Fairytales often speak directly to our unconscious, revealing drives and truths that are not always apparent to our conscious selves. It is therefore not surprising that many tales are replicated across countries and cultures, even if the characters and details vary. The Slavic fable of Rusalka, for example, has counterparts with the French Melusine, Germanic Nixie and numerous others, including, most famously, Hans Christian Andersen’s ‘The Little Mermaid.” Although Rusalka is a simple story of a water nymph who relinquishes the power of speech so that she can become human to be with a prince with whom she has fallen in love, her motivations lie deep within the unconscious, taking in sexual awakening, resentment and a desire to return to an innocent state, and it was these aspects of the narrative that the director, David Radok, wished to explore.

A Journey Into the Unconscious

Although it is not a unique nor a particularly profound reading, Radok’s presentation, for which he also designed the scenery, was hugely successful. Not only did he capture the full dramatic and emotional dimensions of the work, but his ability to convey the drama within the context of Rusalka’s unconscious motivations was expertly rendered and allowed the audience to fully engage with his interpretation.

Act one opened to a stage that blended a large room in a house with windows and doors in a watery blue-grey colour with wooden walkways and reeds as would be found in a marshy area, and that stretched from inside the room to the outside world. This was Rusalka’s world; it was secure and safe, in which the walls represented the borders between the known and unknown, between innocence and knowledge. Rusalka, like many a teenager, was desperate to open the doors, to leave the secure and safe world behind, and to explore what else exists; the prince provided the impetus that awakened her sexual desires and thus set her on the path. Unfortunately, that door opens in only one direction; innocence is not something that can ever be regained.

Act two takes her into a world of luxury and frivolity, of betrayal and lust. It is a complex world of suffering, illusion and disappointment. Radok’s staging was brilliantly conceived to create the impression of wealth through chandeliers and the façade of a mansion and an outdoor area dedicated to dancing. He also ensured that Rusalka’s disillusionment was clearly portrayed through her detached meanderings between the dancers and attempts to find a way out through the dense undergrowth that surrounded the dancing area.

Act three finds her back in her original room, but everything has changed. The roof is leaking, and the plants are dying; everything looks to be in a state of decay. No longer human, but neither a nymph, she allows her resentment for the outside world to grow and retreats into her watery world, shuts the doors, and closes the shutters on the windows, but it is not innocence that she finds, only isolation.

It was a reading that fitted sympathetically with the surface fairytale narrative, with each complementing the other to provide a layered and satisfying staging. Radok also ensured that the visual presentation was sensitively developed to draw out the dramatic significance of the events and to manage the tensions. The costume designer, Zuzana Ježková, created a series of costumes that set the characters in the Victorian period, detailed to reflect the characters’ natures. The Water Goblin appeared slimy and unkempt in old blue and grey coloured garments, while the three wood sprites were in greeny blue, light shifts. Jezibaba’s blue and grey costume gave her the appearance of a matron or nanny figure. All appeared as if water was their natural habitat. The Prince and Princess, on the other hand, definitely came from the civilized human world and were dressed as wealthy Victorians of high status. It was the costumes of the chorus for the ballroom scene that really stood out. They were all attired in black with top hats, including the women, which gave them a sinister appearance; they were certainly not benign, nor did they act in a manner sympathetic towards Rusalka. The two worlds, the human and nonhuman, were visually clearly divided. Rusalka’s changing costumes reflected her movement between the two worlds but always in a way that ensured she appeared different from those around her.

Ivanović Oversees a Musically Engaging Performance

It was also a reading that complemented the score perfectly, which the conductor Marko Ivanović sensitively brought to life with the Janáček Opera of the National Theatre Brno. The pace and dynamic contrasts were carefully judged to support the onstage drama, if on occasions slightly understated, while the dance episodes were lively and graceful. It was also a reading that caught the beauty of the score.

Soprano Jana Šrejma Kačírková produced an emotionally compelling performance in the role of Rusalka. As the young and innocent water nymph, she was headstrong, rebellious, and yearning for love that she convincingly captured with a vocally expressive presentation, which she convincingly transformed into an insecure, bewildered and downtrodden young woman, before finally returning to the watery depths, hollowed out by her experience with humans.

Kačírková possesses a secure, resonant voice, which she uses with considerable skill to present emotional states, in which her pleading with her father and then with Jezibaba were particularly well developed as she coated her voice with longing and desire overlaid with an insistent determination to get her own way. There is also a pleasing energy in the voice so that even when singing in a more subdued manner, you could sense a restless spirit ready to explode at any minute. Her ability to move the voice freely enabled her to capture Rusalka’s disoriented state in acts two and three as she moved her voice flexibly across the range, with neatly placed accents and dynamic contrasts that expertly caught her pain and grief. It was, therefore, slightly disappointing that her rendition of the showpiece aria, “Song of the Moon,” did not really take flight; it was pleasant enough, and she allowed her emotions to strengthen as the aria progressed, but overall, it was too understated to convince.

Tenor Peter Berger made an excellent impression as the Prince, whom he played as a weak-willed and frivolous character, totally at the mercy of his fast-changing passions. Even as an old man, when he returns to Rusalka, full of remorse, to ask her forgiveness, he readily accepts her kiss that he knows will kill him. It appeared as the easy way out rather than an expression of deep love, despite his passionate pleading. Vocally, it was a role that seemed to suit him almost perfectly. He possesses a voice with a passionate, sweet-sounding tone that moves securely and with agility across the range, allowing for a lyrically strong performance, which he delivered with confidence and emotional force.

Vodnik, the water goblin, was given an engaging yet not wholly sympathetic reading by bass Jan Štáva. He was suitably anxious about and supportive of his daughter Rusalka but was abusive and sexually aggressive towards the wood spirits. His singing had a determined, even fierce, quality that gave him an imposing demeanour. Although certainly not lacking in beauty, his crafting of the vocal line was focused on promoting the meaning of the text, which he furnished with emotional honesty.

Soprano Eliška Gattringerová was thoroughly dislikable as the Foreign Princess. She was cynical, vicious and served only her own interests. Her voice had a harsh, strident edge, which she used forcefully and energetically to assert her will over both the Prince and Rusalka, whom she treated as an inferior.

Mezzo-soprano Václava Krejčí portrayed the witch, Jezibaba, as hard, unforgiving and cold, and treated Rusalka with total contempt. She possesses an agile, secure voice over which she exhibits excellent control, which she used to create a compelling vocal portrayal that captured her vicious and opportunistic nature. Her forceful response to Rusalka’s pleading in Act three was expertly rendered as she spat out her lines full of bile, which also showed off its nuanced colouring.

No attempt was made by Radok to hide the fact that the three wood spirits were based on Wagner’s Rheinmaidens; if anything, it appeared he wished to draw attention to the fact. With their greeny-blue costumes that evoked connections with the watery depths and their playfully cruel taunting of the Water Goblin, one could so easily have mistaken it for the opening scene of “Das Rheingold.” Played by soprano Doubravka Novotná, and contraltos Ivana Pavlu and Monika Jägerová, they acted their parts as a group, yet each managed to maintain an individual identity.

