Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Il barbiere di Siviglia at Glyndebourne

Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.

Oedipe at Covent Garden

George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.

Gounod’s Roméo et Juliette at Lyric Opera, Chicago

Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.

L’incoronazione di Poppea, RAO

‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’

Madame Butterfly , ENO

Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.

Valiant but tentative: La straniera at the Concertgebouw

This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.

London Festival of Baroque Music 2016: Words with Purcell

As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

The Dark Mirror: Zender’s Winterreise

From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.

Great Scott Wows San Diego

On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.

Bellini’s Adelson e Salvini, London

A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.

Manitoba Opera: Of Mice and Men

Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

OPERA TODAY ARCHIVES »

Reviews

Eva-Maria Westbroek and Joseph Kaiser [Photo by W. Hoesl courtesy of the Bavarian State Opera]
22 Apr 2009

Jenůfa at the Bavarian State Opera

The Bavarian State Opera’s new production of Leos Janacek’s Jenufa is a feather in the cap of intendant Nikolaus Bachler.

Leoš Janáček: Jenůfa

Die alte Buryja: Helga Dernesch; Laca Klemen: Stefan Margita; Stewa Buryja: Joseph Kaiser; Die Küsterin Buryja: Deborah Polaski; Jenufa: Eva-Maria Westbroek; Altgesell: Christian Rieger; Dorfrichter: Christoph Stephinger; Frau des Dorfrichters: Heike Grötzinger; Karolka: Elena Tsallagova; Eine Magd: Anaïk Morel; Barena: Tara Erraught; Jano: Laura Nicorescu; 1. Stimme: Mirela Bunoaica; 2. Stimme: Todd Boyce. Musikalische Leitung: Kirill Petrenko. Inszenierung: Barbara Frey. Bühne: Bettina Meyer.

Above: Eva-Maria Westbroek and Joseph Kaiser

All photos by W. Hoesl courtesy of the Bavarian State Opera

 

It opened April 8 at Munich’s Nationaltheater as part of his second season as director. His program presents a mix of both traditional productions and concept-driven, edgy regietheater repertory. But “traditional” does not mean “old-school.”

Formerly director of Vienna’s famed Bergtheater, Bachler was aware of stage director Barbara Frey’s work and his invitation for her to stage Jenufa, her first opera, was a gamble that paid off. She took the story of lost love and infanticide to heart and her taut reading makes the story both searing drama and epic tragedy.

Based on a story, Jeji Pastorkyuna (Her Stepdaughter), by Gabriellla Preissova, it is a relatively early opera by Janacek but marks him emphatically as a master of musical drama and is now performed regularly on the world’s major opera stages. It is the story of a young girl, who gives her name to the opera, and her love affair with the town dandy, Steva. Pregnant with his child, she bears the child in secret while he sows his oats and avoids entanglements. Her high-strung, widowed step-mother, Kostenicka, increasingly unhinged, drowns the baby, which is later discovered by the townspeople. Jenufa is immediately accused but Kostenicka confesses and Jenufa goes through with her marriage to the hapless but devoted Laca.

The setting, an open house on stakes, was designed by Bettina Meyer, and served to concentrate the tension of this dangerously dysfunctional family drama. The crowds who appear outside with the discovery of the body of the love child in the lake, scramble over the forbidding rocks in this desolate landscape. Staging, costumes and lighting all contribute to the sense of desolation which permeates this drama. Slightly updated - wind turbine towers are in the background and a cheap TV is on the table - the small town claustrophobia is easily understood by contemporary audiences.

Bachler was generous with the assembled voices to bring this off. The blazing work of soprano Eva-Maria Westbroek has generated much press recently and, in the title role, her desperate love for a feckless young man, Steva, could not be more heart-wrenching. Gifted with one of the most passionate and powerful voices of today, her anguish was palpable.

There was a sure chemistry between her and her step-sister, Kostenicka, played to perfection by the veteran soprano Deborah Polaski. Watching these two professionals relate was the high-point of the evening. Canadian Joseph Kaiser, with a clear, expressive tenor, was convincing as young Steva. Tenor Stefan Margita, has made his disturbing, complex reading of Laca a simply indispensable part of this opera. It was a quartet of talent that created an intensity rarely experienced on the opera stage. The secondary characters, all excellent, including opera legend Helga Dernesch, now 70, as the grandmother. Sometimes wayward of tone, her character was theatrically on target.

Jenufa_Munich01.gifEva-Maria Westbroek and Deborah Polaski

It was a fine night also for Kirill Petrenko who lead the opera orchestra and chorus with a vivid sense of musical expression. His career is taking off in the last few years with major appearances in the pit at New York, Paris, Vienna and London and his galvanizing leadership contributed to the seamless night of high-voltage music making.

The opera is playing now at the Bavarian State Opera’s National Theater through April 27 and will be seen again as part of the Munich Opera Festival on July 9. Information, with pages in English, is at http://www.bayerische.staatsoper.de/.

Frank Cadenhead

Jenufa_Munich03.gifScene from Jenůfa

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):