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11 Videos  
page 1 / 1
       
  a.kohutkova & i.kusnjer sing dvorak´s te...
czech baritone ivan kusnjer sings the second part of cantata te deum, op.103 by antonín dvo?ák. soprano: adriana kohútková prague philharmonic chorus / fok prague symphony orchestra conductor: serge baudo te deum, a.dvorak 1. allegro moderato, maestoso - te deum laudamus *****2. lendo maestoso - tu rex gloriae***** 3. vivace - aeterna fac cum sanctis 4. lento - dignare, domine smetanova sí? obecního domu v prahe (smetana´s hall in prague) october 12, 2004 czech baritone ivan kusnjer sings the second part of cantata te deum, op.103 by antonín dvo?ák. soprano: adriana kohútková prague philharmonic chorus / fok prague symphony orchestra conductor: serge baudo te deum, a.dvorak 1. allegro moderato, maestoso - te deum laudamus *****2. lendo maestoso - tu rex gloriae***** 3. vivace - aeterna fac cum sanctis 4. lento - dignare, domine smetanova sí? obecního domu v prahe (smetana´s hall in prague) october 12, 2004 czech baritone ivan kusnjer sings the second part of cantata te deum, op.103 by antonín dvo?ák. soprano: adriana kohútková prague philharmonic chorus / fok prague symphony orchestra conductor: serge baudo te deum, a.dvorak 1. allegro moderato, maestoso - te deum laudamus *****2. lendo maestoso - tu rex gloriae***** 3. vivace - aeterna fac cum sanctis 4. lento - dignare, domine smetanova sí? obecního domu v prahe (smetana´s hall in prague) october 12, 2004
  a.kohutkova & i.kusnjer sing dvorak´s te...
perfect slovak soprano adriana kohÚtkovÁ sings the first part of cantata te deum, op.103 by antonín dvo?ák. baritone: ivan kusnjer prague philharmonic chorus / fok prague symphony orchestra conductor: serge baudo te deum, a.dvorak *****1. allegro moderato, maestoso - te deum laudamus***** 2. lendo maestoso - tu rex gloriae 3. vivace - aeterna fac cum sanctis 4. lento - dignare, domine smetanova sí? obecního domu v prahe (smetana´s hall in prague) october 12, 2004 perfect slovak soprano adriana kohÚtkovÁ sings the first part of cantata te deum, op.103 by antonín dvo?ák. baritone: ivan kusnjer prague philharmonic chorus / fok prague symphony orchestra conductor: serge baudo te deum, a.dvorak *****1. allegro moderato, maestoso - te deum laudamus***** 2. lendo maestoso - tu rex gloriae 3. vivace - aeterna fac cum sanctis 4. lento - dignare, domine smetanova sí? obecního domu v prahe (smetana´s hall in prague) october 12, 2004 perfect slovak soprano adriana kohÚtkovÁ sings the first part of cantata te deum, op.103 by antonín dvo?ák. baritone: ivan kusnjer prague philharmonic chorus / fok prague symphony orchestra conductor: serge baudo te deum, a.dvorak *****1. allegro moderato, maestoso - te deum laudamus***** 2. lendo maestoso - tu rex gloriae 3. vivace - aeterna fac cum sanctis 4. lento - dignare, domine smetanova sí? obecního domu v prahe (smetana´s hall in prague) october 12, 2004
  a.kohutkova & i.kusnjer sing dvorak´s te...
pefrect slovak soprano adriana kohÚtkovÁ and czech baritone ivan kusnjer sing the fourth part of cantata te deum, op.103 by antonín dvo?ák. prague philharmonic chorus / fok prague symphony orchestra conductor: serge baudo te deum, a.dvorak 1. allegro moderato, maestoso - te deum laudamus 2. lendo maestoso - tu rex gloriae 3. vivace - aeterna fac cum sanctis *****4. lento - dignare, domine***** smetanova sí? obecního domu v prahe (smetana´s hall in prague) october 12, 2004 pefrect slovak soprano adriana kohÚtkovÁ and czech baritone ivan kusnjer sing the fourth part of cantata te deum, op.103 by antonín dvo?ák. prague philharmonic chorus / fok prague symphony orchestra conductor: serge baudo te deum, a.dvorak 1. allegro moderato, maestoso - te deum laudamus 2. lendo maestoso - tu rex gloriae 3. vivace - aeterna fac cum sanctis *****4. lento - dignare, domine***** smetanova sí? obecního domu v prahe (smetana´s hall in prague) october 12, 2004 pefrect slovak soprano adriana kohÚtkovÁ and czech baritone ivan kusnjer sing the fourth part of cantata te deum, op.103 by antonín dvo?ák. prague philharmonic chorus / fok prague symphony orchestra conductor: serge baudo te deum, a.dvorak 1. allegro moderato, maestoso - te deum laudamus 2. lendo maestoso - tu rex gloriae 3. vivace - aeterna fac cum sanctis *****4. lento - dignare, domine***** smetanova sí? obecního domu v prahe (smetana´s hall in prague) october 12, 2004
  a.kohutkova & i.kusnjer sing dvorak´s te...
