I love opera. It’s far from a secret, but it’s not something I talk about much because I don’t have many people in my daily life to discuss it with. But I love it. The way the score, the orchestra, vocal gymnastics, costume and set come together to tell a story is always fascinating and often sublime. When I was at uni I studied everything from Mozart’s Le Nozze Di Figaro, Handel’s Semele, and Beethoven’s Fidelio to Tippett’s The Knot Garden, Schoenberg’s Erwartung and Berg’s Wozzeck. But since leaving uni, most of the opera I’ve seen as been at the Royal Opera House or the Coliseum, and usually with my parents who favour the classical style, so while I’ve loved each and every production in its own way, the operas I’ve seen have been exclusively traditional – I’ve seen at least 3 productions of Bizet’s Carmen and a lot of Verdi and Mozart.
So when my most opera-savvy friend, Phil (who is himself a singer with the ENO) said that there was a production called Vixen coming up which was essentially immersive opera, I HAD to go.
Based on Janacek’s classic opera Cunning Little Vixen, Vixen is a modern take, translated into English and set in the present day. Instead of being a fox, Vixen is a young homeless girl on the streets of London, just trying to survive. While the translation and modernisation of the text wasn’t 100% successful for me, the production wouldn’t have worked in the original Czech with surtitles, and it didn’t detract from the experience – though I can’t pretend I didn’t giggle when I heard the phrase “Maccy D’s”. That’s probably a first.
Wearing headphones which are playing some of the background and pre-recorded music and seamlessly blending it with the live music and singing, the audience follows the cast – which includes a small live orchestra of violin, flute, saxophone, oboe and melodica/pianica – through three main sets. The musicians are brilliant, all multi-cast as the supporting characters/ensemble as well as playing much of the score, from memory, and often while moving.
Unsurprisingly, the star of the show was Vixen herself, played by Rosie Lomas. Diminutive and childlike in stature, with a powerful and haunting voice. Fragile but tough. While I wasn’t completely convinced by the updating of the text, the setting really worked – though it’s not an opera I know, I can’t imagine the traditional setting having as much impact as this production. The issues Vixen faces are very real – rejection, abuse, love, crime, and of course, homelessness – and the production makes it very clear that Vixen is just one of thousands of anonymous victims of these issues, and they all deserve better.
Is it truly immersive? It doesn’t hit all 5 senses like a Punchdrunk show, but honestly we (by which I mean my fellow Punchdrunkards and I) need to stop comparing everything to Punchdrunk, and it did draw me in and make me feel like I was in Vixen’s world, even if I wasn’t an active part of it like at Temple Studios or The McKittrick. But more importantly, it was so good I don’t care.
If you don’t think opera’s your thing, give it a go – it’s concise, relatable, and excellently produced. If you do love opera, you shouldn’t need any more convincing.
Vixen is on at The Vaults until 10th June. Info and tickets here.