Latest news with #Janáček
The Guardian
7 days ago
- Entertainment
- The Guardian
Káťa Kabanová review – furtive groping and a wing-bloodied angel stalk flawed staging of Janáček's opera
The final production of the current Glyndebourne season is a revival of Damiano Michieletto's staging of Janáček's Káťa Kabanová, first seen in 2021, as the UK emerged from lockdown, with the cast socially distanced on stage and a reduced orchestration used in the pit. Now, of course, conductor Robin Ticciati reverts to Janáček's original score. I didn't see Michieletto's original, however, and so cannot tell how much may have changed dramatically. An inconsistent staging, it transforms an essentially naturalistic work into a symbolist exploration of its heroine's mind, and an opera essentially about the darkness of the human soul, is now reimagined in antiseptic, clinical white. There's little suggestion of the natural world that mirrors the central crisis, only a phosphorescent glare seen between the cracks of the white walls that hem Kateřina Kněžíková's Káťa in. Michieletto is unsparing in his depiction of Kabanicha's (Susan Bickley) abuse, yet at the same time, the social background is curiously vague here, and we lose sight of Káťa's tragedy as emblematic of conflicts between reactionary authoritarianism and emerging liberalism. Instead, Michieletto realises her dreams and fantasies. She imagines flying free like a bird, though bird cages, proliferating on stage, only serve to enhance her growing sense of entrapment. The angel she dreamt of in church as a child, now stalks her adult imagination, wounded, its wings bloodied. This ambivalent figure, male and stripped to the waist in 2021, has now become female androgynous and Byzantine, though the image is overused. Its feathers flutter down as Kněžíková yields to Nicky Spence's Boris, though Michieletto ruins the subsequent love scene by bringing Bickley on stage to pluck the angel's wings and immure it in a cage, a horrendous distraction. Michieletto doesn't always trust the score: in Act I, the exquisite passage intended to mark Káťa's first appearance now accompanies furtive groping between Sam Furness's Kudrjáš and Rachael Wilson's Varvara, leaving Kněžíková to slope on a few minutes later, though we have already seen her during the prelude. Much of it sounds extremely fine, however, though Ticciati, conducting the London Philharmonic, is perhaps stronger on the score's lyricism than its incipient violence: the close of Act I, and indeed the climactic storm that unhinges Káťa's mind, could have been more tense than they were on opening night. Kněžíková is really lovely in the title role, her tone silvery yet warm, her dynamic control immaculate, vivid in her delineation of Káťa's inner conflict. Spence sounds wonderfully ardent, but by the end we are also painfully aware of Boris's essential cowardice and weakness of will. Bickley, tremendous here, gives us her most terrifying Kabanicha yet. Furness and Wilson, meanwhile, are just delightful as the couple who manage to escape the nightmare that surrounds them. A flawed production, but finely sung. In repertory until 23 August
The Guardian
08-03-2025
- Entertainment
- The Guardian
The week in classical: The Makropulos Affair; Uprising
Disrupt the cycle of life at your peril. Two operas written a century apart, performed last week, shout this imperative. Their perspectives appear at once contrary and unanimous. Leoš Janáček's The Makropulos Affair (1926), staged by Scottish Opera, examines the human instinct to outwit death, via the unlikely tale of a 337-year old woman in thrall to an immortal elixir. A world premiere by Jonathan Dove, Uprising, the latest in Glyndebourne's community opera series, addresses the survival of the planet itself, threatened by humanity's habit of looking away. The chance to encounter Janáček's penultimate opera, last seen in Scotland in 2012, needs to be grabbed. Slow to be appreciated, it remains a relative rarity compared with Jenůfa and Káťa Kabanová. This co-production with Welsh National Opera – new in Cardiff in 2022 – is as good as it gets, with a characterful cast superbly directed by Olivia Fuchs, and conducted with perception and fervour by Martyn Brabbins. The Irish soprano Orla Boylan sings the mysteriously ageless Emilia Marty, in fact born Elina Makropulos more than three centuries earlier. Now on her umpteenth reinvention and name change, Marty is both an alluring grande dame and a figure of pity, especially here in Boylan's exemplary reading. Makropulos, with an incomprehensible legal wrangle at its heart, can be thought chilly. These forces, with impassioned playing by the Orchestra of Scottish Opera, prove otherwise. Janáček's angular, pulsating score moves restlessly, beguiling in its whispered use of viola d'amore, toy drum, clippety percussion and ethereal string harmonics as the life-weary Marty is at last able to die. The voluptuous music of the final act comes as an urgent release, pent-up lyricism and poignancy surging forth. The swift-moving Czech text, based on a 1922 play by Karel Čapek, is now sung in English – in this opera, a wise decision. Any Czech music expert will tell you, rightly, that Janáček's music is inseparable from the accents and rhythms of his native language. David Pountney's crisp translation cleverly mirrors those sounds where possible, freeing the quick exchanges to sound like conversational banter (the English surtitles were hardly required, so clear was the cast's delivery). One other change also helped. A between-scenes attempt in this production to explain the plot by addressing the audience direct has been ditched. Instead, we hear a crackly 78 rpm on a horned gramophone play part of an unfinished Janáček symphony composed at the same period (pre-recorded by the Orchestra of Scottish Opera and