Baritone Tadeáš Hoza gave a solid performance as the Hunter.

The choir of the Janáček Opera of the National Theatre, under the direction of Pavel Koñárek, produced an energetic and beautifully sung performance, played out the dance routines wonderfully, and acted out their Act two roles convincingly to create an oppressive, even threatening presence.

Overall, it was a high-quality presentation, for which Radok must take a large share of the credit. It was an imaginative and dramatically convincing reading, which in no way is meant to belittle the contribution made by the orchestra or the singers, who all gave strong performances and made it the most successful of the four operas I reviewed at this year’s festival.

The post Janáček Brno Festival 2024 Review: Rusalka appeared first on OperaWire.

Alongside the headline operas, the Janáček Brno Festival stages a number of student and alternative projects. One of the works on offer this year was a piece entitled “The Other City,” performed by Ensemble Opera Diversa, written by Czech composer and librettist, Ondřej Kyas, based on a 1993 novel of the same name by Michal Ajvaz.

A man known only as A walks into a secondhand bookshop in Prague, where he finds a mysterious tome. Intrigued, he sets out to discover its hidden secrets and is drawn into a parallel reality in which there exists an ‘other city,’ one that he is determined to find. He wanders the streets of Prague that he both recognizes and yet does not recognize, populated by strange characters and talking beasts. Not all are friendly; some even attempt to kill him, but A is not put off and ploughs on regardlessly. He must find the ‘other city.’

It is a drama that plays with the idea of reality and people’s desire to escape it and find a new one. This is what A is attempting, but it is a path strewn with dangers, and the more he engages with this new reality in search of the ‘other city,’ the more he loses his grip on the old reality. We are witnesses to A’s journey in which he fights a shark, is attacked for not having a weasel, talks to a bird called Felix with whom he has a discussion about the significance of the national epic, and visits a palace in the jungle, among many other weird and wonderful happenings.

Then again, maybe it is just a simple, entertaining fantasy. Either way, it all ends up with A back in the Prague he knew well, specifically in the underground toilet of the Slavia Café.

The opera is presented as a reflective piece. A has kept a diary of his wanderings, and it is through his writings that we learn about his journey in search of the ‘other city.’

The performance took place in a small theatre named ‘The Theatre on Orlí Street’ that seats around 150 people, depending on the size given over to the stage, which in this case was a fairly large space with room for an orchestra of about 25 to 30 musicians, two large video screens, a raised seated area for the eight soloists, and a substantial area for the singers to act out their roles.

A Low Budget Yet Successful Staging

Although the work was given a semi-staged performance, it could easily have been defined as fully staged; the only thing it lacked was scenery, which proved unnecessary as the black space, with one or two simple props, imaginative video projections, along with Anna Laborová’s sensitive lighting, proved more than sufficient to provoke the imagination into conjuring up A’s fantastical journey. In fact, any attempt to reproduce its visual aspects would have been more likely to dull the affect; it certainly would have placed restrictions on the imagination, which is essential for forming a meaningful appreciation of the work.

The director, Katerina Krivánková, and set and costume designer, Sylva Marková, did a fine job in ensuring the audience could follow the narrative, despite its sharp shifts, surreal meanderings and dreamlike dialogue.

There were two distinct areas on the stage. Character A was seated at his desk on one side, reading over his diary and reflecting on his journey while projecting images of the pages of the book and items on his desk onto the video screen using a small camera. The rest of the cast were seated on the other side on the raised area, including a slightly younger A, who played out the drama on the performance floor in the front middle part of the stage. All the characters were dressed in black apart from A.

Krivánková successfully injected each scene with energy and a well-focused momentum that carried the narrative forward, in which each character was clearly drawn. Only the most basic of props were employed, usually no more than a couple of chairs and a table, which gave the sets a minimalist appearance. Often, twisting and turning geometric shapes, designed by Tomáš Hruza, would appear on the video as they sung.

Fine Performances From a Committed Cast

Although the cast was relatively inexperienced, all the singers produced convincing performances, with tenor Michael Robotka, in particular, impressing in the roles of the Librarian, the Parrot Breeder, the Man with a newspaper and a Man in the pub. It was not just his technical competence but his ability to engage with his characters that caught the eye. As the Man with the newspaper, he skillfully moulded his voice to reveal his anxieties at having his daughter kidnapped. He also proved to be an excellent storyteller, able to draw in the audience with his sensitively fashioned monologue, in which he displayed a nuance and variety in his modes of expression.

Each of the three female singers also produced notable performances. Soprano Aneta Podracká Bendová’s singing voice has a captivating beauty, which she used sensitively to shape attractive phrases to portray the parts of a Woman on the boat, a Mysterious Girl and Fate.

Soprano Jana Vondrů produced a powerful reading of Alweyra, Klára and Fate, which allowed her to show off her ability to present different characters. Her singing has an appealing lyricism with a strong, secure upper register.

Mezzo-soprano Alžběta Symerská successfully produced three clearly defined characterizations as the Waiter’s Wife, Felix the bird and Fate, in which she used her colorful palette and vocal expressivity to bring emotional depth to her characters.

As the three Fates, the three combined beautifully for one of the more memorable pieces of the work in a short but beautiful trio.

Bass Tomáš Chloupek gave expressively strong readings as the Head Waiter, the Historian, the Man on the Boat, and the Man at the pub. His singing was confident, often forceful and secure. One negative impression that stood out, however, was an inability to moderate the dynamics; he has an impressive, resonant voice but seemed determined to sing forte no matter the circumstance. As a Man on the Boat, his duet with the Woman on the Boat was beautifully delivered and displayed a sympathetic moulding of the vocal line; if he could have quietened the voice even slightly, it would have been almost perfect.

Bass Aleš Janiga, in the role of A, had a much smaller role than expected, with few opportunities to sing any of the standout pieces; nor was there much variation in what was required of him; he was always earnest, determined and focused but was for the most part a passive observer to the characters around him. His singing was firm, secure and well presented.

Bass Pavel Slivka was cast in the roles of the Maledict, the Merchant, the Barman and the Guardian of the Temple and displayed a notable degree of vocal versatility in the way he defined the roles through his voice. As the Merchant, his singing was clear and lyrical, while as the Maledict, he produced a more uneasy, mysterious sound.

Bass Libor Skokan gave solid performances in the roles of the Priest, the Waiter and as a pub regular, in which he showed off his pleasing timbre and expressive agility.

Lukáš Rieger gave a clear and earnest reading in the spoken role of A at his desk.

The Ensemble Opera Diversa, under the musical direction of Gabriela Tardonová, produced a very dramatic sound, moulding the at times intricate music to bring out its unsettled, energetic and often anxious qualities. It moved seamlessly between passages in which it sat at the forefront of the performance, highlighting significant moments and driving the drama forward, and passages in which it was content to sit in the background, supporting the singers and creating the necessary atmosphere.

Overall, it proved to be a worthwhile production. Musically it was excellent, and the imaginative, low-cost staging carried the drama convincingly, while providing the necessary space for the audience’s imagination to engage productively with the work.

The post Janáček Brno Festival 2024 Review: The Other Place appeared first on OperaWire.

