There are good causes for this. Basically, Vixen is an ensemble piece, with numerous alternatives for singers to shine in supporting roles: even the title character feels much less like a star than a member of a neighborhood. Vocal calls for are, most often, not overwhelming. A sense of youthful exuberance abounds within the septuagenarian composer’s rating, which additionally has quite a few little one and child-like characters. The theatrical world suggests one thing of the magic—in addition to the life classes—we affiliate with fairy tales.
Alternatively, The Crafty Little Vixen, although folkloric in tone and musical influences, is not a fairytale. The libretto, additionally by Janacek, relies on a serialized novella. The themes—centrally concerning the everlasting cycle of life, the relationships between people, animals, and the better pure world, and the inevitability of loss—are imbued with sweetness and fairly a little bit of humor… however on the identical time, there’s an grownup type of unhappiness.
Add to this the musical calls for (subtle and appreciable, together with substantial, ravishing interludes that want an achieved orchestra), the linguistic ones (the opera is Czech, in fact, and was sung right here within the unique).
To place it merely: Vixen is not any stroll within the park (or, right here, within the forest). It requires and deserves the very best caliber of expertise in each side.
That’s precisely what it bought at Curtis Opera Theater, in a manufacturing that will have been at house—certainly, one thing to have fun—at any opera firm anyplace. I liked it a lot I went again the following day.
The success begins with a easy however impressed foundational thought. Director John Matsumoto Giampietro frames the motion in a reminiscence care facility, the place an aged man and lady sit silently. Clearly immersed in thought, they often attain out as if to know one thing elusive. (Anne-Marie Mulgrew and. Michael Rissinger have been fantastically understated in these mime roles.)
And similar to that, the world of Vixen takes a vivid new form. Marvelous because the work is, it’s deeply difficult to stage, with its mixture of human and animal characters and its admixture of fantasy and actuality. It will possibly shortly flip twee… and it’s not simple to comply with.
Right here, although, all of it comes collectively completely by way of the type of diaphanous logic of goals and fading reminiscence. The framing machine right here additionally profoundly reinforces the inevitability of loss in addition to renewal. The design work supported this ideally. Costumes by Ashley Soliman have been delightfully creative. Alex Distler (surroundings) and Kate Ashton (lighting) created the sense of a bare-bones establishment by way of which a gorgeously coloured forest would all of the sudden emerge on the rear of the stage. The Kimmel Heart’s 650 seat Perelman Theater was a suitably intimate venue that allowed particulars to actually register.
Fortunately, the musical aspect of issues was equally well-served, beginning with an orchestra that was (however a couple of flubs within the brass) as much as Vixen’s vital challenges. Conductor (and Curtis alum) Vinay Parameswaran led with sensitivity to musical shapes and ahead propulsion, whereas on the identical time retaining a splendidly translucent coloration.
Throughout the giant ensemble—this system listed 19 characters—every position was dispatched at knowledgeable degree. A couple of singers made a selected impression in smaller roles. They embody mezzo Kate Li (as Lapka) and soprano Judy Zhuo (Chocholka). Tenor Jackson Allen additionally sang very properly and scored explicit factors as an actor, lending a Chekhovian complexity to the Schoolmaster.
Bigger roles have been double-cast, and in every case, it was intriguing to listen to complementary virtues. As Fox Gold Stripe, Kylie Kreucher displayed an admirably clean and well-equalized soprano, and a potent sense of stage attraction. Alternating in the identical position, Emily Damasco’s soprano had notable efficiency notably within the higher register, which penetrates with a vibrant, thrilling laser-focus. (I’d love to listen to her as Mozart’s Elettra in Idomeneo!) Damasco, too, has a robust stage presence.
The Forester is heaviest vocal problem in Vixen; his Act III monologue calls for nearly Wotan-like reserves. Baritone Nathan Schludecker had the extra voluminous tone and characterised with rustic vigor; The alternating Forester, bass-baritone Evan Grey has a sleeker, extra patrician sound and presence, with a notably lovely timbre. Each singers have been challenged a bit in essentially the most densely orchestrated passages, however they’re clearly vital artists with promising careers forward.
And so now the Vixen herself—additionally double forged, and with intriguingly particular person qualities. Sarah Fleiss’s soprano has a delightfully brook-like freshness with particular sparkle on the high. That sparkle was additionally current in her characterization, which conveyed childlike innocence and joyous abandon. Juliette Tachino additionally has a beautiful voice, although the highest isn’t fairly as free. However she’s an outstanding actor, and tellingly her Vixen had a way of seriousness, even unhappiness: the inevitability of her destiny appeared etched into her efficiency from the beginning. I count on we’ll be seeing extra of each Fliess and Tachino (as an apart, Curtis appears to have a present for minting distinctive lyric sopranos—along with these two, I’m considering of current alums Emily Pogorelc, who distinguished herself this 12 months at Met in La Rondine; additionally Lindsey Reynolds, at the moment a Ryan Opera Heart Ensemble member at Lyric Opera of Chicago).
This was a fascinating and deeply transferring occasion in each means.
Photograph (first forged): Tracie Van Auken
