Organization

Cantor

Barítono

Michael Borth

Revírník

Baixo

Juan Orozco

Harašta

Tenor

Jin Seok Lee

Pásek

Mezzo-soprano

Inga Schäfer

Lapák

Junbum Lee

Komár

Contralto

Janina Staub

Datel

Soprano

Elisabeth Birgmeier

Frantík

Eun Hee Lee

Pepík

Coral

Christiane Klier

Hens

Margarete Nüßlein

Jelena Milovic

Seunghan Choi

Diretor de Palco

Kateryna Sokolova

Maestro

Ektoras Tartanis

Designer de Iluminação

Dorothee Hoff

Estilista

Constanza Meza-Lopehandia

Cenógrafo

Nikolaus Webern

Designer de Som

Achim Vogel

Fabrice Bollon

Mestre de Coro

Norbert Kleinschmidt

Dramaturgo

Heiko Voss

Samantha Gaul

Bystrouška

Irina Park

Lišák

Rechtor

Fařar

Anja Jung

Pi. Revírníková

Sowa

Dachs

Kyoung-Eun Lee

Anja Steinert

Chocholka

Sojka

Hans Gröning

Pásková

Theater Freiburg

Others

Opernchor des Theater Freiburg

Orchestra

Philharmonisches Orchester Freiburg

Katharina Ruckgaber

Příhody lišky Bystroušky -  (A Raposinha Matreira)

Freiburg

Alemanha

Příhody lišky Bystroušky

Public

A Raposinha Matreira

Approved

Das Schlaue Füchslein

Perhaps it was this one picture from the more than 200 collection of the well-known draftsman Stanislav Lolek that showed Leoš Janáček the ultimate charm of the vixen in one fell swoop? There she stands, the vixen, in an expressive pose: bold and powerful, fearlessly challenging, fearless and sure of victory. He will have been impressed by so much self-assurance in the middle of the dense forest of leaves. Marie Stejskalová, his housekeeper, has drawn his attention to this, at least that's what the anecdote says: Attracted by a loud laugh in the next room, the composer, who loves peace and quiet, is said to have received the first reference to the popular picture story, which has been continued in the Brno for some time Newspaper had appeared. His interest was piqued.

So she's smart about it, Janáček's Vixen, that's what the Germanized title speaks of. The exact translation of the Czech original adds the promise of adventures in which the vixen sometimes reacts rebelliously and subversively, sometimes reacts tenderly and dreamily. Not at the same time, but always authentic: it is pure life. And that is extremely fascinating for the forester chasing after her, who is desperately looking for a life that he thinks he has lost. The poetry of the forest dwellers has become alien to the forest edge dwellers. Janáček's linguistic melodies enable us to understand animals where the people of his opera have no ear for them.

Since she has been living in freedom again, she has only been an animal, says the fox, who has escaped from humans, tells the fox, in which she finds the ideal of her love fulfillment. People are far from that. They are lagging behind the past, the missed opportunities and ruined opportunities. And so they struggle with all their might for a moment of happiness. It is this struggle for inspiration that the young director Kateryna Sokolova pursues. Including the fluctuations between the use of violence and submission, longing and the fulfillment of happiness that Janáček has put so uniquely into music. Leoš Janáček shows us in which realms human inspiration can penetrate - and dashes forward with his wonderful music.

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English

A Raposinha Matreira by Janáček, De (2021/2022), Dirigido por Kateryna Sokolova,, Regente Ektoras Tartanis, Fabrice Bollon, Theater Freiburg, Freiburg, Alemanha

Créditos do espetáculo (Elenco & Equipe )

Elenco

Equipe

Conjunto

Programa, Sobre & Sinopse

Fotos

Leitura adicional

Datas e locais de apresentação

Locais de Eventos