“Every stage work takes on new meanings with each new interpretation.” So reads the opening line of the program notes by dramaturg Marta Ljubková, writing about Janáček Brno Festival’s production of “Jenůfa.” She was being somewhat disingenuous. What was presented was not a change in emphasis or an exploration of hidden themes; rather, it was a heavy-handed intervention that included a new ending, new text, and, unbelievably, new music, provided by the band VIAH, a pop duo on electric keyboards, who pumped out a sound that was totally at odds with Janáček’s music.

Loulova’s Provocative Direction

As the audience filed into the auditorium for the beginning of the performance, it was met with an image of artist Jamie McCartney’s “The Great Wall of Vulva,” consisting of 20 casts of female genitalia. The original work consists of 400 vulvas; its aim is to “shed light on variety, diversity and the absence of a norm” and to draw attention to the pressures women are put under to have aesthetic plastic surgery. It was the opening salvo of a production, directed by Veronika Kos Loulová, that reinterpreted “Jenůfa” from a woman’s perspective in the 21st century, focused on the psychological difficulties experienced by women during childbirth and the early stages of motherhood.

Without a doubt, it is an interpretation with potential. Jenůfa has been placed in a high-stress situation, the subject of male violence and irresponsibility at the hands of Laca and Števa. She is pregnant, and the father, Števa, has abandoned her, and she is now fearful of the judgement that will be passed by the village community for having an illegitimate baby. She lives alone with Kostelnička, her stepmother, and the two try desperately to cope, not just with caring for the newborn baby but also having to keep it secret from a close-knit community. Little surprise, therefore, that Jenůfa falls into a pit of despair, aggravating any predisposition for postpartum depression, a condition that can also affect surrogates, such as the Kostelnička, who finds herself looking after both Jenůfa and the baby.

It started well. Loulová moved the drama to a contemporary setting, for which the scenographer and costume designer, Irina Moscu, created a cluttered modern-day apartment, where Jenůfa and the Kostelnička lived. The grandmother busied herself with household chores, while Stárek, the mill foreman, and obviously a regular visitor, sat comfortably reading a newspaper at the table and seemed very much at home. Laca had free rein of the house and moved around as if he lived there and did what he liked, as did Števa. The relationships were thus clearly established as close-knit, suffocating and overbearing, which Loulová amplified by accentuating the negative characteristics of the male figures, especially those of Laca and Števa. Laca, in particular, expressed no sign of love towards Jenůfa; rather, he was boorish, crude and cruel, always flashing his knife in front of her, sometimes with her panties twirling on its blade.

By the end of the first act, Loulová had successfully created an oppressive, threatening atmosphere based on intolerance and violence and clearly established Jenůfa’s vulnerability. There were, however, numerous irritations in her presentation, not least the interpolation of amplified texts of reviews from Preissova’s original stage play on which “Jenůfa” was based and quotations from members of ‘A Mother’s Smile,’ a group set up to care for women who have experienced psychological difficulties during pregnancy. They added nothing at all to the drama and brought the momentum to a complete stop. Also, the removal of all folk elements, while understandable given its contemporary setting, undermined the sense of community and therefore the outside pressures exerted on Jenůfa and the Kostelnička. The folk dances, therefore, also had to be jettisoned, which were replaced by an uncoordinated free-for-all that looked ugly and minimized the impact of the musical contrasts. There were other minor annoyances, but dramatically it worked fairly well.

Act two progressed in a similar vein. The characters were sensitively handled and successfully presented, capturing both Jenůfa’s and the Kostelnička’s emotional and psychological deterioration under the stresses of the situation. While the Kostelnička’s anxieties and emotions became more haphazard, Jenůfa looked oblivious to what was happening around her; she looked hollow and exhausted, clearly overwhelmed and unable to cope. Although it was a well-presented act, it was again subject to distracting interventions, this time with an amplified voice listing issues and products relating to new mothers, such as nipple cream.

Act three took the staging in a different direction. The apartment was melded with a wooded glade, into what appeared to be a dreamscape, with its meaning open to interpretation. Was it a projection of Jenůfa’s or the Kostelnička’s mind? Maybe it was a desire for a better world? Could it have been a representation of the heaven in which her murdered child now resides? Was it a contrast to the hell of a life lived in the apartment? Or was it something completely different? It did not really matter; it proved to be a successful device for encouraging the audience to think about the implications of such possibilities, and as such it was successful.

Unwelcome Alterations to the Opera

Unfortunately, the final duet between Laca and Jenůfa was cut, so that the opera ended with Jenůfa forgiving the Kostelnička, who was surrounded by other women in a show of solidarity. This went beyond Janáček’s intentions and felt wholly contrived. It also drew attention away from the legitimate portrayal of Jenůfa, the Kostelnička and women in general who suffer from male abuse, neglect or lack of understanding, as well as the problem of postpartum depression, which was supposed to be the main focus of Loulová’s interpretation and instead highlighted the fact that there was not a single male character with even a modicum of decency or empathy for Jenůfa’s or the Kostelnička’s conditions. For all his faults, Laca in the end accepts his responsibilities; this excised from the text as it went against the message. Even Stárek was allowed to sit through Jenůfa’s suffering while being tormented by Laca, just so that he could be shown to be a passive, disinterested male. It verged on propaganda, rather than a nuanced consideration of the problem.

Yet although Loulová’s staging was provocative, at times heavy-handed and occasionally irritating, her sure directorial grasp enabled her to fashion a reasonably successful interpretation in which her determination to insert her concerns about postpartum depression was made alongside, although not always within, what was a well-crafted drama. It was, therefore, a pity that she threw it all away by replacing the final duet with a nondescript piece of music by VIAH. It destroyed the effect that she had struggled to create, so that one left the theatre with a wholly negative impression.

A Raw, Exciting Orchestral Reading

The relatively small orchestral force of the Moravian Theatre under the baton of Anna Novotná Pešková created a dramatically stark and compelling reading. Its lean, transparent textures, in which the percussion often thrust itself into the foreground, gave the sound a rawness that sat well with Loulová’s staging, which was accentuated by the lack of warmth from the relatively small string section. Pešková was always sensitive to the drama’s twists and turns, complementing them with pleasing dynamic contrasts and changes in pace, and the melodies were crisply and deftly executed.

The star of the show was undoubtedly soprano Eliška Gattringerová, who essayed the role of the Kostelnička, although it was not the usual portrayal one might have expected. In line with Loulová’s interpretation, she became a sympathetic character, rather than a hard-headed matriarch, equally concerned about her own reputation as that of Jenůfa’s. Such was her success in presenting the Kostelnička as a well-intentioned, fundamentally decent woman who was unable to deal with the situation that it appeared completely natural that she should be forgiven by Jenůfa for the murder of her baby. Her singing performance was also wonderfully expressive, in which she captured the anxieties, stresses and fears that led the Kostelnička into committing such a horrendous crime.

