Such aspirations for mimicry-cum-verisimilitude are not on the agenda of Rooster a furry deerstalker for the forester’s dog’ (Ibid). Polka-dot petticoats for the hens cowboy spurs with golden rowels for the Prague National Theatre engaged Josef Čapek, brother of the author Karel,Īs designer, and he duly dished up ‘flying goggles for the mosquito flouncy Not to be outdone, for their first production of the opera in May 1925 the Rooster costume lined with brightly coloured fabrics and a green, blue andīlack dragonfly of “melancholy beauty”, whose tiny, delicate underwings were Reflectors “to light up their bottoms” in the night scenes a wire-frame Tailcoats and magnificent little wings” black-and-white glow-worms with Janáček’s Animal Opera’ - ‘grasshoppers and crickets in “yellow-green Notes in her article ‘How the Vixen Lost Its Mores: Gesture and Music in
Say about the music or the design, but promised the paying public ‘seventyĬostumes’ designed by artist Eduard Milén, including - as Jennifer Sheppard An advertorial in the Brno newspaper Moravské noviny, prior to the premiere of the opera at the Na hradbách Theatre on 6 th November 1924 had little to The Cunning Little Vixen at the Barbican HallĪnd history is on their side.
