The Cunning Little Vixen WAO Program 2018

THE CUNNING LITTLE VIXEN

Janáček’s

Hear the forest come alive!

Taryn Fiebig, Soprano

Director’s Message

On the surface, The Cunning Little Vixen is simple enough: a musical biography of a fox based on a comic strip filled with furry familiars. It could be seen as little more than an opera for children – it’s based on a comic strip and everything – but it’s impossible to dismiss. It contains some of the most moving music ever written, vivifying life’s most profound and eternal truths.

Modestly described by the composer as a “merry thing with a sad end”, Vixen is a thing of wonder. The story unfolds as a series of seemingly illogical scenes that have little to no care for constraints of time, location or the appropriate order of seasons. Despite its episodic nature, one theme pervades: the cycle of life.

We witness two such cycles. That of an audacious vixen, and that of a Forester, a man on the wrong side of middle age, who over the course of the piece becomes accepting, wise and benevolent. All logic tells us the Forrester cannot understand the little frog at the end of the piece, chirruping about the fact that his grandfather told him about the Forester, but the extraordinary music prompted by this tiny moment illuminates the instinctive bond that exists between man and nature - a bond that in these days of climate change debate we ignore at our peril.

Of course, from a production perspective, profoundly human as the themes are, we still need to figure out how to present ‘Nature’ on the stage. Ours is man-made.

Human fashions and accessories are repurposed to create the host of vibrantly coloured animal characters. Similarly, manufactured materials are reinvented to create the natural world; Wood is bleached of its colour, processed if you like, steel tortured into trees, cotton woven into flat surfaces, those surfaces brought to brilliant seasonal colour by light. The animal world is as brightly coloured as a David Attenborough documentary - seemingly unnatural yet totally real. The human world on the other hand is monochromatic, thereby holding a magnifying glass to its vivid parallel world that is full of surprises and life for life’s sake. ’Nature’ is a big place and we are here for a short visit only. Its profound, gauche, simple splendour will always be here.

The Cunning Little Vixen was Janáček’s personal valentine to the human condition in all its inexplicable, maddening, fierce and beautiful inconsistancy. The unexpected majesty, grandeur and emotion of the final sixty seconds of Vixen says it all. The essence of life is a mystery: we can’t fathom it, we can’t harness it, we can’t quantify what it is… but we all instinctively feel the unifying power of the indefinable force, much like music. Musicologists across the centuries have been able to explain the elements of music and how they might be organised, but they are unable to find an explanation for the soul-deep effect of this natural, mysterious, mighty and magical force. All the analysis in the world can’t tell us why, but with a fist pounding the heart we can all say: ‘It gets you right here’. The end of The Cunning Little Vixen has ‘got me right there’ from the first time I saw the piece as an 18-year-old student. Now, at 60-years-young, that ‘there’ is still being ‘got’.

Stuart Maunder DIRECTOR

Conductor’s Message “...The musical language of the mature Janáček is powerful and vivid. Animals, villagers and forest life speak through his meticulous score”

For this Czech composer, music was everywhere. Indeed, everyday speech was at the forefront of his stimulus. Words, phrases, gestures and exclamations, sketched into musical notation to match the contour of his mother tongue, are to be found in his many notebooks.

Distinctions are made between the diverse dialects of the region, with special attention given to the Lachian accent of his home village.

His plan had been to create a volume detailing “the ordinary melodic curves of speech” by which the sound of the Czech language might be preserved.

In his latter life, Janáček took this notion even further, transcribing animal noises and sounds of nature similarly into notation: the cry of an owl, whistling of the wind, rustling of the trees, a rushing waterfall and the familiar sound of the chickens in his backyard. Clearly, there could be no more fitting subject matter and inspiration for his last opera than the story of the cunning little vixen and the aging forester.

What a delightful masterpiece it is! Following the tragic operatic dramas of “Jenufa”, Katja Kabanova” and “From the House of the Dead”, here emerges an operatic hymn to life.

The musical language of the mature Janáček is powerful and vivid. Animals, villagers and forest life speak through his meticulous score.

It is 35 years since I encountered Janáček’s genius. As a young Kapellmeister at the opera house in Rostock, my task was to coach and to rehearse The Cunning Little Vixen. I recall distinctly the moment I opened the score and began to work through the complex score on the piano. I was captivated. The following weeks of rehearsal for the new production were demanding. Sadly, I lost my opportunity to conduct this wonderful piece in 1983: the German Democratic Republic called upon me for 18 months’ compulsory military service, to defend my communist homeland…

Since then I have had the good fortune to study and perform many works by Janáček.