Jenůfa was played by mezzo-soprano Barbora Perná, who produced an excellent acting performance that captured her mental state perfectly along with all its emotional contradictions. In Act one, she accepted and rebelled against Laca’s aggression, displayed her love for the unworthy Števa, and her contempt for Laca. In Act two, she had collapsed into an exhausted shell of herself. Yet underlying it all, she exuded a sense of decency and love. Her vocal performance was solid rather than exciting or revealing. Her singing was clear and articulate, and she expressed herself forcefully and passionately, but she lacked the frisson, the ability to add nuance and push the voice to the extremes that is necessary to dominate the role.

Tenor Josef Moravec was essentially only required to portray Laca’s negative characteristics and to steer clear of anything that might put him in a positive light, and he did it very well; he was frustrated, angry and resentful and simmered with a violence that was ready to explode. Possessing a resonant voice, which at times he could have used with more dynamic subtlety, he was able to intimidate Jenůfa and dominate a scene, as he forcefully pushed his voice into a confrontation.

Tenor Raman Hasymau has an agile voice with a pleasing timbre, although it can sound a little thin in the upper register, which he used impressively to capture Števa’s superficial character. Yes, he was pushed into emotionally uncomfortable situations, but he always managed to coat his voice with a veneer of insincerity or immaturity, which fitted perfectly with the tenor of the production.

Mezzo-soprano Sylva Čmugrová gave a clearly defined portrait of Grandmother Buryjovka, making it quite clear that she had no interest in Laca whatsoever.

Bass Jiri Pribyl had only the occasional line to sing as Stárek but was present for a large part of the first act, in which he successfully ignored Laca’s brutish behavior as if it were completely normal.

Sopranos Katerina Popová and Anna Moriová were parted as Karolka and Barena, respectively. Both delivered well-sung performances in what were small roles.

Final Thoughts

Personally, I found Loulová’s interpretation to be far too heavy-handed to consider it a success. Lecturing or berating audiences is never a good thing; they are quite capable of understanding a well-managed interpretation without having it spelt out in bold terms or using gimmicks, like having a pop duo bring the opera to a conclusion. It comes across as extremely patronising.

Actually, I had no problem with Loulová’s overall reading of the piece; in fact, I found it insightful. There is a very good “Jenůfa” contained within this production, but it is struggling to get out; a more nuanced approach is needed, one shorn of the extraneous additions that undermined all that is good about it.

It is co-produced with the Moravian Theatre Olomouc.

The post Janáček Brno Festival 2024 Review: Jenůfa appeared first on OperaWire.

In November, she will be performing as Rusalka in this year’s Brno Janacek festival, which OperaWire shall also be covering.

OperaWire: What is the next opera you will sing in? 

Jana Šrejma Kačirková: Smetana’s “Dalibor” in Brno.

OW: What was the first opera in which you performed?

JSK: I sang in “La Boheme” and “Polish Blood” when I was a child. I was 12 at the time.

OW: At what age did you know that you wanted to become an opera singer?

JSK: I didn’t want to become an opera singer; I wanted to be a pop singer. However, my mother told me to learn how to sing first, and then choose what to sing. And it was my teacher, the famous opera singer, Libuse Dominska, who convinced me to sing opera. She was a role model for me, and I wanted to do it for her.

OW: What was the first opera in which you sang a major role?

JSK: It was Susanna in “Le Nozze di Figaro.”

OW: If you were having a dinner party and you could choose three guests, one of whom had to have a connection with opera, who would they be?

JSK: Anna Netrebko, the director David Radok and my daughter Anna.

OW: What is your favorite piece of non-classical music?

JSK: “Les Misérables”

OW: If you weren’t an opera singer, what career would you like to follow?

JSK: Anything in which I can meet people. Maybe I would be a translator.

OW: If you were a radio talkshow host, who would you most like to interview?

JSK: My grandfather. He died 15 years ago, but it was like he left yesterday. He had a big personality and had a big effect on me.

OW: What city in the world would you most like to visit? 

JSK: Paris. I have never been.

OW: What is your favorite food?

JSK: I love eating. I can eat anything. I love Chinese food.

OW: What is your favorite holiday destination?

JSK: Cape Verde. It is like paradise. It is a calm place with a tropical climate.

OW: Who is your favorite painter?

JSK: Monet

OW: What book are you reading at the moment?

JSK: I am reading a detective novel by Tess Gerritson called “Instinct.”

OW: You are singing Rusalka at the Brno Janacek Festival this November. The director will be David Radok. What is it like to work with him?

JSK: He is a genius. I love working with him. Every minute of working with him is great. He loves the singers’ ideas; he loves directing; he is very precise and wants everyone to be involved in the production. He wants energy on the stage, and he wants everyone to feel important. Everybody who works for him wants to do the right thing for him and to make him happy.

The post Meet The Person Behind The Voice: Soprano Jana Šrejma Kačirková appeared first on OperaWire.

Glaser’s interpretation won a series of fine reviews and deservedly so! He created a colorful, vibrant staging in which the characters were clearly drawn to bring out the dramatic nature of the work. Moreover, he achieved this without abandoning the work’s essential Czech characteristics. The audience was able to engage and enjoy both aspects of the work. It smiled alongside the exuberant peasantry and idiotic behavior of some of its characters and sympathized with others. It all made for a wonderful evening of entertainment.

While in Brno to review the production, Operawire took the opportunity to meet up with the director for what turned out to be a fascinating interview.

OW: What made you want to become a director of opera?

Martin Glaser: I came from the western part of Bohemia where there are no theaters, only coal mines and factories, and at that point in my life I didn’t want to do theatre. I was interested in chemistry and wanted to pursue a career as a scientist. However, when I started to study at university, I found I didn’t have as much passion for chemistry as the other students. I didn’t want to spend every evening in the laboratory. I was far more interested in going to the film club, to the theatre, exhibitions and concerts. So, I decided to abandon chemistry and apply to study the staging of drama at an academy in Prague. The teachers there saw some talent in me, and I was admitted onto the course where I studied staging and dramaturgy.

Then I went to České Budějovice, a small town in the South of Bohemia, where I became a house director. I spent seven years there and this was the first time I directed an opera. Mainly I was directing spoken drama, but director of the opera offered me the opportunity to direct Verdi’s “Otello.” That was in 2012; I came to opera very late in my career.

Now, I direct one spoken drama each season and an opera every two years. I enjoy the crossing between the two worlds. They are very different. In drama you have to work a lot harder to create the correct emotional rhythm of the scenes, although you do have more freedom in how to do this. In opera, however, the music is able to lead you and the path is usually very clear.

OW: What is your starting point when you are given an opera to direct?

MG: I need a long time to prepare a work. Normally, I spend two years on each production. Of course, I listen to the music, but it is also important for me to understand the themes of the work; I need to know why I am staging it. I think this has arisen because of my roots in spoken drama. I need to find connections between the opera’s narrative and its characters with contemporary society. As a director, I am interested in the roots of the story. I use the time in which the composer and the librettist created the work to inspire me, and then build upon this to create a bridge across time to the present day. However, I do not feel the need to stage it in a present day context.

OW: What role does the music have in your reading of the work?

MG: I cannot read music, but I love music. So, when I decide to stage an opera, I have listened to it for months beforehand. However, until I came to direct “The Jacobin,” the crucial points for me were always the themes of the work, the story and the drama. I have so far directed about nine operas and they all have very strong stories, such as “Otello” and “Jenufa,” and, therefore, my stagings are centered on the drama.