prague philharmonic chorus sing the third part of cantata te deum, op.103 by antonín dvo?ák. soprano: adriana kohútková baritone: ivan kusnjer prague philharmonic chorus / fok prague symphony orchestra conductor: serge baudo te deum, a.dvorak 1. allegro moderato, maestoso - te deum laudamus 2. lendo maestoso - tu rex gloriae *****3. vivace - aeterna fac cum sanctis***** 4. lento - dignare, domine smetanova sí? obecního domu v prahe (smetana´s hall in prague) october 12, 2004 prague philharmonic chorus sing the third part of cantata te deum, op.103 by antonín dvo?ák. soprano: adriana kohútková baritone: ivan kusnjer prague philharmonic chorus / fok prague symphony orchestra conductor: serge baudo te deum, a.dvorak 1. allegro moderato, maestoso - te deum laudamus 2. lendo maestoso - tu rex gloriae *****3. vivace - aeterna fac cum sanctis***** 4. lento - dignare, domine smetanova sí? obecního domu v prahe (smetana´s hall in prague) october 12, 2004 prague philharmonic chorus sing the third part of cantata te deum, op.103 by antonín dvo?ák. soprano: adriana kohútková baritone: ivan kusnjer prague philharmonic chorus / fok prague symphony orchestra conductor: serge baudo te deum, a.dvorak 1. allegro moderato, maestoso - te deum laudamus 2. lendo maestoso - tu rex gloriae *****3. vivace - aeterna fac cum sanctis***** 4. lento - dignare, domine smetanova sí? obecního domu v prahe (smetana´s hall in prague) october 12, 2004
  janá?ek: p?íhody li?ky bystrou?ky act 3 ...
the vixen and the fox are out with their cubs. the come across the body of a deer where there is a trap set by the forester, the vixen takes the opportunity to teach the cubs about 'stupid' humans and their traps. the couple speaks about their happy life together and are still very much in love. the poacher harasta, who knows the deer is there, comes in an attempt to steal it. he surprises the vixen and her cubs, they try to steal some pheasant from his bag, and he shoots at them and kills the vixen. the vixen and the fox are out with their cubs. the come across the body of a deer where there is a trap set by the forester, the vixen takes the opportunity to teach the cubs about 'stupid' humans and their traps. the couple speaks about their happy life together and are still very much in love. the poacher harasta, who knows the deer is there, comes in an attempt to steal it. he surprises the vixen and her cubs, they try to steal some pheasant from his bag, and he shoots at them and kills the vixen. the vixen and the fox are out with their cubs. the come across the body of a deer where there is a trap set by the forester, the vixen takes the opportunity to teach the cubs about 'stupid' humans and their traps. the couple speaks about their happy life together and are still very much in love. the poacher harasta, who knows the deer is there, comes in an attempt to steal it. he surprises the vixen and her cubs, they try to steal some pheasant from his bag, and he shoots at them and kills the vixen.
  janá?ek: p?íhody li?ky bystrou?ky act 2 ...
it's the mating season in the forest and the vixen encounters a handsome young fox. at first she plays shy, but the fox is not put off and after the appropriate introduction he obtains permission to come calling again. it's the mating season in the forest and the vixen encounters a handsome young fox. at first she plays shy, but the fox is not put off and after the appropriate introduction he obtains permission to come calling again. it's the mating season in the forest and the vixen encounters a handsome young fox. at first she plays shy, but the fox is not put off and after the appropriate introduction he obtains permission to come calling again.
  janá?ek: p?íhody li?ky bystrou?ky act 2 ...
