The Cunning Little Vixen/NE Conservatory

Reacting against the harmonic, rhythmic and melodic conventions of 19th-century Romantic music, many composers of the early Modern Era created highly original operatic works in a diverse variety of styles. Few operas are more unique than Leos Janacek's 1924 "The Cunning Little Vixen." Bringing a pastoral fairy tale to life with his thoroughly individual musical sonorities, while infusing it with elements of Czech folk music and dance, the composer succeeded in crafting one of the most colorful and haunting works in the repertoire.

And "Vixen" is an original in every sense. The libretto was fashioned by Janacek himself, taken from a published story that had its origins in a comic strip. The text is often highly witty, with several satirical jabs at social conventions. It also anticipates ideals that would come to fruition much later in the century, in movements such as animal rights, and equality for women. Although the work is classified as a comic opera, it is often sardonic humor -- something of a bucolic dream with nightmarish undertones.

NEC scheduled four performances of the Janacek masterwork to be performed at the Cutler Majestic Theater. However, due to Monday's snow, the performance order was disrupted. Tuesday's cast included Erica Petrocelli in the title role. A recent winner of the Metropolitan Opera regional auditions, the 23 year old soprano combines an ingratiating stage presence with a secure and opulent soprano voice. Her musicianship was impeccable, the intonation dead-on, and the phrasing fluid and natural. It is apparent that a significant career is imminent.

In the key role of the Forester, Junhan Choi exhibited a splendid baritone voice, rich and rounded. When he opened up to a forte dynamic, he produced a truly impressive sound, as was the case in his Act Three monologue. Chauncey Blade as the Poacher, Sangmoon Lee as the Rechtor, and Sarah Tuttle as the Fox who wins the Vixen's heart, were all exceedingly good in their somewhat smaller roles. Singing the minor parts and the choral sequences, the NEC students brought true vigor to the music. Their love and enthusiasm for the score was consistently apparent.

The staging was quite effective, interspersing as it did fantasy and reality. The stage movement was lively, well integrated and never self-conscious. Much dance was interpolated, which contributed to the action, particularly during the brief orchestral interludes. The choreography was bare-boned to say the least. Yet the artistic team had anything but a corps de ballet at their disposal, and the simple steps were certainly in keeping with the rustic mood of the work.

With Gil Rose at the helm of an opera, particularly one from the 20th century, Boston audiences can be assured of excellent results. He conducted the Janacek with absolute assurance, incising the complex rhythms with clarity, while bringing out numerous details in the composer's pellucid orchestration. The student orchestra played wonderfully under his leadership, with the all-important woodwinds deserving of special praise for their herculean efforts.

No apologies need be made for NEC's "Cunning Little Vixen" being a student-based production. In fact, the performances were sung in the original Czech language, considered to be among the most difficult to manage. Even veterans of the opera stage are intimidated! Considering its excellent overall singing, fine production values and masterful conducting, this "Vixen" could have been performed with equal success on any major opera stage throughout the world.

For a complete calendar of other Conservatory events, and numerous free concerts, visit: http://necmusic.edu/concerts-events.