“The Jacobin” is the first opera I am staging solely because of the music, which came as a very big surprise to me. It was a difficult process for me to decide to say yes to staging the opera. In the past I have rejected operas even though I have liked the story, for example Cherubini’s “Medea,” and this is because I could not connect to the music. When I was offered “The Jacobin” by the opera director, he said to me “I know you have a complicated relationship with Czech national operas but try to listen to it.” I didn’t know the work, and when I listened to it, I fell in love with the music. This is why I decided to stage it, it wasn’t because of the drama.

OW: When you direct an opera are you simply looking to tell the story or are you attempting to reveal its hidden depths? 

MG: Absolutely I am trying to get to the core of the work and bring out its deeper meanings. It is also what I do in spoken drama. I try to make sure I know the truth that lies beneath the words, beneath the music, before I start on the practicalities of devising a staging. Sometimes, it can be difficult to communicate these deeper meanings in words, but I have to try to find a way to touch the audience.

OW: How important is the reaction of the audience to what you are doing?

MG: When I was training to become a scientist, I realized I would be much happier telling people stories and affecting their emotions. I want to tell people my version of stories and I am very happy if they react by laughing where I want them to, or feel sad where I want them to. This is how I judge my success. Their reactions are fundamental to what I am doing.

When I started out as a director, I was working in a small provincial theatre where you had to fight for your audiences; I know what a great feeling it is when the house is full. If the people understand what you are doing, they will come. So, it became very important for me to create a production that the audience clearly understands and enjoys. I always aim to do something that will mean we have a full house.

It is also important for me to challenge the audience intellectually. I believe it is possible to talk to audiences about any issue providing you are not afraid to use emotions, which I know is not popular these days. I want people to think about why they behave and feel the way they do.

OW: Three years ago, at the Brno Janáček Festival you directed a very well received production of “Jenufa.” What was the most important theme you wished to bring out, and how did you achieve it? 

MG: Along with my team, we discovered a paradox in the work that dictated our staging. Janáček created a work in which the characters talked to each other in a way that reflected real life, but we realized that none of the the characters actually listened to each other. Yes, they heard the words, but there was no understanding of truth that underpins them. This was crucial to our interpretation. Initially, we played the second act in a single room and spent a lot of time on every gesture to emphasize that the characters were not listening to each other, but this proved to be very difficult. We, therefore, changed it and set the act so that the characters were situated in separate rooms, which proved to be very effective in creating a sense of isolation.

OW: How closely do you work with other members of the production team in devising the overall structure of the interpretation?

 MG: I work regularly with the scenographer Pavel Borák, who happens to be one of the best set designers in the Czech Republic and also a close friend. We live close to each other and meet every week to discuss the productions we are doing. So, it is very much a collaboration.

OW: What sort of input do you like to receive from the singers? 

MG: When I arrive to work on a production, I like to be fully prepared. But, I also like listening to the singers’ ideas as much as I can; I know how difficult it is for singers to be on a stage interpreting a role, and I want to let them breath. I, therefore, outline the basis for the production, and then I try to accommodate what they want to do.

What is very different about opera to spoken drama is that the singers have probably played their roles many times in other productions, and they bring their experiences with them. In spoken drama this is not so common. It means that in directing an opera, I sometimes have to coach singers to abandon parts or all their past interpretation of a character. This was not, however, the case with “The Jacobin;” most of the singers had not performed the opera before, which is actually better for me.

Most singers are talented actors and know how to successfully interpret a character. My method is to watch them carefully and when I see them do something, which maybe only a small thing that doesn’t relate to the wider context, use it to redirect and build their interpretation.

OW: What are your thoughts about directing “The Jacobin?” 

MG: What attracted me to the opera was the music, which touched me deeply. It may sound pathetic, but the music is the music of my home, and for me the theme of home is becoming more and more important in the difficult times societies are going through. I said yes to staging it, even though I had no idea about how I was going to do it. When I read the libretto for the first time, I thought this is a very simple story, very effective and very Czech. However, I also saw in it a universal story about the struggle between good and evil, about the powerful versus the weak and the fight for truth and love. I also recognized that it is through the music that the characters fight. In many operas, it is difficult for me to understand why the singers are singing, but in “The Jacobin” they sing because it is their way of fighting to change things.

We wanted to incorporate the Czech landscape into the opera, which is not an easy thing to do. We didn’t want to use projections. We wanted to incorporate it in an artificial way, so we opted for a stage which was comprised of movable wooden waves to represent the rhythm of the Czech countryside as well as the rhythms of behavior of the Czech people.

We wanted to recreate Czech music, Czech countryside and the Czech people, but in a way that can be understood by non-Czechs and my generation.

I say my generation because we grew up when the communists were in power, and they used nationalist composers, such as Dvořák and Smetana for propaganda purposes. We saw and heard them on TV; we were told about them in school, in which the folk were presented in heavy traditional folk costumes in images full of traditional houses in Czech villages. As children we hated it, and my generation still does not like it. We do not want to listen to the music. There is plenty of other music to listen to, and this is what we did. The only piece of Czech opera I really liked was “Rusalka.”

When my friends asked me what I was working on and I told them it was “The Jacobin,” they were very skeptical. The thing is, I have to overcome what is a very strong prejudice in the memories of the people of my generation. It is a challenge.

OW: What type of costumes are being used? Are they traditional costumes?  

MG: The inspiration is the traditional costumes of the past, but we have not created traditional designs. We certainly did not want to replicate the costumes even though the opera is set in a specific time and place and is essential to the interpretation. We, therefore, settled upon designs that gave the impression of tradition; they are abstractions of folk costumes which hopefully won’t alienate people.

The only character who is dressed in a traditional costume is the count.

OW: How quickly did the singers adapt to your interpretation of the work?

MG: Well, they are opera people, so they love opera and don’t have this dislike of nationalist works, which was great for me as I don’t have to convince them of its worth.

It was the third or fourth time that I have worked with the cast, so we know each other well and they have a good understanding of my methods, and what I am trying to do. It was the first opera of the season which made it easier as we have more time and space. They quickly realized that my idea would work, so things moved quickly and smoothly.

OW: Why do you think “The Jacobin” is so rarely played outside the Czech Republic? 

MG: I think it is because when people don’t listen to the music or read the words carefully, they think it is a piece of Czech kitsch. But actually the music is lovely. It is true that the story can be interpreted as too local and too nationalist, but it is basically dealing with universal issues, and this is what I have tried to convey in my staging.

OW: If you could direct any opera, what would it be?

MG: That is not easy to answer as I am not well-educated in opera. But I do have a dream opera which I would like to direct one day: Shostakovich’s “Lady Macbeth of Mtsensk.”

The post Q & A: Martin Glaser on His Directing Style & His Production of ‘The Jacobin’ in Brno appeared first on OperaWire.

Netopil will succeed his present Chief Conductor Tomáš Brauner.