The Cunning Little Vixen, however, has remained elusive. After so many years, it is a gift for me to conduct this wonderful opera here in Perth, this splendid city of my adopted homeland.

Johannes Fritzsch CONDUCTOR Translated by Sue Collins

Vice Regal Patron’s Message

I welcome you to West Australian Opera’s 2018 opera season in His Majesty’s Theatre.

West Australian Opera enjoyed a wonderful start to the year with City of Perth’s Opera in the Park when thousands of people gathered together in Supreme Court Gardens, and around the State, to enjoy Puccini’s beautiful story La Bohème. This free event was supported by the City of Perth, Lotterywest and Healthway with the message ‘ActBelong-Commit’.

Janáček’s early twentieth century masterpiece The Cunning Little Vixen is presented for you by arrangement with Victorian Opera in a new production directed by Stuart Maunder and conducted by Johannes Fritzsch.

As the state opera company, West Australian Opera contributes to the arts in Western Australia by presenting world class opera at His Majesty’s Theatre, offering education and community programs, and developing young artists through the Wesfarmers Arts Young Artist Program.

I join the Chairman, Andrew Pascoe, and Executive Director, Carolyn Chard, in acknowledging the generous support of State and Federal governments, as well as expressing appreciation to our private and corporate supporters.

Her Excellency The Honourable Kerry Sanderson AC GOVERNOR OF WESTERN AUSTRALIA Vice Regal Patron, West Australian Opera

Chairman’s Message

Welcome to The Cunning Little Vixen which we are proud to present by arrangement with Victorian Opera who premiered this wonderful new production in Melbourne last year. We welcome and thank the cast, creative team, the West Australian Symphony Orchestra and West Australian Opera Chorus including the childrens’ chorus, conducted by Johannes Fritzsch and directed by Stuart Maunder.

Opera is a beautiful but expensive art form and we value the contribution of sponsors, patrons, donors, board and you, our audience. Subscribers play an important role in the life of West Australian Opera and I encourage you to subscribe to the 2018 season (see waopera.asn.au).

I particularly wish to acknowledge Principal Partner Wesfarmers Arts, Major Partners Healthway and the Minderoo Foundation, Civic Partner the City of Perth and Official Airline Partner Qantas.

We are grateful for the continued support of the Federal Government through the Australia Council and the State Government through the Department of Local Government, Sport and Cultural Industries.

I am confident you will enjoy this production, and hope for your continued support of and active engagement with West Australian Opera.

Andrew Pascoe CHAIRMAN West Australian Opera

Executive Director’s Message

We are pleased to present the passionate and vibrant music of Janáček with his gorgeous work The Cunning Little Vixen.

This new production from Victorian Opera has a wonderful creative team including designers Richard Roberts (set), Trudy Dalgleish (lighting), Roger Kirk (costumes) and Stuart Maunder (director) and for the first time the company is under the baton of Johannes Fritzsch.

This rarely-heard opera is considered one of the great masterpieces of early twentieth century music. The score is playful and poetic telling the story of the life of the vixen, Sharp Ears, in a bittersweet tale of love and loss reminding us of the fragility of nature, humans and animals.

In 2018 we celebrate a year of free spirits in three operas on the mainstage; The Cunning Little Vixen, Carmen and Don Giovanni which are all designed to offer the moments that make our hearts beat faster, stronger, louder through story and song.

For over 50 years, West Australian Opera has been Western Australia’s full time, professional opera company. Opera can touch the heart of everyone, we invite you to come on this journey with us, learn more about our upcoming events and performances at www.waopera.asn.au Carolyn Chard EXECUTIVE DIRECTOR West Australian Opera

Bringing the world closer Andrew Stead, Qantas Dreamliner Pilot Qantas Dreamliner, now flying Perth to London non-stop.

Book at qantas.com *Subject to government and regulatory approval.

THE CUNNING

LITTLE VIXEN

7.30pm His Majesty’s Theatre 21, 24, 26, 28 April 2018

Presented in arrangement with Victorian Opera 90 minutes including one interval Sung in English with English Surtitles Composer Leoš Janáček Libretto Rudolf Těsnohlídek & Stanislav Lolek Conductor Johannes Fritzsch Director Stuart Maunder Set Designer Richard Roberts Costume Designer Roger Kirk Lighting Designer Trudy Dalgleish Guest Chorus Master & Music Supervisor Marilyn Phillips Vixen Emma Pearson Fox Rachelle Durkin Forester James Clayton Schoolmaster / Mosquito Matt Reuben James Ward Forester’s Wife / Owl Ileana Rinaldi Harašta Mark Alderson Parson / Badger Paull-Anthony Keightley

