WHITE FOX WOMAN

White Fox Woman is a striking nine-minute mini-opera for middle to low voice accompanied either by Soprano Saxophone or Oboe. This compelling work was commissioned by oboist, Paul Goodey in 2002 and written especially for the eminent vocal interpreter of modern music, Linda Hirst. A new version for Soprano Saxophone and Voice has created in 2025 for the superb American Audra Duo: Noa Even and Anika Kildegaard.
The novelist, Christie Dickason, has drawn on an Oriental myth giving this ancient legend a dramatic and contemporary edge. McDowall exploits the range of the accompanying instruments from subtle elegance to a degree of harshness to underline the unfolding transformation. Dickason wrote her text based on the Japanese myths of fox spirits, dangerous shape-shifters (white foxes being the most lethal) which often took the form of beautiful women. ‘Both text and music’, writes Dickason, ‘use the myth as the starting point in exploring the universal archetype of the spiritual vampire, who must draw on the life force of others in order to survive. Just as I use a fan and tea to suggest a world without entering it literally, Cecilia introduces Oriental elements in the ornamentation within a non-Oriental tonal flexibility.’
The vocal range, by suiting a countertenor as well as a female voice, permits a further Oriental reference. In Japanese Kabuki theatre, from the seventeenth century onwards, female roles were sung by an ONNAGATA, an actor specially trained as a female impersonator.

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