the fox returns with a rabbit for the vixen, he declares his love. the gossiping animals in the forest observe and comment. the vixen discovers she is pregnant so they rush off to the woodpecker to be married. the mating season reaches a climax with the wedding celebrations. the vixen is janá?ek's most singular work and in many ways it is also his most charming. based on a cartoon series by rudolf t?snohlídek which appeared in 1920 on the newspaper lidové noviny, drawings by stanislav lolek, it tells the tale of the vixen sharp-ears (the literal translation of the czech title p?íhody li?ky bystrou?ky). though it could be argued that the opera follows in the tradition of the german märchenoper nevertheless the musical language and themes explored make it unique in the entire operatic repertoire. the parallel lives of the animals, who get on with the business of living (and dying), and the humans, who seem to live in a permanent state of regret and paralysis, unfolds in a rich tapestry of musical invention where janá?ek uses musical material notated from nature to create a forest of sounds. many of the climatic moments of the opera are orchestral rather than vocal and the opera is an inviting challenge for directors, singers and choreographer. the final message of the opera is, of course, optimistic, as is always the case with janá?ek, celebrating the renewal of life in nature: the final words are given to a frog who says to the forester the fox returns with a rabbit for the vixen, he declares his love. the gossiping animals in the forest observe and comment. the vixen discovers she is pregnant so they rush off to the woodpecker to be married. the mating season reaches a climax with the wedding celebrations. the vixen is janá?ek's most singular work and in many ways it is also his most charming. based on a cartoon series by rudolf t?snohlídek which appeared in 1920 on the newspaper lidové noviny, drawings by stanislav lolek, it tells the tale of the vixen sharp-ears (the literal translation of the czech title p?íhody li?ky bystrou?ky). though it could be argued that the opera follows in the tradition of the german märchenoper nevertheless the musical language and themes explored make it unique in the entire operatic repertoire. the parallel lives of the animals, who get on with the business of living (and dying), and the humans, who seem to live in a permanent state of regret and paralysis, unfolds in a rich tapestry of musical invention where janá?ek uses musical material notated from nature to create a forest of sounds. many of the climatic moments of the opera are orchestral rather than vocal and the opera is an inviting challenge for directors, singers and choreographer. the final message of the opera is, of course, optimistic, as is always the case with janá?ek, celebrating the renewal of life in nature: the final words are given to a frog who says to the forester the fox returns with a rabbit for the vixen, he declares his love. the gossiping animals in the forest observe and comment. the vixen discovers she is pregnant so they rush off to the woodpecker to be married. the mating season reaches a climax with the wedding celebrations. the vixen is janá?ek's most singular work and in many ways it is also his most charming. based on a cartoon series by rudolf t?snohlídek which appeared in 1920 on the newspaper lidové noviny, drawings by stanislav lolek, it tells the tale of the vixen sharp-ears (the literal translation of the czech title p?íhody li?ky bystrou?ky). though it could be argued that the opera follows in the tradition of the german märchenoper nevertheless the musical language and themes explored make it unique in the entire operatic repertoire. the parallel lives of the animals, who get on with the business of living (and dying), and the humans, who seem to live in a permanent state of regret and paralysis, unfolds in a rich tapestry of musical invention where janá?ek uses musical material notated from nature to create a forest of sounds. many of the climatic moments of the opera are orchestral rather than vocal and the opera is an inviting challenge for directors, singers and choreographer. the final message of the opera is, of course, optimistic, as is always the case with janá?ek, celebrating the renewal of life in nature: the final words are given to a frog who says to the forester
  janá?ek: p?íhody li?ky bystrou?ky act 1 ...
