Janácek’s opera “Katja Kabanova” contains a beautiful love story and ends with the tragic death of a woman. Sounds familiar? Perhaps not so surprising, because almost all operas by Puccini (and many by Verdi) are variations on this formula. But Janácek is something different from Puccini, his colleague four years younger. Janácek is darker, more realistic and socially critical. The music is more modernist, and lacks Puccini’s plucky operatic hits. About Leoš Janáček Photo: Fell in the open Czech composer, music theorist and conductor. Born 3 July 1854, died 12 August 1928. Janáček’s music was characterized by melodic originality and complex rhythms. He was also known for using everyday language in lyrics and vocal pieces. Some of his most famous compositions are the operas “Jenufa”, “Katja Kabanova”, and “Saken Makropulos”, in addition to the orchestral work “Sinfonietta”. It is tempting to characterize Janácek as Puccini for the advanced. While Puccini anticipates Hollywood, Janácek rather continues the realistic theatre. In Bergen National Opera’s production of “Katja Kabanova”, it is precisely raw and dark realism that is at the centre. It has become a visually strong performance that focuses intensely on the main characters’ desperation, evil and indifference. Lightning rods, freedom and love NO TEA PARTY: The atmosphere is bad around the dining table in the Kabanov family. From left: Stephan Rügamer (Tichon), Arnheiður Eiríksdóttir (Varvara), Ausrine Stundyte (Katja) and Katarina Dalayman (Kabanicha). Photo: Magnus Skrede / BNO “Katja Kabanova” is based on the play “The Storm” (1860) by the “Russian Ibsen”, the playwright Aleksandr Ostrovsky. The action takes place in a village by the Volga with strict hierarchies and intricate power structures. That women are oppressed by men in this society hardly needs to be mentioned. But just as important to Janácek are the contradictions between generations, between close and less close family members, and between strict religion and modern science. “Katja Kabanova” is, as far as I know, the only opera about lightning rods. The main character Katja lives with pressure from all sides. She is mistreated by her alcoholic husband Tichon, and harassed by the matriarch of the Kabanov family: the singularly obnoxious womanizer Kabanicha. Katja longs for freedom, and she manages to have a short and intense love affair before she drowns in the Volga. Photo: Magnus Skrede / BNO Modernist bird box It is obvious that director Barbora Horáková Joly primarily wants to focus on the dark driving forces of the opera’s main characters. An important contribution in this regard is Thilo Ullrich’s highly effective scenography. A wooden box in an offset pentagonal shape, framed by fluorescent tubes, fills parts of the scene and in various ways represents the confinement of Katja’s situation. Here, a clear and at the same time open scenographic concept is created, which provides good opportunities for framing the action in various ways. In the first act, this modernist birdcage forms the dining room of the Kabanov family, where it effectively creates a space that is a little too cramped for the interpersonal conflicts that unfold. Beyond the third act, after Katja’s infidelity, the box functions more symbolically as a mental cage. BEAUTY: The love scene between Boris (Ladislav Elgr) and Katja (Ausrine Stundyte) is a highlight of the show. On the sides: James Ley (Kudrjáš) and Arnheiður Eiríksdóttir (Varvara) Photo: Magnus Skrede / BNO Without fixtures, it now resembles a smooth cell. Here, Katja is locked in a physical and psychological prison, surrounded by pitch darkness. At the same time, this stage concept also leaves room for beauty. The love scene in the second act between Katja and Boris, which actually takes place off-stage, is resolved in an elegant and beautiful way. One-dimensional portrait of Katja Despite a great scenography, I am still never completely gripped by the action unfolding on stage. The problem is that a lot of the time the phrase gets somewhat overwrought. This is a lot about soprano Ausrine Stundyte’s interpretation of the Katja character, both vocally and scenically. EXCITEMENT: Ausrine Stundyte as Katja. Photo: Magnus Skrede / BNO Katja appears to be bordering on psychotic already in the big scene in the first act where she tells her stepsister Varvara about her happy childhood. There is thus too little to go on in the third act when the drama really tightens up. But conductor Jiří Rožeň could also develop a more nuanced and contrasting storytelling in the orchestral part. A little too often, the expression becomes somewhat hectic and rushed. In some parts, Rožeň could have taken the orchestra down a notch in strength. The second part works better, but is not enough to correct the overall impression. Cold and precise shit MOTHER-IN-LAW FROM HELL: Mezzo-soprano Katarina Dalayman as Kabanicha. Photo: Magnus Skrede / BNO On the soloist side, this performance otherwise has many strong cards in its hand. Tenor Ladislav Elgr sings the role of Katja’s lover Boris with power and fullness, while mezzo-soprano Arnheiður Eiríksdóttir excels with great timbre and stage presence. Swedish Katarina Dalayman has a brilliant career behind her as a Wagner soprano, and here she makes an impeccable effort in one of opera literature’s least flattering mezzo roles. The shit that flows out of his mouth every time Kabanicha opens his mouth is delivered ice-cold and precisely. Håvard Stensvold (Dikój) is as usual rock solid, and I hope to hear young Siv Oda Hagerupsen (Glaša) in a bigger role on a Norwegian opera stage soon. The Bergen Philharmonic Orchestra ensures that Janácek’s rich orchestral movement stands out in clear and strong colours. An amplified Edvard Grieg Choir provides precise and effective eerie atmosphere in the dramatic third act. Failing personal direction Both scenically and musically, there are therefore many good forces at play in this production. When it still doesn’t quite hit the mark, it is primarily because the personal direction fails. Janácek’s almost cinematic realism is something quite unique within the opera genre. In this sense, it is an extra pity that Bergen National Opera is unable to create a credible stage drama. news reviews Title: “Katja Kabanova” Place: Bergen National Opera Date: 4 November – 10 November Music: Leoš Janáček Libretto: Leoš Janáček, based on the Russian play “The Storm” by Aleksandr Ostrovskij translated by Vincenc Červinka. Director: Barbora Horáková Joly Scenography: Thilo Ullrich Costume design: Eva-Maria Van Acker Lighting design: Sascha Zauner Conductor: Jiří Rožeň Choirmaster: Håkon Matti Skrede Cast: Ausrine Stundyte as Katja Stephan Rügamer as Tichon Katarina Dalayman as Kabanicha Håvard Stensvold as Dikoj Ladislav Elgr as Boris Arnheiður Eiríksdóttir as Varvara James Ley as Kudrjáš Ludvig Lindström as Kuligin Siv Oda Hagerupsen as Glaša Mathilda Bryngelsson as Fekluša Cast: Bergen Philharmonic Orchestra, Edvard Grieg Vocal Ensemble and singers from the Bergen Philharmonic Choir
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“Katja Kabanova” at Bergen National Opera – Reviews and recommendations