Stage Manager Karen Farmer Deputy Stage Manager Josh Marsland Head of Wardrobe Sue Kerr Wardrobe Assistant Erin Minervini Head of Wigs Virginia Hawdon Head of Make Up Sharon Krywood Dresser Holly Sansalone Dresser Phillip Cox Dresser Katherine McKay Child Chaperone Jenny Poh Surtitle Operator Katja Webb Repetiteur Tommaso Pollio Pre-Performance Talks Annie Patrick WAAPA Stage Management Secondment Jacinta Wajon

These performances of The Cunning Little Vixen by Leoš Janáček (Edited by Jiri Zahradka) with English translation by Norman Tucker are given by permission of Hal Leonard Australia Pty Ltd, exclusive agents for Universal Edition of Vienna

Stuart Maunder

Johannes Fritzsch

Richard Roberts

For the last thirty years Stuart has been directing musical theatre and opera in Australia. He joined The Australian Opera as Stage Manager in 1978, becoming a Resident Director in 1981. In 1992 he joined The Royal Opera (UK) as a Staff Director whilst continuing to direct in Australia, regional UK, France and the USA.

In 2018, Johannes Fritzsch conducts The Flying Dutchman for Staatsoper Hamburg, Don Giovanni for Opera Queensland and makes major appearances with Xi’an Symphony Orchestra, Auckland Philharmonia Orchestra, Orchestra Victoria and the Tasmanian Symphony Orchestra. Mo. Fritzsch has conducted the Hamburger Sinfoniker, Düsseldorfer Sinfoniker, Philharmonie Essen, NationaltheaterOrchester Mannheim, Staatskapelle Schwerin, Berliner Sinfonie Orchester, Staatskapelle Dresden, Hong Kong Philharmonic and all the Australasian symphony orchestras. Opera Companies with which he has worked include: Sächsische Staatsoper Dresden, Opernhaus Köln, Deutsche Oper Berlin, Komische Oper Berlin, Opera Bastille Paris, Grazer Oper, the Royal Opera Stockholm, Malmö Operan and Opera Australia in Sydney and Melbourne (including Wozzeck, Don Giovanni, Carmen, Tosca, Rigoletto, Salome, Der Rosenkavalier). Mo. Fritzsch recently held the position of Chief Conductor of the Grazer Oper and Grazer Philharmonisches Orchester, Austria; from 20082014, he was Chief Conductor of the Queensland Symphony Orchestra and is now their Conductor Laureate. Recently, he was appointed Principal Guest Conductor of the Tasmanian Symphony Orchestra.

Richard Roberts is an award-winning designer and educator whose work spans theatre, dance, opera, film and television. Richard’s designs include: Rigoletto, Don Pasquale, The Magic Flute, Die Fledermaus (Opera Australia); Cunning Little Vixen, Nixon in China, The Magic Flute, Baroque Triple Bill, The Marriage of Figaro; The Corronation of Poppea, Don Giovanni (Victorian Opera); Rigoletto (NZO); Ruddigore (OperaQ). Dance: Requim, Molto Vivace, Raymonda (The Australian Ballet); La Sylphide (WA Ballet); La Fille mal gardee (WA Ballet/ Queensland Ballet). Theatre: The Season (Sydney Festival, Melbourne Festival, national tour); Fiddler on the Roof (TML); Noises off, Much ado about nothing, Tartuffe (QT); Last man standing, Solomon and Marion, Next to Normal, The Gift, Frost/Nixon, Macbeth, Dreams in an empty city, As you like it, Hedda Gabbler, All my sons (Melbourne Theatre Company); True West, Australia Day, Riflemind (Sydney Theatre Company); Glengarry Glen Ross (Black Swan Theatre); The Sapphires (Belvoir). Previously, Head of Production at VCA, Head of Design at WAAPA and Hong Kong Academy of Performing

Director

In 1999 Stuart was appointed Artistic Administrator of Opera Australia, becoming Executive Producer 2004 - 2008 . His OA productions include Tales of Hoffmann, Manon, Gypsy Princess, Don Pasquale, My Fair Lady and A Little Night Music. His Trial by Jury, HMS Pinafore and Pirates of Penzance have been televised nationally on ABC TV. Recent Australasian productions have included Cunning Little Vixen, Into the Woods, Sunday in the Park with George and Sweeney Todd (Victorian Opera, Tosca and La boheme (West Australian Opera) and Candide and The Mikado (New Zealand Opera).

