The world premiere of “Pancho Rabbit and The Coyote,” a new opera by Pulitzer Prize-winning composer Anthony Davis, took place on January 27, 2024 at the Southwestern College Performing Arts Center in Chula Vista, California. This innovative children’s opera, inspired by Duncan Tonatiuh’s acclaimed 2011 book, has garnered significant attention for its exploration of timely themes and its vibrant musical style.
The proximity of Chula Vista to the U.S.-Mexico border adds a poignant layer to the opera, which reflects the complexities faced by undocumented migrant workers. With Tijuana just 12 miles away, the setting amplifies the opera’s themes of family, migration, and survival. The production, commissioned by Bodhi Tree Concerts, has been described as both a children’s opera and a profound commentary on social inequities.
Mariana Flores Bucio, a UC San Diego alum and Ensenada native, delivered a standout performance as Pancho Rabbit. Her portrayal was characterized by a blend of innocence and emotional depth, showcasing her strong vocal talent. Victor Ryan Robertson excelled as the Coyote, exploring the character’s moral ambiguity through a compelling musical interpretation. His song, “I know all the shortcuts,” highlights the dual nature of his character, oscillating between ally and threat.
The cast also featured notable performances by Oriana Geis-Falla as Mama Rabbit and El Rio, and Bernardo Bermudez as Papa Rabbit and El Tunel. Each character contributes to a narrative that interweaves fantasy with the harsh realities of migration. The opera presents Pancho’s journey to find his father across the border, navigating a landscape filled with both danger and magic.
Davis’ score stands out for its unique fusion of musical styles, incorporating elements of classical, cumbia, cha-cha, Norteno, salsa, and jazz. The orchestra, comprising 17 musicians, executed the score with precision and energy, highlighting the richness of the music. Notable musicians included trombonist Michael Dessen and violinist David Boroff, whose contributions added depth to the performance.
The lyrics, crafted by librettist Allan Havis and translated into Spanish by Laura Fuentes, were displayed via supertitles, making the opera accessible to a diverse audience. Havis’ poetic lyrics resonated with both children and adults, enhancing the opera’s appeal.
The direction of the production, handled by Octavio Cardenas, was marked by clarity and effective staging. The use of tulle to simulate a river was a particularly creative choice, emphasizing the journey’s peril while remaining visually engaging. Despite a somewhat rushed conclusion, the production maintained a high standard throughout.
As the opera prepares for its next performance in Tijuana on January 31, 2024, some cast members have expressed concerns about crossing the border, highlighting the real-life implications of the story they portray. This reflects the ongoing complexities surrounding immigration and border policies, making the opera’s themes strikingly relevant.
“Pancho Rabbit and The Coyote” stands as a significant contribution to contemporary opera, blending storytelling with critical social commentary. With its strong performances, innovative music, and engaging narrative, it is poised to reach wider acclaim in the future.
