Apart from the music, the composer also wrote most of the libretto and added his own ending. As a consequence, the work took on a deeper meaning. The result was a mixture of sentimentality and stark realism reminding me of a blend of Disney’s Bambi (1942) and a David Attenborough documentary. The action veers between comedy and tragedy in equal parts with some of Janáček’s most striking orchestral writing occurring intermittently.

Stuart Maunder’s new production for Victorian Opera brings out the similarity of life’s perpetual cycle as it affects us all. Even the seemingly irrational and frustratingly emotional paths we take are magnified for us all to ponder. Despite the Vixen’s death by shooting, her offspring continue life’s journey until their own inevitable demise by whatever means. The change of the seasons and the shorter life cycles by many of the creatures in the forest is brought home at the opera’s finale, when the Forester reflects poignantly on life itself.

Antoinette Halloran and Celeste Lazarenko in Victorian Opera's production of Cunning Little Vixen (photograph by Jeff Busby)

Celeste Lazarenko was a delightful Vixen – mischievous, seductive, with a voice that never faltered. The handsome Fox, sung by Antoinette Halloran, was equally impressive; their Act 2 duet was a highlight of the evening. In his striking outfit, Barry Ryan was a convincing Forester, and his Act 3 monologue was beautifully sung. Other fine performances came from Dimity Shepherd, doubling as the Forester’s wife and the Owl, Samuel Dundas as the Poacher, and Brenton Spiteri as the Schoolmaster as well as a rather large Mosquito. The roles of the Parson and the Badger were well handled by Jeremy Kleeman. The Chorus and Children’s Chorus completed a well-matched cast.

Roger Kirk’s colourful and imaginative costumes were appealing and ideally suited to the characters/animals depicted on stage. I loved the frog and I can see how younger audiences would be captivated by the activity in the forest, even if they were oblivious to the deeper meaning of the work. The costumes contrasted well with set designer Richard Roberts’s rather stark but effective set. This was cleverly illuminated to match the season by lighting designer Trudy Dalgleish.

Orchestra Victoria (or what there was of it) played well under Jack Symonds. However, for me a large attraction of this work has always been the very moving and lush orchestral Interludes and Preludes which separate various scenes. On this occasion the sound from the pit did not always rise to the occasion; at times it was threadbare and thin. This was especially noticeable in the non-vocal parts of the score. It spoiled an otherwise excellent performance. Perhaps the choice of a chamber music-sized orchestra was related to the size of the venue. However, I felt that a major Janáček work deserved better.

Victorian Opera's production of Cunning Little Vixen (photograph by Jeff Busby)

There are several excellent recordings of this work. The 1981 Decca recording in Czech has a cast headed by the delightful Lucia Popp as the Vixen, accompanied by the Vienna Philharmonic Orchestra conducted by Charles Mackerras (a Janáček enthusiast). If you prefer a version in English, there is none better than the EMI 1991 set with Simon Rattle conducting the Royal Opera House Covent Garden Orchestra and featuring a stellar cast headed by Lillian Watson and Thomas Allen.

Cunning Little Vixen (Victorian Opera) continues at the Playhouse, Arts Centre Melbourne, until 1 July 2017. Performance attended: 22 June.

ABR Arts is generously supported by The Ian Potter Foundation.