Glyndebourne Vixen live streaming

[Guest]

Glyndebourne's production of Janácek's magical Cunning Little Vixen will be streamed 'live' this Sunday 10 June 2012 from 18:30

http://www.guardian.co.uk/music/tomserviceblog/2012/jun/08/janacek-cunning-little-vixen-live-stream

[Nick Armstrong]

Glyndebourne's production of Janácek's magical Cunning Little Vixen will be streamed 'live' this Sunday 10 June 2012 from 18:30

http://www.guardian.co.uk/music/toms...en-live-stream

I faced the choice a while back of staying true to the accepted invitation to the River thingy, or accompanying the godson to last Sunday's performance of this. I chose Her Maj In retrospect, Janacek + rain-free Sussex looks as if it would have been a better bet

This is some compensation though, Ammy! Thanks!

[kernelbogey]

The same performance, 1830 Sunday 10/6, is being presented live in HD in some Picture House Cinemas.

I've been tempted though rather put off by Andrew Clements's Guardian review.

[Edit] But having now read Fiona Maddocks's review in The Observer, which balances Clements, I'm reconsidering....

[Edit] ... and have booked a cinema seat. (Must brush up my Czech tonight.... )

[kernelbogey]

I watched this in HD relay at the cinema last night. I've long wanted to see it, having been a fan of most (not all) of Janacek's music since a friend gave me an LP of the Glagolitic Mass for my 21st birthday.

His music is unique and his use of the orchestra wonderfully stimulating and exciting. I have always found the vocal lines of the operas difficult, and in an interview between acts yesterday Sergei Lieferkus, the artist singing the Huntsman said that the music was the most difficult he had ever encountered in his career. I find it therefore difficult to comment on the singing. Lucy Crowe as the Vixen however gave a wonderful performance, both vocal and in her acting.

The production presented an intriguing view of the piece, with all the animal performers in half-animal half-human form. The foxes, for example, carrying their brushes and swishing them around rather than having them fixed in the anatomically correct position. The Vixen's costume was a sort of post-1960s mix of patterned dress and stripey jumper as though Lucy Crowe had just wandered out of Camden Market - yet somehow it was not incongruous. Characters like the Badger were not obviously identifiable to begin with, nor birds either - though the frog's costume was ingenious. The forest scenes were all in colour, whereas the humans, their costumes and their sets (the Inn) were in a gun-metal monochrome. (Ami's link in the OP shows some clips.)

The set was dominated by a tree constructed of sawn wood, for me emphasising the production's vision of the whole work as sitting half in the human world and half in the animal world. Behind it was a kind of helter-skelter representing a burrow, and the production used dancers as doubles for the singers, sliding down the precipitous tunnels to the earthen lairs. The choreography of the dancers was creative and vigorous - and a surprise as I didn't realise how much of a role dance plays in the work.

The London Philharmonic played magnificently under Jurowski.

I had been over-influenced by Andrew Clements's rather sour review of the production in the Guardian, and nearly didn't go; and since he wrote a piece for the Guardian and reproduced for the 'programme' distributed to the audience, in which his adoration of the work is clear, I assume he was just deeply disappointed in the production. I could find no fault with the Czech pronunciation, not being a speaker of it, but to say that it was difficult to know what language was being sung is a gross exaggeration.

For me this was an excellent introduction to the work and I'd like to explore it more.

Picture Houses should get more professional about their presentation of a printed programme for these opera screenings which in my experience are woefully inadequate. Last night we got three pages of the Guardian, reproduced at a text size few could have read with any ease in the lighting of a cinema auditorium, including notes for two other operas and with two unnecessary pages of colour. For less cost, they could have given us a brief synopsis, cast list and timings just for the work we are seeing, and I shall write to tell them so.

[amateur51]

I watched this in HD relay at the cinema last night. I've long wanted to see it, having been a fan of most (not all) of Janacek's music since a friend gave me an LP of the Glagolitic Mass for my 21st birthday.

His music is unique and his use of the orchestra wonderfully stimulating and exciting. I have always found the vocal lines of the operas difficult, and in an interview between acts yesterday Sergei Lieferkus, the artist singing the Huntsman said that the music was the most difficult he had ever encountered in his career. I find it therefore difficult to comment on the singing. Lucy Crowe as the Vixen however gave a wonderful performance, both vocal and in her acting.

The production presented an intriguing view of the piece, with all the animal performers in half-animal half-human form. The foxes, for example, carrying their brushes and swishing them around rather than having them fixed in the anatomically correct position. The Vixen's costume was a sort of post-1960s mix of patterned dress and stripey jumper as though Lucy Crowe had just wandered out of Camden Market - yet somehow it was not incongruous. Characters like the Badger were not obviously identifiable to begin with, nor birds either - though the frog's costume was ingenious. The forest scenes were all in colour, whereas the humans, their costumes and their sets (the Inn) were in a gun-metal monochrome. (Ami's link in the OP shows some clips.)

The set was dominated by a tree constructed of sawn wood, for me emphasising the production's vision of the whole work as sitting half in the human world and half in the animal world. Behind it was a kind of helter-skelter representing a burrow, and the production used dancers as doubles for the singers, sliding down the precipitous tunnels to the earthen lairs. The choreography of the dancers was creative and vigorous - and a surprise as I didn't realise how much of a role dance plays in the work.

The London Philharmonic played magnificently under Jurowski.

I had been over-influenced by Andrew Clements's rather sour review of the production in the Guardian, and nearly didn't go; and since he wrote a piece for the Guardian and reproduced for the 'programme' distributed to the audience, in which his adoration of the work is clear, I assume he was just deeply disappointed in the production. I could find no fault with the Czech pronunciation, not being a speaker of it, but to say that it was difficult to know what language was being sung is a gross exaggeration.

For me this was an excellent introduction to the work and I'd like to explore it more.

Picture Houses should get more professional about their presentation of a printed programme for these opera screenings which in my experience are woefully inadequate. Last night we got three pages of the Guardian, reproduced at a text size few could have read with any ease in the lighting of a cinema auditorium, including notes for two other operas and with two unnecessary pages of colour. For less cost, they could have given us a brief synopsis, cast list and timings just for the work we are seeing, and I shall write to tell them so.

I'm very glad that you enjoyed it, kernel.

I must try & catch up with it soon - where does one find the time?