In a statement, the conductor said, “Prague has always been an enormously rich source of culture and music for me. The Prague Symphony Orchestra, which continues to make an outstanding contribution towards this, is amongst the best Prague has to offer. It is a great honour and pleasure for me that our artistic paths shall cross and that together we will be able to develop the rich potential of this wonderful orchestra and bring joy to audiences in Prague as well as the rest of the Czech Republic and abroad. Our journey together represents a new and exciting artistic chapter for me.”

Netopil is the founder and Artistic Director of the International Summer Music Academy in Kroměříž and the former General Music Director of the Aalto Musik Theater and Philharmonie Essen. He has also worked with the Czech Philharmonic Orchestra, Geneva Opera, Staatsoper Hamburg, Prague National Theatre, Naples Philharmonic, Fort Worth Symphony Orchestra, and the Aspen Festival.

The post Prague Symphony Orchestra Announces New Music Director appeared first on OperaWire.

Alongside Poláčková is bass František Zahradníček as Hydraot, baritone Svatopluk Sem, bass Štefan Kocán. They are joined by the National Theatre Chorus and Orchestra led by Robert Jindra. Jindra will make his debut conducting as music director of the National Theatre Opera. Jiří Heřman directs the new production.

“Armida” will be performed in full in Czech with English supertitles.

Priemeres will be held on May 19 and 21 at 7 pm at the National Theater. The production runs through June 25.

The post Alžběta Poláčková Takes on Title Role in ‘Armida’ at The National Theater Opera in Prague appeared first on OperaWire.

But in all, it also showed how opera companies could unite through benefit concerts and through sheer artistry. And after releasing our favorite performances of 2022 and showcasing our rising stars of the year, it’s time for OperaWire’s annual tradition of naming our top 11 singers of the year.

So without further ado here are our standouts of 2022 in alphabetical order.

Benjamin Bernheim

For the past few years, tenor Benjamin Bernheim has slowly risen to stardom, showcasing his talents at every major opera house around the world.  And this year the tenor arrived on one of the biggest stages, the Metropolitan Opera. Following a postponement due to COVID-19, Bernheim made his Met debut in “Rigoletto” and he was an instant hit. Critics and audiences alike took notice, dishing out ovations and rave reviews. Regarding his Duke of Mantua, OperaWire wrote, “he was definitely worth the wait. From his opening ‘Questa o quella,’ he exuded vocal confidence, every note coming through crystal clear, every phrase elegantly thrown off, emphasizing the carefree nature of the Duke.”

That debut was also highlighted by the release of his award-winning album “Boulevard des Italiens,” which featured French arias by Italian composers. Additionally, he was nominated for the Opera Awards.

The year also saw Bernheim make his role debut as Edgardo in “Lucia di Lammermoor,” which he first performed at the Wiener Staatsoper (it was also broadcast). He also performed at the Opernhaus Zürich and at the Salzburg Festival in an acclaimed concert performance. For his first Edgardos, critics noted, “his bright tenor, full of enamel and the right amount of metal, was put at the service of a passionate, enthusiastic, reckless Edgardo.”

The tenor also made his role debut as “Werther” at the Opéra national de Bordeaux and also performed his signature role of Des Grieux in “Manon” at the Staatsoper Hamburg and Paris Opera. The tenor also finally brought his “Faust” to the Paris Opera and he also performed numerous recitals with Carrie-Ann Matheson.

In 2023, audiences already have much to look forward to as Bernheim will make his role debut as Roméo in “Roméo et Juliette;” he is scheduled to bring the role to Paris and the Met.

J’Nai Bridges

Hailed as the “Beyonce of opera,” Bridges has truly become opera royalty as one of the leading mezzo-sopranos of her generation and in 2022 she continued to solidify her status on an international level.

The year began with Bridges winning a Grammy for her recording of “Ahknaten” from the Metropolitan Opera; that same recording was later nominated for the BBC Music Magazine awards. That was followed by the release of a new album, “Lord, How Come Me Here?” alongside Will Liverman and Paul Sanchez, which was also nominated for the 2023 Grammy Award. She was also nominated for her recording of “They Still Want to Kill us.”

Throughout the year Bridges appeared at the Kennedy Center Honors and paid tribute to Diane von Furstenberg when she receive the “Justice Ruth Bader Ginsburg Women of Leadership Award.” The mezzo also received the Eva and Marc Stern Artist Award from the LA Opera which celebrates, supports, and propels the artistry of rising opera singers in the industry.

Bridges also demonstrated her tenacity for new music and her love of her culture and advocacy. She premiered “A Knee on the Neck” composed by Adolphus Hailstork and was featured as a key artist in the Black Music Month’s Tiny Desk series from NPR. She was also featured in the documentary, “Marian Anderson: The Whole World in her Hands” and celebrated the Washington National Opera’s 50th anniversary with the world premiere of “Written in Stone.”

And then there was “Carmen.” The mezzo brought her interpretation around the world starting with Palm Beach Opera where she sang her first staged opera after two years. Then came her Arena di Verona debut in the role followed by a production at the Dutch National Opera. She concluded her Carmen runs at the Canadian Opera Company, where she made her company debut and received raves with critics proclaiming, “Bridges, in particular, had a captivating stage presence as she fluttered effortlessly from scene to scene.”

Bridges also gave concerts in LA, Houston, Princeton, Caramoor, and New York, to name a few.

Eleonora Buratto

When Elenora Buratto made her debut as “Anna Bolena” this year, critics called her “the greatest Italian soprano of her generation” and “that she represents that great Italian tradition.” And indeed 2022 proved to be quite an exciting year for the soprano.

She took home the Premio Abbiatti award, one of the most important Italian critic’s prizes, and was named ambassador for the Renata Tebaldi 100 celebration for which she appeared in many concert performances and events celebrating the legendary singer. She was also named one of the most influential people on the Fortune Italian magazine and teamed up with the  Debra Südtirol – Alto Adige for a gala concert in helping children suffering from epidermolysis bullosa.

But it was on stage that Buratto proved why critics, audiences, and the most important opera houses are raving.

She started the year with a major success in her role debut as Cio-Cio San in “Madama Butterfly” at the Metropolitan Opera. She sang a total of 11 performances during the run and followed it up with another series of Mimìs, one of her signature roles, also at the Met.

That was followed up by a return to the Wiener Staatsoper as Alice Ford in “Falstaff.” In the summer, Buratto obtained praise for her Desdemona in Rossini’s “Otello.” Critics noted, “Soprano Eleonora Buratto presented an intense and emotional portrait of Desdemona,  in which her inner torment and strength were expertly captured.”

But it was her “Anna Bolena” that generated the most buzz and international attention. Considered one of the most demanding roles in the soprano repertoire, Buratto’s role debut at the Palau de lest Arts was among the most talked about. It was also the start of a Donizetti trilogy that the soprano will take on at the Valencia house in the coming seasons.

The year ended with her role debut as Elisabetta in “Don Carlo” at the Met as well as at the Maggio Musicale Fiorentino.

Buratto also recorded Rossini’s “Messa di Gloria” with Antonio Pappano. Unsurprisingly, she has received raves for this interpretation.