Stuart is currently General Director of New Zealand Opera and will join State Opera South Australia as Artistic Director in July 2018.

Conductor

Set Designer

Emma Pearson

Roger Kirk

Trudy Dalgleish Lighting Designer

Vixen

Roger Kirk is a Tony Awardwinning set and costume designer for theatre, film and television. He has designed costumes for productions such as The Boy From Oz with Hugh Jackman, The King and I and King Kong the Musical. Roger was the costume designer for the film Jesus Christ Superstar, other credits include Andrew Lloyd Webber’s Whistle Down The Wind (London), The King and I (London Palladiu), Hugh Jackman’s The Boy from Oz Arena Spectacular, Silver Rose, Le Corsaire for Munich Opera House, Dusty – The Original Pop Diva, and Shout!.

His Broadway credits include The King & I (Tony Award), Jesus Chris Superstar, and 42nd Street (Tony Award Nomination).

Trudy Dalgleish is one of Australia’s most sought after Lighting Designers. She has won many prestigious awards: 2001 Helpmann Award for lighting design of White Devil and in 2002 an ‘Entech’ Award for Best Lighting Designer – Live Events, the John Truscott Design Award for Excellence, the Music Theatre Technical Design award for Eureka at the Green Room Awards and Best Lighting for Hairspray. She was nominated a Helpmann award for the opera Dead Man Walking and a Green Room award for The Boy from Oz, and most recently for Cunning Little Vixen with Victorian Opera.

Principal artist at the Hessisches Staatstheater, Wiesbaden from 2005-2014, where she was the youngest singer to be awarded the honorary title of “Kammersängerin”, Emma Pearson’s repertoire there included the title roles in Lucia di Lammermoor, Lulu and La Calisto; Queen of the Night (Die Zauberflöte), Zerbinetta (Ariadne auf Naxos), Jenny (The Rise and Fall of the City of Mahagonny), Nanetta (Falstaff), Woglinde, Gerhilde and Waldvogel (Wagner’s Ring Cycle), Sophie (Der Rosenkavalier), Norina (Don Pasquale) and Hilde Mack (Elegy for Young Lovers). Recent and forthcoming engagements for West Australian Opera include the title role in Lucia di Lammermoor, Susanna (Le Nozze di Figaro); Micaela (Carmen) and Donna Elvira (Don Giovanni); title role (Athalia) for Pinchgut Opera; UKARIA 24; 4 Winds Festival; Beethoven Missa Solemnis (Budapest); Micaela for New Zealand Opera and Tasmanian Symphony Orchestra; Violetta (La Traviata) Opera Queensland; Gilda (Rigoletto) for New Zealand Opera, Theater St Gallen and Staatstheater Saarbrücken; Clorinda (La Cenerentola) Semperoper Dresden; Sophie for Opera Australia, Minneapolis and Valencia; and Nanetta in the Nationaltheater Mannheim.

Costume Designer

Roger’s most recent credits include Sweeney Todd for Victorian Opera, Miracle City for Luckiest Productions and sell-out shows in Sydney and Melbourne for Hugh Jackman’s Broadway to Oz: Hugh Jackman Live in Concert.

2017/18 productions as Lighting Designer include Melba and In the Heights (Hayes Theatre, Sydney), The Cunning Little Vixen (Victorian Opera), Cat Stephens’ “Cat in an Attic” tour in New Zealand, Candide (New Zealand Opera), and Carousel (WAAPA). As Associate Lighting Designer for The Sound of Music, The Bodyguard and The Wizard of Oz (Gordon Frost ) and Beautiful: The Carole King Musical (Michael Cassel).

Rachelle Durkin

Fox

Forester

James Clayton

Matt Reuben James Ward Schoolmaster/Mosquito

Rachelle Durkin’s most recent performances include soprano soloist in Beethoven’s Symphony No. 9 with the Detroit Symphony under Leonard Slatkin, Musetta (La bohème) and Helena (A Midsummer Night’s Dream) with Hawaii Opera Theatre, Adina (L’elisir d’amore) with West Australian Opera and Opera Australia, Rossini’s Stabat Mater with the West Australian Symphony Orchestra under Asher Fisch, Donna Anna (Don Giovanni) with the Lyric Opera of Kansas City, Norina (Don Pasquale) with Opera Australia and The Metropolitan Opera, New York and a Gala Concert with Bryn Terfel at Leeuwin Estate, Western Australia.

In 2018, James Clayton sings Marcello (La bohème), Escamillo (Carmen) and Leporello (Don Giovanni) for West Australian Opera and Angelotti (Tosca) for New Zealand Opera; he appears in concert with the Tasmanian and West Australian Symphony Orchestras and Orchestra Wellington.

