Review: THE CUNNING LITTLE VIXEN, London Coliseum

After opening night was postponed due to Storm Eunice, the ENO's new production of Leoš Janáček's opera is a welcome slice of brightness in the current gloom. One thing we have all seen in the last few years is nature's incredible ability to renew and refresh, whatever mankind may throw her way.

The ENO's first new production of The Cunning Little Vixen since 2001 serves as a reminder that life continues and nature always renews. In a good-looking production, using typical Moravian folk songs, along with an exploration of fairy tales, this quirky opera fuses both comedy and tragedy to ask what it means to be alive.

The story follows Sharp Ears, a vixen captured by a forester. Held for years as a pet, she manages to escape, making a new life for herself in the forest. After meeting a fox, she marries and has a family, only to fatally cross paths with a poacher after mocking his traps. The forester is haunted by the vixen; he recalls his youth, the beauty of nature and the continuous cycle of life and death.

Not seen at the ENO since 2005, British soprano Sally Matthews is mischievous and joyous as Vixen. Her voice is bright and clear as she follows the journey of Vixen's empowerment.

South African soprano Pumeza Matshikiza makes her ENO debut with a swagger as Fox. Her voice is vibrant and she brings a coquettish brio to her performance. Matthews and Matshikiza have a nice chemistry and their love duet is very touching.

Lester Lynch brings much character to the role of the world-weary Forester with his rich and charismatic baritone. Lynch has great stage presence; his concluding song is moving, as he realises life will continue without him.

British bass Clive Bayley, as both the Priest and the Badger, is bitter and morose at recalling his failed love affair. Ossian Huskinson is a proudly impressive Harašta the Poacher and Alan Oke is a morose Schoolmaster.

Playing the roles of the Vixen's fox cubs and other woodland creatures are 20 children, most of whom were cast from two local Westminster primary schools through the ENO's Engage initiative. They add great charm and joyfulness to the production.

Conducted by the ever-reliable Martyn Brabbins, we hear the vivid phrasing of the score to express the vast expanse of the natural world, along with the soaring climaxes and tender beauty, although an increase in pace could be beneficial at points. The ENO Orchestra sounds taut and incisive, bringing out both the lyricism and much of the disquiet in the work.

This is Jamie Manton's first main stage production for the ENO; his direction gives life and pace, but also brings out the light and shade in the story. Some of the ensemble scenes feel slightly messy, but overall this production feels fresh and vital.

It also looks wonderful. Designed by Tom Schutt, whose recent work on Cabaret and Constellations, the setting is stripped away to reveal the true backstage of the Coliseum stage, complete with storage boxes and fire exit signs. Backdrops are provided by innovative use of large rolls of fabric that descend from the rafters, gradually unrolling to reveal Anya Allin's beautifully abstract illustrations of the passing of time.

The production moves between a blander, monotone world of man, to the vibrant colour of the natural world. The animal costumes, in particular, are vivid and cartoon-like, with a prolific use of colourful and textured fabrics. The flock of chickens is dressed in white wedding dresses and yellow patent shoes, the rooster struts around in an array of dazzling metallic colours and the family dog bounces around as a giant grey puffball.

This is a good-looking Vixen with some sharp performances.

The Cunning Little Vixen is at the London Coliseum until 1 March

Photo Credit: Clive Barda

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