Allan Clayton

2022 was the year Allan Clayton “claimed his place among the Met Opera’s stars” as the New York Times declared. He made his house debut in the company premiere of Brett Dean’s “Hamlet” to widespread acclaim. It is a role that the tenor has performed since the world premiere in 2017 and his interpretation has deepened in the past five years. OperaWire called the tenor “a revelation” in his debut. His interpretation was broadcast on HD as part of the Met’s live in HD series.

A few months later the tenor returned for “Peter Grimes,” equally impressing and once again delivering on his Met debut promise. As noted, he was “a surefire singing actor.”He also made an acclaimed turn as Peter Grimes at the Royal Opera where he was again lauded for “his psychological heft” and “vocal imagination.”

Outside of his operatic commitments, the tenor made appearances at the BBC Proms and the Barbican and toured Schubert’s “Winterreise” in Australia.

For his revelatory work, Clayton was nominated for the Opera Award for Best Male Singer of the Year. There is no doubt that after conquering two of the great opera houses in the world, Clayton is just getting started.

Anthony Roth Costanzo

Anthony Roth Costanzo can be described in many ways as a pioneer, businessman, great singer, and one of the most influential people in opera. This year, the Countertenor began the year by releasing his album “Only an Octave Apart” alongside Justin Vivian Bond. He went on to tour with the album around New York and played it for a month in London to rave reviews and sold-out runs. It was also featured on NPR’s Tiny Desk series and was viewed 64,000 times.

Costanzo also took home the Grammy for his recording of “Ahknaten” from the Metropolitan Opera and reprised his acclaimed turn with the company to sold-out performances. That role caught the attention of Oxford University and the institution made the singer a visiting fellow at its Centre for the Humanities.

Other performances included “Rodelinda” at the Met, Amadigi in “Amadigi di Gaula” with Boston Baroque and Didymus in “Theodora” at Trinity Wall Street and Carmoor. He was also the artist in Residence with the New York Philharmonic and recorded the title role of the world premiere recording of John Corigliano’s “The Lord of Cries.” He also performed in BBC Proms and with Death of Classical.

Costanzo was also receive an Honorary Doctorate from the Manhattan School of Music and was awarded the New-York Historical Society’s “History Makers Award.”

In the mainstream, he appeared on Billboard’s Queer list for Pride month and for being a music Game-Changer. He also appeared on an M & M’s commercial that was broadcast in Times Square and was also featured on Jeopardy.

Freddie De Tommaso

At 29, Freddie De Tommaso is a major star of the opera world.

It all started at the end of 2021 when the British tenor saved a performance at the Royal Opera House. The tenor was in the opera house and quickly took over in the Second Act of “Tosca” for an ailing colleague. He instantly broke two significant records as he became the first British tenor to sing the role of Cavaradossi in “Tosca” at Covent Garden in almost 60 years, and the youngest tenor to ever take on the role at the Royal Opera House.

That set in motion the whirlwind that became 2022 where that debut suddenly thrust him into major spotlight. The year began with a revival of “Macbeth” at the Wiener Staatsoper followed by a nomination by the BBC Music Magazine for his debut album “Passione;” he subsequently won the award for Newcomer of the year.

He then made his Teatro alla Scala debut in a production of “Adriana Lecouvreur” and made an unexpected debut at the Berlin State Opera. He also performed a new production of “Madama Butterfly” at the Semperoper Dresden and a benefit concert for Ukraine at the Royal Opera House.

Then he returned to the Royal Opera House for “Madama Butterfly” “Tosca,” and “La Bohème’ and also made his Arena di Verona debut in “La Traviata.” He appeared at the Verbier Festival and at the the Southbank Show Sky Arts Awards as well as in concerts with Sonya Yoncheva and Lise Davidsen and at the BBC Proms Festival.

In June, De Tommaso released his album “Il Tenore” which instantly became a hit. The album topped the Classical Artist Chart and the Classical Specialist Chart, marking the second time that the tenor accomplished said feat.

De Tommaso’s rendition of “Nessun Dorma” had close to 1 million streams in just seven weeks and even outperformed Luciano Pavarotti’s reference recording of the iconic aria for Decca. De Tommaso was also featured as the soloist of the official “God Save the King” anthem.

He closes out the year at the Teatro La Fenice’s famed New Year’s concert which will be seen on worldwide television.

Amartuvshin Enkhbat

Amartuvshin Enkhbat is the Verdi baritone of his generation. Currently one of the most sought-after singers at the great houses of the world, the Mongolian baritone continues to conquer every Verdi role he is assigned with his lush tone. This year he began at the Royal Opera House for a revival of “Nabucco,” followed by his role debut as Miller in “Luisa Miller” at the Teatro dell’Opera di Roma.

Then there was “Rigoletto.” The role has become a signature for the baritone as he has now sung it over 60 times. First, he sang it in Genoa and at the Opéra Royal de Wallonie-Liège. From there he took it to La Scala in a modernist production that was inspired by “Parasite.”

And then, two years after his La Scala debut, he returned to the iconic and historic venue to deliver this most iconic of Verdi roles. He was praised with many noting, “his voice is extremely well-suited to Verdi, strong and powerful, elegant in the phrasing, sweet in the mezza voce.” That production went on to be broadcast through Medici.tv.

There was also a debut at the Staatsoper Hamburg in “Aida” and returns to the Arena di Verona for “Nabucco” and “Aida.” He also performed the Teatro Massimo di Palermo in “Tosca.”

The baritone also opened a new production of “La Forza del Destino” in Parma where he has become a revered guest for the Verdi Festival. For his performance as Don Carlo di Vargas OperaWire noted, “He is a true Verdi baritone with a booming tone, contrasted with silky legato phrasing.”

He also headlined a new production of “Il Trovatore” in Florence and a revival of “La Traviata” in Vienna.

The baritone also had two recordings released, first “La Forza del Destino” from the Maggio Musicale Fiorentino and then, “Gustavo III,” from the Verdi Festival.

And after appearing at the greatest theaters around the world, Enkhbat is set to debut with at the Metropolitan Opera in “La Traviata.”

Clay Hilley

Over the past two years, Clay Hilley has announced himself as the Wagnerian tenor.  After 2020 which saw many of his high-profile engagements canceled, 2021 was the start of many major debuts. However, it was in 2022 that Hilley made headlines.

It all started in the summer when he made his Bayreuth debut, replacing an ailing colleague. The debut happened on less than 24 hours’ notice and Hilley was flown from his vacation in Italy. The tenor performed the role of Siegfried for the premiere of Valentin Schwarz’s new production of “Götterdämmerung” under the baton of Cornelius Meister, receiving great reviews for the performance; The New York Times called him “impressive.”

And while that moment may have been the most headline-driven performance of his year, Hilley made many other impressive debuts at major opera houses, including the Tiroler Festspiele Erl as Siegmund in a new production of “Die Walküre.” At the Deutsche Oper Berlin he sang his first staged production of “Tristan und Isolde” and performed “Die Frau ohne Schatten” with Kirill Petrenko on the podium of the Berliner Philharmoniker.

Next up the tenor continues his international debuts at the Festspielhaus Baden-Baden reprising Der Kaiser in a new production of “Die Frau ohne Schatten.” He will also make his debut at the Royal Opera House in a production of “Wozzeck.”