Matt Reuben James Ward is a graduate of the Royal College of Music London (RCM Yvonne Wells Award) and the West Australian Academy of Performing Arts.

Other appearances have included Lisa in La Sonnambula, Clorinda in La Cenerentola and Miss Schlesen in Satyagraha at The Met and Violetta, Fiordiligi, The Countess, Armida (Rinaldo), Alcina and Tytania for Opera Australia. For West Australian Opera, she has sung Musetta, the Four Heroines in Les contes d’Hoffmann and Amina in La sonnambula.

Last month, Rachelle was soprano soloist for West Australian Symphony Orchestra’s performances of Beethoven’s Symphony No. 9.

James made his Opera Australia debut as Baron Douphol in La traviata and his Japanese debut as Don Alfonso in Cosi fan tutte for Biwako Hall.

Other appearances include Escamillo (Carmen) for Opera Australia and New Zealand Opera, Tonio (Pagliacci) for Victorian Opera and many major performances for West Australian Opera - Scully (The Riders), Leporello (Don Giovanni), Iago (Otello), Conte di Luna (Il trovatore) and the title roles in Rigoletto, Le nozze di Figaro and Il barbiere di Siviglia.

James Clayton is a regular soloist with all the major Australasian Symphony Orchestras in works such as Orff’s Carmina Burana, Berlioz’ Le damnation du Faust, Puccini’s Messa di Gloria, Handel’s Messiah, Beethoven’s Symphony No. 9 and Verdi’s Requiem.

Credits include the Messenger in Stephen Fry’s Life to Come (Britten Theatre), Western Union Boy in English Touring Opera’s Olivier Award Winning Paul Bunyan (UK tour), Frantz in Tales of Hoffmann (ETO, UK tour), Giacomo in L’assedio di Calais (Armel Operafesztivál Budapest, Arte live broadcast, ETO), Monostatos in Die Zauberflöte (Mid Wales Opera), Borsa in Rigoletto (Opera Project), Jiminy Cricket in Pinocchio and Carter in King Tut (Charles Court Opera London). Previously for WAO Matt performed Mercury in Orpheus in the Underworld, A Lawyer in Peter Grimes, and as a soloist in PEET Young Artist Concert Series.

Matt also works extensively in opera community engagement, having worked on projects with Operasonic UK, Royal College of Music Sparks Family Orchestra & Chorus London, BBC Symphony Family Orchestra & Chorus, BBC Proms Sing Plus and Royal Philharmonic Orchestra Glyndebourne.

Ileana Rinaldi

Mark Alderson

Paull-Anthony Keightley

A graduate of WAAPA, The Australian Opera Studio and a former WA Opera Young Artist, one of WA Opera’s inaugural Mentored Artists and the Bendat Scholarship recipient, Ileana regularly appears on stage as a soloist for WA Opera and this year makes her stage debut at Opera Australia as Contessa Ceprano in Verdi’s Rigoletto.

Mark completed his Bachelor of Music at the University of Western Australia in 1996. He completed further studies at the Opera School Wales in 2001 and The Australian National Academy of Music in 2003.

A graduate of Manhattan School of Music and the Western Australian Academy of Performing Arts, Paull-Anthony made his professional debut with West Australian Opera in Gianni Schicchi before appearing as Sciarrone in the company’s production of Tosca.

Forester Wife/ Owl

During her time with the West Australian Opera, Ileana has performed Marthe in Faust (Gounod), Teresa in La Sonnambula (Bellini), Mercedes in Carmen (Bizet), Praskovia in The Merry Widow (Lehar), La Principessa in Suor Angelica (Puccini), The Grandmother, Duchess and Crone III in Nostradamus (Z. de Voight), La Madre di Cio Cio San in Anthony Minghella’s English National Opera production of Madama Butterfly (Puccini) and La Ciesca in Gianni Schicchi (Puccini) for the 2016 Opera in the Park.

Ileana Rinaldi’s future engagements include Amneris in Aida (Verdi), Alisa in Lucia di Lammermoor (Donizetti), Contessa Ceprano in Rigoletto (Verdi), and The Witch and Foreign Princess in Rusalka (Dvorak).

Harašta

West Australian Opera: Mark was young artist for the company in 1998 and 1999.

Roles include Schaunard in La Boheme, Antonio in The Marriage of Figaro, Wagner in Faust, Betto in Gianni Schicchi, Morales and Zuniga in Carmen, Cascada and Pritschich in The Merry Widow, Fiorello in Il Barbiere di Siviglia, and Gregorio in Romeo et Juliette.

