Leiferkus as The Forester and Jean Rigby as his wife

But the bigger problem is that the parts are given no personality. The weakest scene in this production occurs in the hen coop where the Vixen tries to get the chickens to rebel against male dominance. It can be literally “red of claw and tooth” because the Vixen tears the Cock apart. Here, though, it’s so tame you could miss it among the busy babble going round the stage. The dancers are nice, but they don’t add much. Yet the Cock, Hens and The Dog are all crucial to the deeper meaning of this opera. Even the Vixen isn’t well developed. When the Vixen discovers the mystery of sex, poor Lucy Crowe pushes up her blouse in an unsubtle attempt to look “sexy”. Yet what Janáček has been telling us all along is that nature is instinct, not appearance, and that instincts win. When these darker, more radical aspects of the opera aren’t defined, The Cunning Little Vixen loses its bite. And what is a Vixen without fangs?

This production will be broadcast online on 10th June. On film, it might be a better experience. A film director could focus on essentials, and give the characters more definition than the stage director.

For more details, please visit the Glyndebourne website.

Anne Ozorio

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):