Janácek: The Cunning Little Vixen  (In English) Opera in three acts. Libretto by the composer after the story by Rudolf Tesnohlídek. Soloists and Orchestra of the Royal Northern College of Music, Ewa Strusinka (conductor) Manchester UK, 06.12.2006 (RJF)

 

First performed at the National Theatre, Brno on 6^th November 1942. English translation by Norman Tucker with reduced orchestration by Jonathan Dove.

 

 

 

When I first heard that RNCM were doing Vixen as their autumn production my heart had a little flutter of concern. I well remembered a light lyric soprano, a former alumnus of the College who was a lovely Pamina and Susanna, who had been tempted by the role in the large London Coliseum and did her vocal chords no good at all. My second thought was that it might be okay in the more modest sized RNCM Opera Theatre. In the event the college staff knew what they were about and the production was presented, in the round, in the small Theatre Studio that holds around two hundred people.

With a very simple fixed set and exits and entrances from several points it was a perfectly managed staging by Stefan Janski, Director of Opera Studies at the College. Stefan joined RNCM in 1986 and I have seen most of his productions in the intervening years from the memorable Don Carlo featuring the likes of Sarah Fulgoni as Eboli and Pavlo Hunka as Philip, through to La Rondine last year. His productions always have the hallmark of individuality without excessive innovation. That is not to say that they are over traditional, rather that they are true to the composer’s intentions even when updated as was his La Bohème.

 

Stefan Janski knows better than most that in the highly competitive world of present day opera performance, it is not just about the fat lady, or gent, standing and delivering from the front of the stage. Any singer aspiring to a professional career these days has to be able to represent a character in its totality via movement, facial expression and acting ability as well as clear diction, vocal nuance and prowess. Janácek’s Cunning Little Vixen presented in the intimate atmosphere of the Theatre Studio, and with the backing of a small orchestral ensemble sympathetically conducted, proved the ideal vehicle for thirty-nine students to show what they had learned in their acting and movement classes.This number can be doubled as there is a second cast also giving four performances. With simple and appropriate costumes, lots of movement onto, around and away from the set, the students had much to concentrate on. It says a great deal for the preparation, that not a foot was put wrong and the performance went off like perfectly animated clockwork.

 

As the Vixen, Ella Kirkpatrick was perfect in her acted representation. Movement, facial expression, interaction could not be faulted. Her light soprano voice was even and expressive too and her animated acting was well matched by the suave fox of Sara Lawson; a little rounder of tone than her colleague but also with excellent legato and diction. Christopher Turner, well used to playing leads in RNCM productions, used his tightly focussed tenore di grazia to good effect. As the schoolmaster, Philip Smith might have preferred to sing out more strongly to bring his character alive, but that would have been inappropriate in this setting. Adam Marsden as the Parson/Badger was convincing whilst John Dempsey as Harasta gave a glimpse of his basso, which will be called on for much more in the forthcoming Eugene Onegin when he is carded as Gremin.

 

With a big match on at Old Trafford, our journey to the college was horrendous taking an hour and forty minutes instead of the normal thirty-five. The performance was held up for ten minutes for a large coach party of theatre enthusiasts from Mid Cheshire, also caught in the chaos, to arrive. Like my wife and myself, they left in high spirits at the quality of what we had seen and accepted the travails of the journey as being well worthwhile. Those we spoke to, although not opera going regulars, were enthusiastic about repeating their visit. Yet again, the staff and students of RNCM had scored a success and had ensured continued enthusiasm for their efforts, not only among the opera loving public but from an evolving and wider constituency.

 

This cast of principals repeat their performance on December 10^th at 3pm and 14^th at 7.30pm and te alternative cast sings on 5^th, 8^th,  12^th  and 16^th of December, also at 7.30 pm.

Wholeheartedly recommended : any North West based theatregoers / opera enthusiasts should grab the remaining tickets quickly.

Robert J Farr