The Cunning Vixen
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Maldjian, Southwell
Photo by Keith Ian Polakoff
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By Michael Van Duzer
Long Beach Opera opened its 30th Season with this lively production by Leos Janacek.. Although performances of the opera have become more frequent in recent years, we were reminded by Artistic Director Andreas Mitisek that the Los Angeles area hadn’t seen it since the late 70s.
The opera’s cast, in which animals and insects outnumber the humans, may lead one to expect a cozy fairy tale with cute critters. But Janacek’s aim is deeper and altogether more probingly philosophical. In addition, the omnipresent themes of death, desire and the unyielding power of nature make this a truly adult fable.
Ani Maldjian (who had performed Anne Frank for the company) proves an entrancing Vixen Sharp-Ears. Maldjian is an eager and resourceful actress who finds both the Vixen’s energetic charm and her wily resolve. Fresh-toned and vocally secure, she brings the right silvery sheen to this music, and her diction (an English translation was used) is admirable.
Andrew Fernando impresses in his three roles as the Badger, the Dog and the drunken Poacher who kills the Vixen. His richly colored voice brings as much variety to the roles as his fearless physicality. Michael Chioldi’s Forester unveils a surprisingly self-reflective portrayal which allows him to explore the lyricism of Janacek’s music. Peabody Southwell’s smoky, sensual timbre and beguiling presence makes her Fox the Vixen’s perfect. mate and their love scene is the musical highlight of the evening.
Alan E. Muraoka’s forest setting emphasizes the opera’s earthiness by banishing trees and focusing the action on two daisy-covered mounds. He also finds a simple and effective way to suggest Man’s encroachment on the Natural World. Dan Weingarten’s lighting brings depth to the mise en scène while Jacqueline Saint Anne’s wittily rag-tag costumes emphasizethe personality of the characters, both human and animal.
The weak link in the production is Ken Cazan’s messy and unfocused direction. A story as unfamiliar and poetically fragmented as Vixen requires order and clarity to deliver ultimate impact. Mitisek lovingly leads the orchestra in Jonathan Dove’s scaled down version of the score and, if a bit of the grandeur of the full orchestration is lost, Janacek’s colorful world is beautifully realized.
Upcoming productions by this always adventurous group include a rare performance of Vivaldi’s Motezuma and a pairing of Viktor Ullmann’s The Emperor of Atlantiswith Karl Orff’s The Clever One. Both sound unmissable.
Center Theater Long Beach January 17 & 25, 2009 (562) 436-3661 www.longbeachopera.org
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