Mark has also been part of the company’s regional tours to Kalgoorlie, Mandurah, Geraldton and Broome, the Valley of the Giants, and will be performing in the Opera in the Pinacles in May. Mark has been a member of the West Australian Opera Chorus since 1994.

Other Companies: Baritone soloist for The University Choral Society, Perth Oratorio Choir, Collegium Symphonic Chorus, St George’s Cathedral and Albany Choral Society.

Parson/Badger

In 2017 Paull-Anthony was named the winner of the Opera Foundation for Young Australians’ Deutsche Oper Berlin Award, received the Richard Bonynge Award in the Joan Sutherland & Richard Bonynge Bel Canto Award and was named a finalist in the IFAC Handa Australian Singing Competition.

2018 sees Paull-Anthony as Colline (La Bohème), Parson/ Badger (The Cunning Little Vixen) and Zuniga (Carmen) with WAO and the recipient of the Amelia Joscelyne Memorial Scholarship from the Melba Opera Trust before joining the ensemble at Deutsche Oper Berlin.

West Australian Opera Chorus

Perry Joyce Pásek

Ashlyn Tymms Mrs Pásková / Lapak

Pia Harris Chocholka

Rebecca Castellini Cock/ Jay

Prudence Sanders Tyrenka / Hen

Chelsea Kluga Hen/Woodpecker

Mary-Attracta Connolly Hen

Sonni Byrne Hen

Anne Millar Hen

Nathan Stark Male Chorus

Thomas Friberg Male Chorus

David Penco Male Chorus

The Cunning Little Vixen Children’s Chorus

Thomas Denver Cricket / Pepik / Fox

Lucky Farrell Frog / Frantik / Fox

Bella Freeman Caterpillar / Fox Cub

Rio Haigh Bee / Fox Cub

Madeline Kelly Snail / Fox Cub

Lily Macliver Grasshopper / Fox

Edward Mirco Bee / Fox Cub

Emily Neal Young Vixen / Fox Cub

Synopsis ACT ONE THE FOREST; HOW VIXEN WAS CAUGHT. The Badger dozes in the afternoon sun. The Dragonfly dances. The Forester pauses for a nap on his way home. While he sleeps, the Cricket and the Caterpillar give a concert. A young Vixen is exploring the forest for the first time. The Forester wakes, and seizes the innocent cub. The Vixen grows up in the Forester’s home. The Vixen endures the Dog’s sexual advances, and defends herself vigorously against the taunts of the Forester’s children. She is tied up. Outraged by the economic and sexual slavery of the Hens, she becomes a feminist. But the Hens’ conservatism is too much for her, and she systematically kills them all before escaping.

ACT TWO THE FOREST; VIXEN FINDS A HOME. The Vixen returns to the forest, and cruelly evicts the Badger from his comfortable home. The Forester, full of drink, taunts the Schoolmaster about his hopeless passion for Terynka, a gypsy girl.

But the Forester too is plagued by the memory of the Vixen he could not tame. The Vixen follows the Schoolmaster and the Parson as they stumble home. The Schoolmaster mistakes her for Terynka, and is inspired to the make the single most passionate outburst of his life. The Forester persistently hunts the Vixen through the forest. The Vixen finds a mate, and is soon obliged to marry.

ACT THREE THE FOREST; THE DEATH OF VIXEN. The poacher Harašta is going to visit Terynka, whom he is to marry. He finds a dead hare - one of the Vixen’s victims. The Forester warns him against poaching, and sets a trap for the Vixen. The Vixen and the Fox play with their cubs. They find the trap, and ridicule the Forester’s incompetence.

Harašta returns to pocket the Hare. The Vixen at first outwits him, but is eventually shot. The Schoolmaster bitterly regrets his lost opportunity – Terynka is to marry today. Inspired by the beauty of nature, the Forester recalls his youth, his imagination ablaze. He sleeps and dreams of the Vixen.

A Frog reminds him of the infinite cycle of nature and existence.

Photo by Jeff Busby for Victorian Opera

Proud supporter of West Australian Opera.

www.apnoutdoor.com.au

THE CUNNING LITTLE VIXEN: JANÁČEK’S CELEBRATION OF LIFE

“The Cunning Little Vixen, however, remains first and foremost a celebration of life, with all its hopes, adversities, dreams and disappointments—leading to the eternal renewal in nature.”

