Given the miraculously spellbinding production of Janáček’s The Cunning Little Vixen at Des Moines Metro Opera, New Mexico just may have to cede its motto: Land of Enchantment.
There is barely a moment of this compact 90-minute entertainment that is not infused with wonder and delight. There are several folks on Creative Team Vixen that share credit for this visionary production.
Director Kristine McIntyre never fails to fill the playing space with meaningful movement and inventive stage business, and she has perhaps raised her own high bar up yet another notch. Her dizzying array of animal creatures prowled the set with infectious vigor, re-grouping with animated precision, and filling the room with irresistible high spirits. In this pursuit she was ably abetted by choreographer Lisa Thurrell, whose combination of folk dances, gymnastic feats, and even a demented Chicken Dance was augmented by some lovely and graceful ballet moves from dancer Miye Bishop as a fanciful Dragonfly, seemingly floating on air throughout the evening.
Ms. McIntyre also had great success with the more intimate scenes in which beautiful characterizations and one-on-one relationships were developed and explored. The love duet between Vixen Sharp Ears and the Fox was rendered with a sincere heart and a seductively executed inevitability. Although the vast majority of the evening was quite frothy, McIntrye did not shy away from making the darker moments hit us with a gut punch. The death of the Vixen has rarely been more brutally shocking, the entire theatre momentarily stilled until, like life, the story goes on.
That our director had a marvelous, nay, astonishing environment in which to mount this treasurable tale is owing to set designer Luke Cantarella, visual composer Oyoram, and lighting designer Kate Ashton. Mr. Cantarella has devised a unit structure that first and foremost has a semi-circle of floor to ceiling “columns” that are projection screens, leaving gaps between them for entrances and exits. Behind these, far upstage is a slanting pathway ramp that allows for use of levels, and additional background motion when wished.
There is a permanent, stylized tree stump stage left, and a hollowed out tree trunk lying stage right that serves as Badger’s home. With the simple addition of chairs, a doghouse, and more, this aptly serves the purpose for this multi-scene show. The whole look is complemented by a crescent of a “garden” that dresses the fringes of the shiny black lacquer thrust.
How Oyoram wills his wildly colorful, imaginative, and almost psychedelic projected images into creation, I have no idea. (Is cannabis legal in Iowa?) I can say that unless you saw his previous work at DMMO, you haven’t seen anything like it. As images continuously morph, the effect is that the kaleidoscopic environment is throbbing with life and exuding almost an overload of riches. Magnificent.
Kate Ashton’s vivid lighting design does not try to compete with the projections, but rather completes them with well-calculated washes and specials. I enjoyed her delineation between the spacious outdoor scenes and the drab interiors. Vita Tzykun’s costumes ranged from suitably rumpled fairy tale peasant looks for the humans to the mind-blowing, multi-colored panoply of fantasy attire for the creatures. If Cirque du Soleil and Hieronymus Bosch had had love children, they would look like these costumes. What an amazing collection of imaginative bugs, chickens, dogs, frogs, and of course, vixens. I loved them all.
The bewitchment on stage was matched by the wizardry in the pit, as conductor David Neely led a multi-faceted, stylistically thrilling reading of one of Janáček’s most varied and demanding scores. Maestro Neely coaxed every bit of fizz and sparkle out of his beautifully polished orchestra to be sure, but all the while he partnered seamlessly with his cast to ensure that the fun bits didn’t mute the bittersweet underpinnings of the Vixen’s journey and untimely end. His was a luminous and commanding musical achievement.
The remarkable cast was a mix of impeccable rising stars alongside several A-list singers that regularly populate casts at the world’s best houses. Soprano Hera Hyesang Park has the lithe physicality for the role, and she poured out consistently poised singing that was by turns playful, sassy, angry, seductive, melting, and alluring. Ms. Park won our hearts and then broke them through her empathetic and engaging portrayal.
