En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | La Petite Renarde rusée

On ne boude pas son bonheur devant la reprise de la production d'André Engel qui, en 2008, avait fait l'unanimité. La distribution et l'orchestre sont au diapason pour cette belle réussite.

Pour clôturer sa saison, la Philharmonie de Paris a réuni sur scène un casting idéal pour donner La Petite Renarde rusée de Janáček, mise en scène par Peter Sellars.

Martin Pickard conducts Leoš Janáček’s ever popular opera The Cunning Little Vixen in a traditional but effective staging by Harry Fehr.

The Staatsoper's new production of Janáček's opera buzzes with life thanks to Sir Simon Rattle's conducting and an excellent cast led by Vera-Lotte Boecker and Magdalena Kožená.

Jakub Hrůša returns to his Moravian roots leading the Czech Philharmonic in a stellar concert performance of Janáček's Cunning Little Vixen.

After more than a quarter of a century, Janáček’s late masterpiece returns to the Canadian Opera Company, but falls short in charm, magic, and humour.

Opera North's child-friendly production of The Cunning Little Vixen, conducted by Andrew Gourlay, is loaded with charm.

Herheim’s maiden voyage in his new capacity as Intendant confirms his ability to deftly negotiate a less-than-straightforward work with care and ambition and add his own voice enthusiastically to the mix.

Janáček's woodland fairy tale proved a superb ensemble choice for the festival's Emerging Artists program.

Jennifer France stars in Stephen Barlow's staging of The Cunning Little Vixen, set in the perfect surroundings of Holland Park. 

Messrs Rattle and Sellars bewitch the Barbican audience with a sumptuous rendition of Janáček's magnum opus. 

A production that veers close to the Disneyesque but still provides plenty to enjoy. 

The Royal College of Music's first opera of the season, The Cunning Little Vixen has some excellent singing and first-class playing from the student orchestra.

Rattle conducts Janáček's glorious score with unerring skill and barely concealed adoration, but is let down by his regular collaborator's muddy vision. 

The Cleveland Orchestra’s centennial season was off to an auspicious start with an encore presentation of Janáček’s The Cunning Little Vixen.

The sets, costumes, and venue contribute to the atmosphere, but it's the singing and playing of Janáček's enchanting music that make West Edge Opera's The Cunning Little Vixen magical.

Melly Still returns to revive her 2012 staging at Glyndebourne, laying nature bare. Cartoonish, but never sentimental, it presents Vixen red in tooth and claw, 

In der episodischen Oper „Das Schlaue Füchslein“ von Leoš Janáček in der Oper Frankfurt wird der Musik und dem Publikum der Raum zum Träumen gegeben.

The Vienna State Opera’s revival if their 2014 production of Janáček’s The Cunning Little Vixen with conductor Tomáš Netopil vividly realises the glowing colours of the composer's great affirmation of the eternal vigour of nature.

Après une vie torturée, Janáček se tourne vers un thème d'une simplicité apparente qui cache des sujets bien plus complexes : un conte de fées.

A suitably rustic account of Janáček’s tale: seductive, engaging, and with a sense of intimacy ideal for this small venue.

Alan Held and Martina Janková star in a technologically and musically stunning production of Leoš Janáček's fable of nature and time.

The National Theatre in Prague should be the second-best place in the world to see Leoš Janáček's charming opera The Cunning Little Vixen. But its current production, new in the repertoire this season, is such a disappointment.

Generally, opera doesn’t give old age much of a look-in, but the closing scene of Janáček’s The Cunning Little Vixen, written in Janáček’s old age, is an exception, as the Forester muses on the passing of time and the renewing cycle of life. In today’s Juilliard School production, Aubrey Allicock gave us the most touching and thoughtful of renderings.

If I were to describe Janáček's late opera The Cunning Little Vixen as a bit of a one-off, I could be accused of severe understatement. It's the only opera in the mainstream repertoire to be based on a cartoon strip, it mixes animals and humans at will and it incorporates dance and mime routines, all against the backdrop of the setting of ancient forest so beloved by middle European romantics.

The teaming up of RSAMD’s best students with Scottish Opera has now become a much-anticipated annual event: in a showcase of best practice, it demonstrates how a national opera company can work together with a national music conservatoire to provide immensely valuable experience, and a chance for the youngsters to work right alongside the professionals on stage, off stage and in the pit.