Leoš Janáček’s opera can be seen as a personal evocation of his own life. He was born in 1854 in rural Moravia (now part of the Czech Republic) and was familiar with its folk songs, using them in many of his compositions. Like many Czechs he had a strong connection with nature, and the forest, its animals, birds and insects all come to life in what he initially referred to as his “opera idyll”.

Folk song melodies invoke the joyous life of both animals and humans whilst orchestral interludes bring moments of reflection.

However Janáček’s passionate, vibrant music also creates his own personal language through orchestral colour and rhythms. His style is totally unique, both Slavonic and universal.

Ironically his opera had its genesis in a serialised cartoon in the local Brno newspaper, depicting the adventures, and misadventures, of a wily vixen who cleverly outwits the local forester. This was later turned into an illustrated novella and subsequently formed the basis of Janáček’s opera. However, the latter’s ending is much darker than the original, and his “opera idyll” becomes “a merry thing with a sad ending”.

Janáček wrote his own libretto, and its three acts outline the life of the Vixen and her interaction with the inhabitants of the forest, both animal and human: She is wooed and falls in love with a handsome Fox; they produce a litter of cubs; and enjoy

the freedom of the forest. Unfortunately her confrontation with the Poultry Dealer/Poacher, leads to the shot that kills her. The music provides the dramatic impulse that propels the opera to this dramatic climax.

The Cunning Little Vixen, however, remains first and foremost a celebration of life, with all its hopes, adversities, dreams and disappointments—leading to the eternal renewal in nature. This important element is exemplified in the forest itself and informs the complete scenario. The Vixen, her family and friends all inhabit this magical, natural world of the forest with its power to regenerate and protect.

The final scene is one of reflection as the Forester dreams of his youth and all the forest animals appear, including a tiny fox cub, reminiscent of her dead mother: Thus celebrating the regeneration of life. This music is some of the most beautiful in the entire opera, and was played at the composer’s funeral in 1928. It was a fitting tribute to celebrate the life of one of the twentieth century’s greatest composers.

Annie Patrick Program Notes

Thank you

LEADERSHIP CIRCLE ($10,000+) Alexandra & Julian Burt Liz & Erich Fraunschiel Warwick Hemsley & Melissa Parke Sam & Leanne Walsh PRINCIPAL PATRON ($5,000+) Dr Jack Bendat AM CitWA & Mrs Eleanor Bendat Dr Patricia Kailis The Robert Kimpton Family Dr Robert Larbalestier Annie & Neil Patrick Richard Tarala & Lyn Beazley AO Joyce Westrip OAM Anonymous (1) BENEFACTOR ($2,500+) Neil Archibald & Alan R Dodge AM Catherine Ferrari Eleanor John Max Kay AM CitWA & Norma Kay Bryant Macfie Hon J McKechnie Dr Peter Simpson OAM Michael & Helen Tuite Anonymous (1) SUPPORTER ($1,000+) Her Excellency The Honourable Kerry Sanderson AC Betty Barker Gay & Robert Branchi Dr Peter & Mrs Rae Breidahl Peter Briggs Lynne Burford Publicity Mrs Joan Carney Frank Cooper AO Christene Dalla Riva Lorraine Ellard Dr Dennis Hayward

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-Andrew & Nicola Forrest

Proudly supporting WA Opera

Company VICE REGAL PATRON Her Excellency the Honourable Kerry Sanderson AC Governor of Western Australia Chairman Andrew Pascoe Deputy Chair Catherine Ferrari Board Directors Julian Burt Mario D’Orazio Anthony Gianotti Warwick Hemsley Darren Lewsen Ingrid O’Brien Jan Stewart PATRONS Dr Jack Bendat AM CitWA Cav Uff Giuseppe Bertinazzo OMRI HONORARY LIFE MEMBERS Dario Amara Cav Uff Giuseppe Bertinazzo OMRI Hon Julie Bishop MP Frank Cooper Erich Fraunschiel Colin Goddard Francis Landels Bruce Martin Margaret McManus Dr Richard Mills AM Marilyn Phillips Vincent A Warrener AM KHS Annie Patrick

WEST AUSTRALIAN OPERA STAFF Executive Director Carolyn Chard Artistic Director Brad Cohen Production Manager Mandy Farmer Accountant Debbie Byrnes Artistic Administrator Rebecca Kais Development Manager Coralie Bishop Acting Development Manager Claudia Rayne Marketing Manager Danielle Ierace Education Manager Terasa Letizia Development & Marketing Coordinator Tanner Davies Office Coordinator Marion O’Connor Publicity Lynne Burford Financial Accountant Sue Hobson Marketing Consultant Daniele Foti-Cuzzola Sales Consultant Rachel Sait Regional Projects Manager Melanie Timms WAAPA Interns Catherine Power, Codi Gribble

TOUCH THE CLOUDS...

