27 Jun 2014
Leoš Janáček : The Cunning Little Vixen, Garsington Opera at Wormsley
Janáček started The Cunning Little Vixen on the cusp of old age in 1922 and there is something deeply elegiac about it.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
Janáček started The Cunning Little Vixen on the cusp of old age in 1922 and there is something deeply elegiac about it.
In a letter to Kamila Stösslová dated the 10th of February that year he writes wistfully “I have begun writing The Cunning Little Vixen. A merry thing with a sad end: I am taking up a place at that sad end myself and I so belong there”.
It is tempting to see a connection between the opera’s composition and the purchase of his country home in Hukvaldy “beyond the stream, great forests” which he began to regard as something of a retirement home. The opera is one of those works, earthy, especially in this translation, and yet all the more affecting for containing a profound truth. Humans and animals alike inhabit the forest, we share the same emotions, we live briefly, all too soon we die but the forest lives on. As in that wonderful epilogue to Das Lied von der Erde, “The beloved earth everywhere blossoms and greens in springtime anew. Everywhere and forever the distances brighten blue”. The Forester’s ecstatic farewell at the opera’s close touches similar emotions, albeit refracted through Janáček’s unique prism.
Of course Cunning Little Vixen can also be taken as entertainment pure and simple with its hilarious scenes in the local pub with the repressed minister, the even more repressed schoolmaster and the almost equally repressed Forester getting as we would say in Scotland “fou and unca happy” (ie ‘smashed), then at the Forester’s hut with the hens, the cock - here summarily ‘bobbited’ on stage by the Vixen - and the dog Lapak, and last but not least the rapturous (and extremely funny) courtship and mating of Vixen Long Ears with the Fox and other scenes in the forest. For that reason it is ideal summer opera - Glyndebourne did it recently - although, given the overt but scarcely suppressed sexual longing of nearly all the characters, it is a moot point - unlike, say, Hansel & Gretel- whether it would ever be suitable for children. However, it is certainly a ‘feel-good’ opera - at least until the Vixen is shot by the macho poacher Harasta who, as we hear from subsequent conversation in the pub, will shortly marry the local object of desire, Terynka, who will be wearing a new fox fur muff for the occasion. At that point the plot darkens.
Given Janáček’s own unconsummated passion over many years for Kamila Stösslová, it is hard not to see the main character’s emotions as at least partly autobiographical. Thankfully Janáček’s relationship with Kamila seems to have remained entirely proper. Had it been otherwise we should probably never have had that magnificent flow of late masterpieces. Ironically I knew an old Czech gentleman in Malta called Jaroslav who had fallen in love with a married woman across a crowded theatre in Prague in the 1920’s and whose unrequited passion for her lasted till his death some 50 years later. He produced an epic love poem in her honour running to over 100 pages which he would read to his friends with tears streaming down his face.
This, the final opera in Garsington’s current season of three operas, is an undoubted delight and there are no obvious weak links in the substantial cast, Claire Booth consistently excellent as the Vixen and the stentorian Grant Doyle impressive as the Forester. The Cunning Little Vixen has a large cast of other animals - the frog, the grasshopper, the badger, the hens (excellent in their movements) as well as those already mentioned and assorted humans of whom both Timothy Robinson’s sad schoolmaster and Henry Waddington’s priest both deserve special mention. So too does Victoria Simmonds characterful fox.
That said, there have to be a number of minor reservations about the production itself. With its rural setting Garsington should be an ideal location for Cunning Little Vixen (the sliding doors behind the stage open onto woods beyond, surely a perfect backdrop for the forest scenes but, unlike Vert-Vert, this was not used).The interior scenes in the inn had a set that looked uncomfortably like Laura Ashley wallpaper from the 1960’s - one could see what the designer had in mind since this had to double as the forest glade when the set worked (on several occasions it jammed and the stage staff had difficulty moving it). Nor were the Vixen’s nonchalant movements entirely convincingly foxy (I speak from experience as we have a vixen which regularly uses our back garden and has even joined us for lunch on sunny days, sitting on the roof of our garden shed and eyeing us up curiously as we eat; she either moves very cautiously or trots along quite rapidly).
For the most part Garry Walker and the orchestra had the score’s measure, refusing to jolly it along too quickly and allowing its moments of wonder and ‘wood magic’ to emerge naturally; however, there were some occasions where the music cried out for greater weight and intensity, notably that glorious pantheistic epilogue where the Forester, alone in the forest, reflects on his lost youth and his loveless marriage and - when he sees a fox cub resembling the young vixen - wonders if he should take it home with him.
A postscript. Given the awful story of the tenor at the Met who took a heart attack some years ago during a performance of The Makropoulos Case and fell from a ladder, it was interesting to see boys/cubs clambering up and down ladders without helmets, body harnesses and carabiners. Fortunately the ubiquitous Health & Safety’s writ does not seem to have reached Garsington. After all, boys will be boys and we all survived falling out of the odd tree. Long may it continue. Viva la liberta!
The Cunning Little Vixen
Music Leos Janáček
Libretto Leos Janáček based on the novel Liska Bystrouska by Rudolf Tesnohlidek,
Forester:: Grant Doyle, Forester’s wife : Lucy Schaufer, Schoolmaster \: Timothy Robinson, Priest :Henry Waddington, Harašta : Joshua Bloom, Pásek (innkeeper) : Aaron Cawley, Pásek’s wife : Helen Anne Gregory, Pepík : William Gardner, Frantík : Theo Lally, Young Vixen Bystrouška : Alexandra Persinaru, Vixen Bystrouška : Claire Booth, Fox : Victoria Simmonds, Cricket: Isaac Flanagan, Grasshopper : Sophie Thomson, Frog : Gabriel Kuti, Mosquito : Richard Dowling, Lapák a dog: Anna Harvey
Cock : Alice Rose Privett, Chocholka a hen : Katherine Crompton, Badger :Bragi Jonnson, Woodpecker : Marta Fontanals-Simmons, Owl : Grace Durham, Jay : Elizabeth Karani, Vixen dancer :Chiara Vinci, Forester dancer :Jamie Higgins,
Conductor :Garry Walker, Director : Daniel Slater, Designer : Robert Innes Hopkins,
Lighting Designer : Tim Mascall, Choreographer: Maxine Braham, Assistant conductor Holly Mathieson, Garsington Opera Orchestra