Two nights ago I heard a fox bark in our garden. There had been sightings according to our neighbor’s gardener, but I was skeptical. With so many coyotes around, maybe they just saw a young one, still small? But this sound was identifiably “fox” when I went to Google to check against my memories.

It felt like an affirmation of my – long debated – decision to include the image of a fox into a montage about The Cunning Little Vixen, an opera by Leo Janàcek. I hesitate to be too literal, but I also have a fascination with plucky characters, and if there ever was one, it is the fox heroine in this piece of music. She does deserve place of honor, or at least some visibility.

Janàcek’s opera is a romp, composed late in life, daringly taking a newspaper serial/comic strip as a basis for the libretto that includes all kinds of animal characters featuring nature’s life cycle and humans’ ties to it, in good and bad ways. The score is gorgeous, influenced by Czech folk music and language, animal sounds that the composer ardently recorded, and the fluidity of the Moravian landscape, its pine forests and lakes. It is also about the lives and interactions of generations, one’s place in a chain alternating between life and death.

Janàcek lost his son at age two, and his wife took his daughter away from him after separating, the girl subsequently died at age 20. The opera can be seen as one way of trying to come to terms with the legacy left through one’s children, literally and symbolically. I got to know the music in intimate detail when I sat through the rehearsals of the Portland Opera Production in 1999. I was no longer doing the super-text calls during actual performances, which also required rehearsal attendance. Instead I was accompanying my then eleven-year old who had been selected for a solo performance of one of the young fox roles, and the chorus of fox cubs. The mix of parental pride and anxiety was intense.

As parents we were intent on not pushing our children into activities, or force them to excel, or make their days endlessly structured outside of school, with little room for exploration and/or boredom (which I consider an important part of creative development, in many ways.) Years of adolescent time spent in front of computer games, without sports or social contacts, were quite worrying, yet we did not change our approach. We offered options, and any time some interest emerged, a passion for theatre camp, a new hobby of rock climbing, or the like, we had the privilege to enable them to participate, schlepp them there, funding equipment and the like. We also had the privilege of school choice – whether we chose the right one, who knows. But the boys did end up, eventually, with an education that suited their interests and talents, now doing meaningful work, these two amazingly cool human beings. With partners the same!

I have been thinking about Michelle Obama’s DNC speech which included a quip about “the affirmative action of generational wealth.” It is not just about parent’s money. It is about the time they are willing and, importantly, able to invest, the education that they themselves received and that now opens doors for their children, whether directly passed on around the dinner table, or linked to networking in academic communities and the like. It is about the willingness and ability to move into a good school district even if it means leaving a neighborhood you love, or stretching your funds beyond comfort level. It is about access.

It is about access to education at all – just look at the mind boggling numbers, newly published, that show how state-provided bikes for girls has impacted the rates of attending and finishing high school in rural areas around the world. Cycling, rather than walking miles on end, empowered female students.

It is about access to the education you wish to receive. In the context of voucher scams and political reemergence of publicly rooting for segregated schools, it becomes a burning issues connected to racism. (Here is an informative essay about school choice published this week in ProPublica.)

It is about access to education that is tailored to the needs of the disability community. We are not just talking about Project 2025, the Heritage Foundation’s blueprint for a conservative administration. It includes the elimination the Department of Education altogether and drastically cuts federal funds for schools. The plan includes proposals to phase out the $16 billion Title I funding program over the next 10 years, convert the $13 billion IDEA program for students with disabilities to block grants or a private school choice offering. This means that students with disabilities no longer have the protections during public school education imposed by law. Vouchers for private schools? Does not include the cost of transportation, schools can throw them out at will, with no oversight, these schools are not accountable for outcomes, and they can reject students whose disabilities are particularly severe. (Ref.) Note that these are not just future possibilities. Last May House Republicans proposed to “Reduce Support for Students with Disabilities.” Under the proposal, as many as 7.5 million children with disabilities would face reduced supports—a cut equivalent to removing more than 48,000 teachers and related services providers from the classroom.

The montage is based on a photograph of a pine forestc like those in Bohemia, reflected in an icy lake, with several pale suns traversing the horizon to indicate the change of seasons. The vixen is peeking through the tree trunks, their pattern of repeated bars reminiscent of a cage (one she escapes in due course in the opera, as kids escape into adulthood.) Whether we continue to erect barriers like this towards equal opportunity education for all remains to be seen. Vote accordingly!

Here is the Orchestral Suite that gives you a glimpse of the music.

Here is the full opera.