Corinne Winters as Jenůfa dancing with Thomas Atkins as Steva (Image: Supplied)
Leoš Janáček is now acknowledged as one of the greatest opera composers of the early 20th century and Jenůfa is perhaps his finest and certainly his most intense work. It is not often seen, however, probably because, like all of Janáček’s operas, it is in Czech, a language not known by many singers. This cast, however, coped admirably.
The story is set in a Moravian mill owned by a stern woman known only as the Kostelnička, or church-warden, who is the orphaned Jenůfa’s step-mother. Jenůfa is in love with the Kostelnička’s son Števa and has become pregnant by him but the brash Števa, who is set to inherit the mill, is banned by his mother from marrying until he has remained sober for a year. On learning of the pregnancy, the Kostelnička hides Jenůfa away until she has had the baby and is then forced into the dreadful decision of what to do with the new-born child.
Karita Mattila as the Kostelnicka approaching the limits of her anguish in Jenůfa (Image: Supplied)
The leading roles are all played with admirable intensity. American soprano Corinne Winters sings the title role excellently and acts the part superbly while Finnish soprano Karitas Mattila is even more striking as the Kostelnička, particularly in the scene where she is effectively driven mad by her responsibilities. The two leading male roles are also well portrayed with New Zealand tenor Thomas Atkins totally convincing as the dastardly Števa, and Scottish tenor Nicky Spence as the noble but frustrated Laca, who tries to come to Jenůfa’s rescue.
The production is also notable for the appearance as conductor of Jakub Hrůša who later this year will become the music director of the Royal Opera. As a Czech himself, he has a particular respect and understanding for Janáček’s music and for the current production even imported from Prague a type of xylophone Janáček himself specified to give the tone he wanted for the music in Jenůfa.
Nicky Spence as Laca offering solace to Corinne Winters as Jenůfa (Image: Supplied)
The music, incidentally, does everything an opera score ought to: it conveys the changing emotions of the story as much as the action itself. Rather like the best film music, it sets the mood for whatever is happening or about to happen.
With the opera itself, the singing, the acting and the orchestra all near perfect, the only reservation I have is the production itself which is a revival of the version directed by Claus Guth for the Royal Opera in 2021. Guth had many ideas to embellish the story but several of these are unnecessary intrusions. For example, when Jenůfa is locked away by her step-mother, we see a giant raven ominously perched on her cage-like room, and when the Kostelnička is pondering the fate of the baby, a blood-stained boy walks slowly across the stage. Both these additions are visually striking, but bring little to the story other than distraction.
Jenůfa is playing at the Royal Opera House, Covent Garden until 1 Febuary.
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