Organization

Dirección de escena

Dirección de escena (+5)

Joan Anton Rechi

Diseño de vestuario

Diseño de vestuario (+2)

Sebastian Ellrich

Dirección coral

Dirección coral (+2)

Stefan Bilz

Dramaturgo

Carla Neppl

Bajobarítono (+2)

Jukka Rasilainen

Guardabosques

Tenor

Thomas Kiechle

Profesor

Tenor (+4)

Felix Rohleder

Harasta

Mezzosoprano (+3)

Anna Grycan

Datel

Soprano

Jung-Eun Park

Pepik

Soprano (+1)

Marie Hänsel

La Zorrita Astuta

Marlen Bieber

El Zorro

Tenor (+1)

Martin Lechleitner

Pasek

Tenor (+3)

Timo Rößner

Tea Trifković

Sra. Paskova

Bajo (+4)

Alexander Kiechle

Sacerdote

Dachs

Chocholka la gallina

Daria Kalinina

Arrendajo

Rooster

Escenografía

Dirección orquestal (+1)

Lorenz Höss

Elžběta Laabs

Frantik

Iluminación

Marcus Klemmt

Theater Chemnitz

Orchestra

Robert-Schumann-Philharmonie

Chorus

Chor der Oper Chemnitz

Kinder- und Jugendchor der Oper Chemnitz

Opernhaus Chemnitz

Dirección orquestal

Dirección orquestal (+3)

Guillermo García Calvo

Komár

Diego Martin-Etxebarria

Mezzosoprano (+1)

Leandra Johne

Esposa del guardabosques

Mezzosoprano (+5)

Sophia Maeno

Búho

A forest ranger captures a young vixen and lets her grow up on his farm with the other pets. But she doesn't feel like subordinating herself to the laws of human animal husbandry. She certainly doesn't want to one day warm the hands of the gracious lady forester as a fur muff. The fox manages to escape. In the woods, the confident young lady who calls herself smartass secures a home by driving the old badger out of his den. Her beauty and manners attract Mr. Goldmane, a gallant fox with whom the fox falls head over heels. The early marriage is followed by a rich blessing of children. How carefree it is in the animal world, while people spend their days fretting and grieving for missed opportunities instead of hugging each other lovingly and enjoying existence. Finally, a poacher destroys the cheerful idyll of the Fuchs family. He kills the fox, but she has long since passed on her life-affirming energy to her children, opening a new chapter in the coexistence of humans and animals.

Leoš Janáček was inspired to write this opera in the early 1920s by an illustrated serial story about the experiences of the Sly Vixen. Janáček, himself a great lover of nature, describes becoming and passing away as an eternal cycle that nature and human beings follow in equal measure. Jaroslav Vogel wrote in his Janáček biography: "Of all the master's operas, the Cunning Little Vixen always be particularly dear and valuable to us as an embodiment of optimism and a sunny attitude to life, as a delightfully carefree excursion of the imagination - as the Czech Midsummer Night ."

checo