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© Wilfried Hösl
The Cunning Little Vixen
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September 2025 | ||||||
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The Cunning Little Vixen – Leoš Janáček
Opera in three acts.
Libretto by Leoš Janáček based on the story Liska Bystrouska by Rudolf Tesnohlídek.
Approximate running time: 2 hours
An unpredictable show that makes us experience the urgency of reflecting on how humanity relates to the planet.
A mature opera by Czech composer Leoš Janáček, The Cunning Little Vixen is based on a libretto written by Janáček himself, inspired by popular comic strips published in the local newspaper Lidové noviny in Brno, where the score premiered in 1924. This three-act work vividly portrays the life of the forest, the vital instincts of animals, and humanity’s relationship with nature, with dazzling tonal fantasy and stunning vocal treatment.
The great Swedish baritone, Peter Mattei, will deliver a deeply moving and insightful performance as the Forester, a protagonist in many ways and a melancholic figure who ultimately finds resigned contentment in accepting nature’s eternal renewal. Elena Tsallagova, as the mischievous and naïve young Vixen, and Angela Brouwer, as the charismatic, impulsive, and tender Fox, will blend their marvelous voices in this romantic and detailed tableau, with a tragic and thought-provoking ending.
This clever production by the ever-brilliant stage director Barrie Kosky begins with the imagery of a funeral: dark landscapes, shadowy silhouettes, heavy movements. Gradually, the characters withdraw one by one behind the silver curtain representing the forest stage. The animals emerge from the grave where the soil was just laid. Without a pantheistic approach, Kosky avoids nature’s green hues and fake trees, with the singers portraying the animals simply dressed in colors, not in animal costumes, contrasting with the black clothing of their human counterparts.
Josep Pons, a profound expert on the composer and his prodigious orchestral writing, will deliver a masterful reading with the authority of quality honed through experience and dedication.
An unpredictable show that makes us feel the urgency of reflecting on how humanity relates to the planet, without concealing any of the unsettling moments of the score while highlighting its climaxes of great tenderness, sensuality, and beauty. Janáček demonstrated a profound understanding of life, championing a return to simplicity. He loved this work so much that he left a special request: that the final scene be performed at his funeral, which took place in 1928.
A well-rounded production that makes us laugh, cry, and learn something along the way. What more could we ask of an opera?
Program and cast
Forester - Peter Mattei
Forester's Wife / Owl - Anaïs Masllorens
Schoolmaster / Mosquito - David Alegret
The Rector / Badger - Alejandro López
Harašta - Milan Perišic
Pásek - Caspar Singh
Mrs. Pásek / Capercaillie - Sara Bañeras
Bystrouška, the little vixen - Elena Tsallagova
The Woodcock - Angela Brower
Lápak, the dog / Woodpecker - Mireia Pintó
Rooster - Laura Brasó
Chocholka - Mercedes Gancedo
Stage Direction - Barrie Kosky
Set Design - Michael Levine
Costume Design - Victoria Behr
Lighting Design - Franck Evin
Co-production: Gran Teatre del Liceu and Bayerische Staatsoper
Children's Choir of the Orfeó Català
Glòria Coma, conductor
Choir of the Gran Teatre del Liceu
Conductor: Pablo Assante
Symphonic Orchestra of the Gran Teatre del Liceu
Conductor: Josep Pons
Gran Teatre del Liceu
Barcelona's opera house, the Gran Teatre del Liceu, was founded on the Rambla in 1847 and has continued over the years to fulfil its role as a culture and arts centre and one of the symbols of the city.
Today it is publicly-owned (by the Government of Catalonia, Barcelona City Council, Barcelona Provincial Council and the Ministerio de Educación, Cultura y Deporte) and administered by the Fundació del Gran Teatre del Liceu which, in addition to the aforementioned bodies, incorporates the Patronage Council and the Societat del Gran Teatre del Liceu (the old society of owners).
Origins: From 1837 to 1847
The Liceu evolved out of the Sociedad Dramática de Aficionados (Society of theatre-lovers) set up in 1837 at the instigation of Manuel Gibert in the former convent of Montsió by members of the National Militia, an organization of armed citizens with liberal leanings.
Barcelona's economy and population were growing fast at the time and the city needed a music conservatory. This led to the conversion of the Sociedad Dramática into the Liceo Filármonico Dramático Barcelonés de S.M. la Reina Isabel II (Barcelona Dramatic and Philharmonic Lyceum of HM Queen Isabel II). In addition to its theatrical activities, the new organization cultivated Italian-style singing and music.
The building on the Rambla
The original building was solemnly opened on 4 April 1847. The plans had been drawn up by Miquel Garriga i Roca, subsequently assisted by Josep Oriol Mestres. The project was funded by selling shares, which meant that many of the boxes and seats were to be privately owned. The shareholders formed the Societat del Gran Teatre del Liceu, known as the “Societat de Propietaris” (Society of Owners), which was in sole charge of running the Gran Teatre del Liceu from 1855 onwards, after it was legally separated from the Conservatori del Gran Teatre del Liceu.
The theatre was operated by impresarios who were given a concession to stage a specific number of productions in exchange for the proceeds from the sale of tickets not reserved for the Societat itself. This system was to endure until 1980.
The creation of the Consortium
By the last quarter of the 20th century this management system was no longer viable. In 1980, to avert the danger of the disappearance of an institution of such worldwide cultural renown, the Generalitat Catalonia's first government in modern times – set up a consortium, the Consorci del Gran Teatre del Liceu, which also incorporated Barcelona City Council and the Societat del Gran Teatre del Liceu. Barcelona Provincial Council joined the Consortium in 1985, followed by the Spanish Ministry of Culture in 1986. From then on the Consortium took over operation of the theatre.
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