janá?ek: the cunning little vixen the vixen is janá?ek's most singular work and in many ways it is also his most charming. based on a cartoon series by rudolf t?snohlídek which appeared in 1920 on the newspaper lidové noviny, drawings by stanislav lolek, it tells the tale of the vixen sharp-ears (the literal translation of the czech title p?íhody li?ky bystrou?ky). though it could be argued that the opera follows in the tradition of the german märchenoper nevertheless the musical language and themes explored make it unique in the entire operatic repertoire. the parallel lives of the animals, who get on with the business of living (and dying), and the humans, who seem to live in a permanent state of regret and paralysis, unfolds in a rich tapestry of musical invention where janá?ek uses musical material notated from nature to create a forest of sounds. many of the climatic moments of the opera are orchestral rather than vocal and the opera is an inviting challenge for directors, singers and choreographer. the final message of the opera is, of course, optimistic, as is always the case with janá?ek, celebrating the renewal of life in nature: the final words are given to a frog who says to the forester janá?ek: the cunning little vixen the vixen is janá?ek's most singular work and in many ways it is also his most charming. based on a cartoon series by rudolf t?snohlídek which appeared in 1920 on the newspaper lidové noviny, drawings by stanislav lolek, it tells the tale of the vixen sharp-ears (the literal translation of the czech title p?íhody li?ky bystrou?ky). though it could be argued that the opera follows in the tradition of the german märchenoper nevertheless the musical language and themes explored make it unique in the entire operatic repertoire. the parallel lives of the animals, who get on with the business of living (and dying), and the humans, who seem to live in a permanent state of regret and paralysis, unfolds in a rich tapestry of musical invention where janá?ek uses musical material notated from nature to create a forest of sounds. many of the climatic moments of the opera are orchestral rather than vocal and the opera is an inviting challenge for directors, singers and choreographer. the final message of the opera is, of course, optimistic, as is always the case with janá?ek, celebrating the renewal of life in nature: the final words are given to a frog who says to the forester janá?ek: the cunning little vixen the vixen is janá?ek's most singular work and in many ways it is also his most charming. based on a cartoon series by rudolf t?snohlídek which appeared in 1920 on the newspaper lidové noviny, drawings by stanislav lolek, it tells the tale of the vixen sharp-ears (the literal translation of the czech title p?íhody li?ky bystrou?ky). though it could be argued that the opera follows in the tradition of the german märchenoper nevertheless the musical language and themes explored make it unique in the entire operatic repertoire. the parallel lives of the animals, who get on with the business of living (and dying), and the humans, who seem to live in a permanent state of regret and paralysis, unfolds in a rich tapestry of musical invention where janá?ek uses musical material notated from nature to create a forest of sounds. many of the climatic moments of the opera are orchestral rather than vocal and the opera is an inviting challenge for directors, singers and choreographer. the final message of the opera is, of course, optimistic, as is always the case with janá?ek, celebrating the renewal of life in nature: the final words are given to a frog who says to the forester
  janá?ek: p?íhody li?ky bystrou?ky act 1 ...
the first of several wonderful orchestral interludes in this opera, in this production it is accompanied by a dance sequence depicting the forester's boys' rough treatment of the young vixen. the vixen is janá?ek's most singular work and in many ways it is also his most charming. based on a cartoon series by rudolf t?snohlídek which appeared in 1920 on the newspaper lidové noviny, drawings by stanislav lolek, it tells the tale of the vixen sharp-ears (the literal translation of the czech title p?íhody li?ky bystrou?ky). though it could be argued that the opera follows in the tradition of the german märchenoper nevertheless the musical language and themes explored make it unique in the entire operatic repertoire. the parallel lives of the animals, who get on with the business of living (and dying), and the humans, who seem to live in a permanent state of regret and paralysis, unfolds in a rich tapestry of musical invention where janá?ek uses musical material notated from nature to create a forest of sounds. many of the climatic moments of the opera are orchestral rather than vocal and the opera is an inviting challenge for directors, singers and choreographer. the final message of the opera is, of course, optimistic, as is always the case with janá?ek, celebrating the renewal of life in nature: the final words are given to a frog who says to the forester the first of several wonderful orchestral interludes in this opera, in this production it is accompanied by a dance sequence depicting the forester's boys' rough treatment of the young vixen. the vixen is janá?ek's most singular work and in many ways it is also his most charming. based on a cartoon series by rudolf t?snohlídek which appeared in 1920 on the newspaper lidové noviny, drawings by stanislav lolek, it tells the tale of the vixen sharp-ears (the literal translation of the czech title p?íhody li?ky bystrou?ky). though it could be argued that the opera follows in the tradition of the german märchenoper nevertheless the musical language and themes explored make it unique in the entire operatic repertoire. the parallel lives of the animals, who get on with the business of living (and dying), and the humans, who seem to live in a permanent state of regret and paralysis, unfolds in a rich tapestry of musical invention where janá?ek uses musical material notated from nature to create a forest of sounds. many of the climatic moments of the opera are orchestral rather than vocal and the opera is an inviting challenge for directors, singers and choreographer. the final message of the opera is, of course, optimistic, as is always the case with janá?ek, celebrating the renewal of life in nature: the final words are given to a frog who says to the forester the first of several wonderful orchestral interludes in this opera, in this production it is accompanied by a dance sequence depicting the forester's boys' rough treatment of the young vixen. the vixen is janá?ek's most singular work and in many ways it is also his most charming. based on a cartoon series by rudolf t?snohlídek which appeared in 1920 on the newspaper lidové noviny, drawings by stanislav lolek, it tells the tale of the vixen sharp-ears (the literal translation of the czech title p?íhody li?ky bystrou?ky). though it could be argued that the opera follows in the tradition of the german märchenoper nevertheless the musical language and themes explored make it unique in the entire operatic repertoire. the parallel lives of the animals, who get on with the business of living (and dying), and the humans, who seem to live in a permanent state of regret and paralysis, unfolds in a rich tapestry of musical invention where janá?ek uses musical material notated from nature to create a forest of sounds. many of the climatic moments of the opera are orchestral rather than vocal and the opera is an inviting challenge for directors, singers and choreographer. the final message of the opera is, of course, optimistic, as is always the case with janá?ek, celebrating the renewal of life in nature: the final words are given to a frog who says to the forester
  janá?ek: p?íhody li?ky bystrou?ky act 1 ...