As her suitor, the Fox, Sun-Ly Pierce showed off a velvety mezzo-soprano that luxuriated in the playful phrases as “he” persuaded Vixen to submit to his overtures. Ms. Pierce has a remarkably warm, evenly produced instrument, and when the romance proceeds into a radiant love duet, she partnered as one with Ms. Park to produce musical moments of uncommon beauty.
Roland Wood’s turn as the Forester is the finest take of this pivotal role that I have ever seen. His brawny, sizable baritone conveyed the earthiness of the character, and his confident technique accommodated both swaggering outbursts, and thoughtful introspection in equal measure. His final solo scene was a Master class of meaningful singing and dramatic variety, beautifully shaped to a fare thee well. With his natural, charismatic stage presence and his stylish signing, Mr. Wood anchored the entire proceeding.
Three established veterans more then held their own with their gifted co-stars. Tenor David Cangelosi was plangent and pitiful as the drunken Schoolmaster, who was defined by uninhibited rubber limbed staggering and pratfalls. He crafted a vocal and physical persona that was a model of its kind and delighted us further by impishly doubling as a Mosquito, with plenty of bite.
Craig Colclough gifted us with voluminous, burnished outpourings, wielding his stately bass-baritone to fine effect as the Parson. His moving solo on disillusionment was touching and sincere. We missed the Parson when he moved away but could take pleasure in Mr. Colclough’s continued presence as he doubled as the blustery but cowardly Badger. Mezzo-soprano Jill Grove was truly deluxe casting in the featured role of the Forester’s Wife, and she did not disappoint. Her every utterance was well calculated, and she forged a memorable impression.
Given the forest setting, bass-baritone Ben Strong was a force of nature as the poacher Hrašta. His virile, effortlessly produced declamations displayed great range and power. Mr. Strong is one of the Frank R. Brownell III Apprentice Artists and his mini-star turn is a testament to the program’s effectiveness in attracting and developing the stars of tomorrow. The rest of the extensive cast is largely filled by fellow Apprentices, and, while they are too numerous to mention here, please read the listing below, and know that they were all exceptional.
Because of its musical, theatrical, and casting demands, The Cunning Little Vixen really needs festival conditions to succeed. With this definitive production, Des Moines Metro Opera has emphatically achieved just that, and (pace Wagner) created a peerless Gesamtkunstwerk. Bravi, tutti!
James Sohre
The Cunning Little Vixen
Music and Libretto by Leoš Janáček
The Vixen: Hera Hyesang Park; Forester: Roland Wood; The Fox: Sun-Ly Pierce; Schoolmaster/Mosquito: David Cangelosi; Parson/Badger: Craig Colclough; Forester’s Wife: Jill Grove; Owl: Stephanie Sanchez; Harašta: Ben Strong; Lapák: Audrey Welsh; Pepik: Calleen Kleene; Frontik: Benjamin Bjorkland; Mrs. Pásková: Saane Aziza Halaholo; Pásek: Shawn Roth; Young Vixen: Mae Stoa; Rooster: Joyner Horn; Frog: Clara Dean; Chocholka: Pauline Swierczek; Hens: Audrianna Hughes, Milan McCray. Sarah Rohner Rees, Margaret Macaira Shannon; Woodpecker: Sydney Sorbet; Grasshopper: Lucy Evans; Cricket: Cayenne Teeter; Jay: Léa Nayak; Dragonfly/Terynka: Miye Bishop; Fox & Vixen Cubs: Hattie Green, Chris Kim, Ansley Mason, Frederick D. Moeller, Elliot Wagener.
Conductor: David Neely; Director: Kristine McIntyre; Visual Composer: Oyoram; Scenic Design: Luke Cantarella; Costume Design: Vita Tzykun; Lighting Design: Kate Ashton; Chorus Director: Lisa Hasson; Choreographer: Lisa Thurrell; Wig and Make-up Design: Brittany V.A. Rappise
Top image: The cast of The Cunning Little Vixen near the end of Act II.
All photos by Cory Weaver.