IMAGINE WAKING UP IN YOUR PRIVATE APARTMENT. Friends of WA Opera choose to stay overnight at Quest East Perth – A brand new Apartment Hotel on Adelaide Terrace.

Visit questeastperth.com.au or call +61 8 6210 6000

UWA Conservatorium of Music Proud Tertiary Education Partner of West Australian Opera As one of Australia’s leading music programs, in one of the world’s leading universities, we create the future leaders of the Arts community. music.uwa.edu.au

WASO Onstage Tonight VIOLIN Laurence Jackson

Christine Reitzenstein Andrew Tait

Concertmaster

Graeme Norris A/Assistant Concertmaster

Rebecca Glorie

A/Principal 1st Violin

Kate Sullivan

Assistant Principal 2nd Violin

Fleur Challen Beth Hebert Alexandra Isted Christina Katsimbardis Akiko Miyazawa Lucas O’Brien Melanie Pearn Ken Peeler Louise Sandercock Jane Serrangeli Kathryn Shinnick Bao Di Tang VIOLA Rachael Kirk Kierstan Arkleysmith Nik Babic Allan McLean Elliot O’Brien CELLO Rod McGrath Chair partnered by Tokyo Gas

Louise McKay

Chair partnered by Penrhos College

Shigeru Komatsu Oliver McAslan Eve Silver* Tim South DOUBLE BASS Mark Tooby

A/Assoc Principal Double Bass

Louise Elaerts

FLUTE Andrew Nicholson Mary-Anne Blades Andrew Freeman^ PICCOLO Michael Waye OBOE Liz Chee A/Principal Oboe Zhiyu Xu° COR ANGLAIS Leanne Glover CLARINET Allan Meyer Jodie Upton^

TRUMPET Evan Cromie Matthew Dempsey° Peter Miller TROMBONE Joshua Davis Chair partnered by Dr Ken Evans & Dr Glenda Campbell-Evans

Matthew Walker^

BASS TROMBONE Liam O’Malley TUBA Cameron Brook TIMPANI Alex Timcke PERCUSSION Brian Maloney Chair partnered by Stott Hoare

BASS CLARINET Alexander Millier BASSOON Jane Kircher-Lindner Adam Mikulicz Chair partnered by Sue & Ron Wooller

CONTRABASSOON Chloe Turner HORN David Evans Robert Gladstones Principal 3rd Horn

Julia Brooke Francesco Lo Surdo

Robyn Gray^ Paul Tanner^

HARP Sarah Bowman Guest Musician^ *Instruments used by these musicians are on loan from Janet Holmes à Court AC.

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WA Opera Ad March 2017.indd 1

YEARS PROUDLY AUSSIE

3/03/2017 4:39 PM

PERTH THEATRE TRUST Director General Duncan Ord Chairman Morgan Solomon Trustee Cr Jim Adamos Trustee Cr Janet Davidson Trustee Julian Donaldson Trustee Michelle Tremain Trustee Tanya Sim Trustee Nadia van Dommelen Ex-Officio Colin Walker

HIS MAJESTY’S THEATRE ADMINISTRATION Venue Manager Helen Stewart Manager Venue Operations Alexandra Macnish Event Operations Coordinator Jenny May Accounts and Admin Officer Shawneez Gamieldien Administration Assistant Julianna Noonan Stage Door Keeper Narda McMahon Box Office Supervisor Jenny Franklin Archivist Ivan King

Photo by Jeff Busby for Victorian Opera

HIS MAJESTY’S THEATRE VENUE TECHNICAL Technical Manager Matthew Nankivell Assistant Technical Manager Tony Gordon Head of Audio Jeremy Turner Head Flyman Matt Mclay Lighting Board Operator Cameron Routley Head Electrician Michael Rippon

Thank You West Australian Opera thanks our partners for their valuable support.

PARTICIPATION PARTNER

PRINCIPAL PARTNER

MAJOR PARTNERS CIVIC PARTNER

OFFICIAL AIRLINE PARTNER

OPERA PARTNERS

TERTIARY EDUCATION PARTNER

GOVERNMENT PARTNERS This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory

OPERA SUPPORTERS

7:18 am

thursday 22 february 33°59’37.6”s 115°03’29.5”e 2018 harvest block 5 chardonnay

proud sponsors of west australian opera margaret river

www.waopera.asn.au www.facebook.com/waopera www.twitter.com/waopera www.instagram.com/waopera