1954 Cunning Little Vixen | reviews, news & interviews
1954 Cunning Little Vixen
1954 Cunning Little Vixen
Friday, 19 March 2010
Front of Suprapon's recording of The Cunning Little Vixen
Filmed extracts of a fantastically vivid 1954 production of Janáček's The Cunning Little Vixen have been unearthed by the great blogger Doundou Tchil of Classical Iconoclast. Václav Neumann is the conductor; Berlin's Komische Oper is the house. Whets the appetite for tonight's Bill Bryden revival production at Covent Garden. Hard to imagine the sets or the acting (watch that singing vixen scrambling about before the poacher) being bettered. My friend says I'm setting myself up for a fall. But Sir Charles Mackerras will no doubt give Neumann a run for his money.
Filmed extracts of a fantastically vivid 1954 production of Janáček's The Cunning Little Vixen have been unearthed by the great blogger Doundou Tchil of Classical Iconoclast. Václav Neumann is the conductor; Berlin's Komische Oper is the house. Whets the appetite for tonight's Bill Bryden revival production at Covent Garden. Hard to imagine the sets or the acting (watch that singing vixen scrambling about before the poacher) being bettered. My friend says I'm setting myself up for a fall. But Sir Charles Mackerras will no doubt give Neumann a run for his money.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.
To take a subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
more Opera
Béatrice et Bénédict, Irish National Opera, National Concert Hall, Dublin review - sung and spoken triumph
Shakespeare from Fiona Shaw ballasts superbly performed Berlioz
Il trittico, Welsh National Opera review - welcome back (but not a good sign)
Cast changes but no drop in quality
The Snowmaiden, English Touring Opera review - a rich harvest with modest means
Human warmth, and musical wealth, in Rimsky-Korsakov's fairy-tale
Suor Angelica, English National Opera review - isolated one-acter lacks emotional inscaping
Annilese Miskimmon’s mix of nuns and girls in trouble isn’t new, and not intense enough
The Magic Flute, Opera North review - a fresh vision of Mozart’s masterpiece
Projected imagery and light sabers in story seen through a child’s eyes
Eugene Onegin, Royal Opera review - the heart left cold
Promising youth trapped between exaggerated conducting and cool production
First Person: soprano Elizabeth Atherton on the decimation of the classical music sector in Wales
Singer who began her career on contract with Welsh National Opera clarifies savage cuts by Welsh and English Arts Councils
Rigoletto, Welsh National Opera review - back to what they do best
Debauchery vulgarised but the music stays pure
Prom 68, A Midsummer Night's Dream, Garsington Opera review - eerie beauty sometimes faintly glittering
Strong cast and top orchestra project as best they can in a fine company's first Proms visit
La traviata, Royal Opera review - a charismatic soprano in a serviceable revival
Richard Eyre's classic production looks great but lacks fizz
Prom 52, Carmen, Glyndebourne Festival review - fine-tuning a masterpiece
No loss of vivid focus as the Albert Hall becomes Bar Lillas Pastia
Verdi's Requiem / Capriccio, Edinburgh International Festival 2024 review - words, music, judgement
Philharmonia Orchestra closes the festival with grandeur and intimacy
Add comment