Name: Příhody lišky Bystroušky
Start: 2024-06-06T00:00:00.000Z
End: 2024-06-09T00:00:00.000Z
Location: Antonín Dvořák Theatre

Organization

Conductor

Marek Šedivý

Stage director

Itzik Galili

National Moravian-Silesian Theatre

Set designer

Daniel Dvořák

Adam Sedlický

Costume designer

Simona Rybáková

Choreographer

Chorus master

Jurij Galatenko

Elisabeth Gibiat

Dramaturge

Juraj Bajús

Singer

Baritone

Martin Gurbaľ

Forester

František Zahradníček

Contralto

Eva Dřízgová-Jirušová

Jana Horáková Levicová

Forester's wife

Tenor

Martin Javorský

Schoolmaster

Václav Morys

Mosquito

Bass

Josef Kovačič

Priest

Jan Šťáva

Daniel Kfelíř

Harasta

Boris Prýgl

Aleš Burda

Pasek

Jiří Halama

Soprano

Miroslava Časarová

Mrs. Paskova

Klára Hlúšková

Child vocalist

Lada Bočková

Bystrouaka's child

Doubravka Součková

Anna Nitrová

The Fox Zlatohrbitek

Dominika Škrabalová

Mezzo-soprano

Barbora Garzinova

Šárka Hrbáčková

Woodpecker

Karolína Levková

Chocholka

Magdaléna Rovenská

체코어

Příhody lišky Bystroušky -  (The Cunning Little Vixen)

Ostrava

Czech Republic

Antonín Dvořák Theatre

Public

The Cunning Little Vixen

영어

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Chorus Director

Composer

Dancer

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Countertenor

Bass-baritone

Alto

Continuo

Silent

Spoken

Foreign Relations Manager

Soňa Zapletalová

Production Manager

Lucie Fojtíková

Once again I read like that - there was just a picture of Swift walking with Zlatohřbítek and carrying a flower. I found it really funny how they were puffing up there. I thought no one could hear me laughing out loud; the mistress was not at home and the master was in the study. But suddenly he appeared in the kitchen door:
- Please, person, why are you laughing?
– But here Quickster, my lord.
– What Quickie?
– Don't they read it? It was written by the editor of Tésnohlídek z Lidovek.
I handed him the newspaper, he looked at the picture, read, started to smile and I told him:
– Lord, they know so well what the animals are talking to each other, they always write down the voices of the birds - that would make an opera, my lord! He doesn't care. He just started looking for every sequel to The Quickie.

This is how Janáček's housekeeper Marie Stejskalová described the memory of the moment when, in 1920, she presented the master with the cartoon series The Little Fox, serialized in Lidové noviny. The columnist Rudolf Tésnohlídek found the inspiration for writing the adventures of a clever little girl, who always turns out to be a local farmer, in the cheerful drawings of the painter Stanislav Lolek. Janáček transformed the story of a fox, which the ranger finds one day in the forest and brings to the hunting lodge, into a poetic work told partly from an animal and partly from a human point of view. This created one of the composer's most imaginative operas in terms of theme, in which he confessed his deep love for nature and also came to terms with thoughts of his own mortality.

" I caught Swift for the forest, for the sadness of late years ."

English

Jednou zas tak čtu – byl tam zrovna obrázek, jak se Bystrouška vede se Zlatohřbítkem a nese si kytičku. Přišlo mi to hrozně k smíchu, jak se tam tak nafukovali. Myslila jsem, že nikdo neslyší, jak se nahlas směju; milostpaní nebyla doma a pán byl v pracovně. Ale najednou se objevil ve dveřích kuchyně:
– Prosím vas, osobo, čemu se tak smějete?
– Ale tady Bystroušce, milostpane.
– Jaké Bystroušce?
– Copak oni to nečtou? Vždyť to psal pan redaktor Těsnohlídek z Lidovek.
Podala jsem mu noviny, on se díval na obrázek, četl si, začal se usmívat a já mu povídám:
– Milostpane, oni přece tak dobře znají, co si zvířata povídají, pořád ty hlasy ptáků zapisujou - z toho by byla, panečku, opera! On na to nic. Jen se začal shánět po každém pokračování Bystroušky.

Takto Janáčkova hospodyně Marie Stejskalová popsala vzpomínku na moment, kdy v roce 1920 představila mistrovi kreslený seriál Liška Bystrouška vycházející na pokračování v Lidových novinách. Inspiraci k sepsání dobrodružství chytré lištičky, která pokaždé vyzraje na místního revírníka, našel fejetonista Rudolf Těsnohlídek ve veselých kresbičkách malíře Stanislava Lolka. Janáček přetavil příběh liščete, které revírník jednoho dne najde v lese a přinese je do myslivny, v poetické dílo vyprávěné částečně ze zvířecího a částečně z lidského pohledu. Vznikla tak námětově jedna z nejnápaditějších skladatelových oper, v níž se vyznal ze své hluboké lásky k přírodě a vyrovnal se též s myšlenkami na vlastní smrtelnost.

„Chytl jsem Bystroušku pro les, pro smutek pozdních let.“

čeština

The Cunning Little Vixen by Janáček, 에서 (2024/2024), 감독 Itzik Galili,, 지휘자 Marek Šedivý, Adam Sedlický, Antonín Dvořák Theatre, Ostrava, Czech Republic

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