in contrast to the previous orchestral interlude here the vixen dreams of meeting her mate. tied up in the farm yard the vixen tries to get the hens to rebel against the cock preaching to them about their sexual slavery. the hens are too stupid to understand, the vixen chews through her rope, pretends to lie down and die. the hens and the cock approach, the vixen jumps up and kills them all before escaping to freedom. the vixen is janá?ek's most singular work and in many ways it is also his most charming. based on a cartoon series by rudolf t?snohlídek which appeared in 1920 on the newspaper lidové noviny, drawings by stanislav lolek, it tells the tale of the vixen sharp-ears (the literal translation of the czech title p?íhody li?ky bystrou?ky). though it could be argued that the opera follows in the tradition of the german märchenoper nevertheless the musical language and themes explored make it unique in the entire operatic repertoire. the parallel lives of the animals, who get on with the business of living (and dying), and the humans, who seem to live in a permanent state of regret and paralysis, unfolds in a rich tapestry of musical invention where janá?ek uses musical material notated from nature to create a forest of sounds. many of the climatic moments of the opera are orchestral rather than vocal and the opera is an inviting challenge for directors, singers and choreographer. the final message of the opera is, of course, optimistic, as is always the case with janá?ek, celebrating the renewal of life in nature: the final words are given to a frog who says to the forester in contrast to the previous orchestral interlude here the vixen dreams of meeting her mate. tied up in the farm yard the vixen tries to get the hens to rebel against the cock preaching to them about their sexual slavery. the hens are too stupid to understand, the vixen chews through her rope, pretends to lie down and die. the hens and the cock approach, the vixen jumps up and kills them all before escaping to freedom. the vixen is janá?ek's most singular work and in many ways it is also his most charming. based on a cartoon series by rudolf t?snohlídek which appeared in 1920 on the newspaper lidové noviny, drawings by stanislav lolek, it tells the tale of the vixen sharp-ears (the literal translation of the czech title p?íhody li?ky bystrou?ky). though it could be argued that the opera follows in the tradition of the german märchenoper nevertheless the musical language and themes explored make it unique in the entire operatic repertoire. the parallel lives of the animals, who get on with the business of living (and dying), and the humans, who seem to live in a permanent state of regret and paralysis, unfolds in a rich tapestry of musical invention where janá?ek uses musical material notated from nature to create a forest of sounds. many of the climatic moments of the opera are orchestral rather than vocal and the opera is an inviting challenge for directors, singers and choreographer. the final message of the opera is, of course, optimistic, as is always the case with janá?ek, celebrating the renewal of life in nature: the final words are given to a frog who says to the forester in contrast to the previous orchestral interlude here the vixen dreams of meeting her mate. tied up in the farm yard the vixen tries to get the hens to rebel against the cock preaching to them about their sexual slavery. the hens are too stupid to understand, the vixen chews through her rope, pretends to lie down and die. the hens and the cock approach, the vixen jumps up and kills them all before escaping to freedom. the vixen is janá?ek's most singular work and in many ways it is also his most charming. based on a cartoon series by rudolf t?snohlídek which appeared in 1920 on the newspaper lidové noviny, drawings by stanislav lolek, it tells the tale of the vixen sharp-ears (the literal translation of the czech title p?íhody li?ky bystrou?ky). though it could be argued that the opera follows in the tradition of the german märchenoper nevertheless the musical language and themes explored make it unique in the entire operatic repertoire. the parallel lives of the animals, who get on with the business of living (and dying), and the humans, who seem to live in a permanent state of regret and paralysis, unfolds in a rich tapestry of musical invention where janá?ek uses musical material notated from nature to create a forest of sounds. many of the climatic moments of the opera are orchestral rather than vocal and the opera is an inviting challenge for directors, singers and choreographer. the final message of the opera is, of course, optimistic, as is always the case with janá?ek, celebrating the renewal of life in nature: the final words are given to a frog who says to the forester
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