then sonically manipulated). It suited the spirit of this 1920s, Hollywood glamour-style production, elegantly designed by Nicola Turner and team. The Norwegian tenor Thorbjørn Gulbrandsøy, making his Scottish Opera debut as Albert Gregor (stepping in for an indisposed Ryan Capozzo), had mastered the English text, presumably at speed. Henry Waddington, Mark Le Brocq, Catriona Hewitson, Roland Wood, Michael Lafferty and Alasdair Elliott were strikingly characterised in the numerous ensemble roles. With only four performances in total in Glasgow and Edinburgh, this production deserves more outings. Dove's Uprising, to a libretto by April De Angelis (who collaborated with Dove on the highly successful Flight), takes a global view of climate crisis from a teenager's vantage point. A schoolgirl, Lola (the Welsh soprano Ffion Edwards, exuberant and intense), begins a solo school strike. Classmates first mock and bully, then join her. They become part of an international youth movement in which Greta Thunberg and eight other real-life activists make fictional appearances. Conflict hits home. Lola's mother (mezzo-soprano Madeleine Shaw, powerful and expressive), working for the enemy developers, arrives in the forest, in hard hat and hi-vis jacket, to fell the very trees her daughter is fighting to save. Tensions and sadnesses are acknowledged but not laboured, with enough wit to avoid piousness. A final reconciliation between mother and daughter remains uneasy and painful. Uprising, persuasively conducted by Andrew Gourlay, directed by Sinéad O'Neill, is the latest in Glyndebourne's community opera series, now central to the company's year-round activities. The first, in 1990 on Hastings Pier, was also by Dove, who has a rare gift for embracing, with absolute certainty, a range of talents and ages, mixing amateurs and professionals on stage and in the orchestra. His own brand of minimalism is crafted with subtle orchestral colour, soaring vocal lines and anthemic choruses. A cast of six performed with more than 100 participants from 33 school and colleges in the Sussex region. Among many uplifting choruses, a hymn to trees in all their variety was especially affecting, names of species recited like poetry. The opera ends with rewilding and hope, but no utopia. The environmental message, simply told, is vital, but the impact on so many young performers surely counts for yet more. A Glyndebourne supporter, the late Jim Potter, commissioned Uprising in 2020 on learning of his terminal illness. He lived to hear Dove perform some of the finished score. Glyndebourne's community operas, always unforgettable, attract a different crowd from the illustrious summer festival. Parents, grandparents, siblings are there for the first time, or returning. This is their Glyndebourne too. Opera audiences need nurturing. As a form of propagation, it's hard to beat. Star ratings (out of five) The Makropulos Affair ★★★★★ Uprising ★★★★ Uprising will be semi-staged at Saffron Hall, Saffron Walden, on 15 & 16 March, followed by concert performances at Usher Hall, Edinburgh and Glasgow Royal Concert Hall on 28 & 29 March respectively
The Guardian
21-02-2025
- Entertainment
- The Guardian
The Makropulos Affair review – immaculately paced and gripping opera storytelling
Come June, Martyn Brabbins will be directing the orchestra of English National Opera in David Pountney's new production of Tchaikovsky's Mazeppa, a story of wartime Ukraine, at Grange Park in Surrey. Brabbins, who resigned his position as music director of ENO in October 2023, has, however, chosen to make his first return to the pit with Scottish Opera, making his company debut with a score he had not previously studied, Janáček's The Makropulos Affair. The result is a triumph, his immaculate pacing of the music and the sparkling detail in the playing crucial to the gripping storytelling of Olivia Fuchs' production. With three striking sets for each of the three acts by Nicola Turner, beautifully lit by Robbie Butler, and video by Sam Sharples in the style of early 20th century experimental cinema, this staging was seen at WNO in Cardiff three years ago, but the Scottish premiere of this co-production, with a fresh cast, uses Pountney's English translation of the libretto, sung so clearly that the surtitles are almost superfluous. At the heart of the compelling narrative is a riveting performance from Irish soprano Orla Boylan, following up her acclaimed Scottish Opera turn as Jenny Marx in Jonathan Dove's Marx in London! Her chain-smoking, hipflask-toting opera diva, Emilia Marty, is uncaringly indestructible because an elixir has kept her alive since 1575 under various aliases, but always with the initials EM. Around her circle besotted men, company stalwarts Roland Wood as Baron Prus and Alasdair Elliot as Count Hauk-Šendorf and debuts from tenors Ryan Capozzo as Albert Gregor and Michael Lafferty as the Baron's impressionable son Janek. Mark Le Brocq, as legal clerk Vítek, and Catriona Hewitson as his opera-singer daughter, Kristina, draw the audience into the tale with their characterful performances, and the young soprano is a crucial presence throughout, even in scenes where she has little to sing. Those include the introduction of a clever interlude between Act 1 and 2 that uses a recording of Janáček's The Danube as part of the period meta-theatricality essential to both the opera itself and to this production. The combination of the wit of those ingredients, and some much broader humour, with the authority of the orchestral work, culminating in the achingly moving finale as Marty embraces death, is quite remarkable – and makes an unanswerable case for the century-old Makropulos as the most contemporary of Janáček's operas. At Theatre Royal, Glasgow, on 22 February and Festival theatre, Edinburgh, on 27 February and 1 March