Aleksandra Kurzak

Soprano Aleksandra Kurzak continues to surprise on stage with her powerful interpretations.

She is a singer on her own level that immerses herself into a character, making one forget the singer persona and completely give in to the character who has taken over. That was evident this year in her unforgettable Violetta at the Bayerische Staatsoper, followed by her highly anticipated role debut of “Tosca” at the Metropolitan Opera. OperaWire raved noting, “Kurzak delivered a fantastic turn as the starry diva.” She would deepen her interpretation in the fall, singing a second run at the same theater, with many noting that it was a major development from those first shows.

Kurzak also made her debut in Puerto Rico singing the role of Mimì in “La Bohème” and also sang that same Puccini opera at the Met, but as Musetta; it was the first time Kurzak sang Musetta in 16 years.

The Polish diva also made history at the Royal Opera House by becoming one of the first singers to perform both “Cavalleria Rusticana” and “Pagliacci” on the same evening. Critics noted, “Aleksandra Kurzak has her work cut out as both Santuzza and Nedda, but acquitted herself impressively.”

She also returned to the Arena di Verona for “La Traviata” and performed in concert in Poland and France.

Kurzak also released Arvo Part’s “Stabat Mater,” which toured to sold-out audiences. She also published a new cookbook “Dobrissimo,” which she has toured throughout the world.

Luca Salsi

The Italian baritone is one of the great Verdi exponents of his generation and he began his year receiving the prestigious Premio Piero Capuccilli and singing a revival production of “Macbeth” at the Wiener Staatsoper to great acclaim.

He followed that up with a revival production of “Rigoletto” at the Royal Opera House and later led a new production of “Una Ballo in Maschera” at the Teatro alla Scala, where he opened the 2021-22 season. He returned to the Bayerische Staatsoper and performed alongside Riccardo Muti in concert performances of “Un Ballo in Maschera.”

In the summer he was one of the headliners of the Teatro Real’s “Nabucco” production and returned to the Arena di Verona for productions of “Nabucco” and “La Traviata.” He also revived a production of “Aida” at the Salzburg Festival and toured in Japan with soprano Lisette Oropesa.

And in the fall, after cementing himself as a great baritone around the world, New York audiences finally got something of a Salsi festival at the Metropolitan Opera. He started off his season unexpectedly in “Tosca,” receiving raves, with OperaWire calling his performances “unforgettable.” He continued it with his unforgettable turn as Giorgio Germont in “La Traviata,” which was broadcast live in HD. And he will end the year with “Rigoletto.” He begins 2023 by ending his Met festival with “Aida” before returning to the Wiener Staatsoper for a star-studded “Aida.”

Outside of his performances, Salsi released a recording of “Cavalleria Rusticana” with Muti and participated in season presentations for the Teatro alla Scala and Arena di Verona. He was also one of the many voices that helped raise awareness when it came to saving Verdi’s house Villa saint’agata.

Corinne Winters

American soprano Corinne Winters has made her career on her own terms by redefining the word diva through her artistry and bold repertoire choices.

That began this year when she returned to the Teatro dell’Opera di Roma and made history singing the company premiere of “Kát’a Kabanová” with the company. It became a role that defined her entire year, subsequently conquering the Salzburg Festival audience and garnering major ovations. Critics raved stating, ” Winters has a child’s volatile presence, and her live-wire voice conveys Kat’a’s wonder and vulnerability.” They also noted, “Vocally, Winters sails through Janáček’s lines with aplomb, enjoying ample elasticity in range, and the stamina required for the testing direction.” Her interpretation was immortalized as it was recorded and broadcast worldwide.

She returned to the role for production at the Janácek Brno International Festival and Grand Théâtre de Genève and also sang Janáček’s “Jenufa” in Genève, where she again stunned audiences and critics.

The soprano’s repertoire also expanded this season as she sang Giorgetta in “Il Tabarro” and the title role in “Suor Angelica” in Puccini’s “Il Trittico.”

Her year concluded with another tour de force as she opened the Teatro dell’Opera di Roma. For her third appearance with the company, she made her role debut as Blanche de la Force in a new Emma Dante production of “Dialogues des Carmélites.” That production was also broadcast worldwide, giving audiences another chance to witness Winters’ artistry.

The post Best of 2022: OperaWire’s Top 11 Singers of 2022 appeared first on OperaWire.

There were three performances, each with a different singer in the role of Olga: Helena Škárová, EditaKošnárová and Ivana Solmošiová.

All have performed in student works in the past, as well as at past festivals, but the role of Olga is the biggest challenge they have all faced so far.

BACKGROUND

OperaWire: How old are you?

Edita Košnárová: 19 years old.

Ivana Solmošiová: 23 years old.

Helena Škárová: 20 years old.

OW: What is your nationality?

IS: Slovakian. 

EK: Czech.

HS: Czech.

OW: What was the first opera you ever attended?

IS: When I was 12 or 13 years old, I saw “Carmen” at the National Theatre in Bratislava.

EK: The first one I can actually remember the name of was “Die Zauberflöte” in Olomouc. I was about 12 years old.

HS: “The Kiss” by Smetana at the Janáček Theatre here in Brno. I was six years old.

OW: Who has been the biggest influence on your career so far?

IS: It was my singing teacher in music school in Slovakia. She encouraged me to take the path of a singer.

EK: My current teacher.

HS: My grandmother. She used to sing with me when I was a young child.

OW: Who is your favorite composer?

IS: Verdi.

EK: Although he did not write any operas, it is Chopin.

HS: Dvorak and Tchaikovsky.

OW: What is your favorite opera? 

IS: “La Boheme.”

EK: “Carmen.”

HS: “The Kiss.”

OW: What do you like about your voice?

IS: Its dark coloring. It has a velvet quality. It doesn’t pierce your ears.

EK: I also like its coloring.

HS: Also the color.

OW: If you could exchange your life with any character from an opera, who would it be?

IS: Musetta from “La Bohème”

EK: Carmen

HS: Marenka from “The Bartered Bride”

THE PERFORMANCE

OW: What did you enjoy most about playing Olga?

IS: I enjoyed the character’s complexities. I had to play Olga as a little girl and then as a young lady who has a difficult relationship with her father.

EK: My onstage boyfriend is also my real boyfriend. It was much easier performing alongside him. He was a great support, and that made it really enjoyable.

HS: It was an enjoyable way of learning about Janáček and his family. I learned a lot about them.

OW: What did you learn from the experience of performing a large role in front of a big audience? 

IS: I realized just how much opera relies on a team working together. There are so many people involved, all of whom are providing necessary support. I was just one part of a big team.

EK: The experience was difficult, but I learned so much about combining speaking, singing and acting.

HS: You have to know what you are capable of and learn how to pace yourself during the performance.

OW: What was the most difficult thing about performing the role of Olga?

IS: For me, it was the combination of managing the movement and the singing. Neither is easy, but together they are very demanding.

EK: The hardest thing for me was to remember the letters and the order in which they follow one another. Also remembering how to deal with the props correctly, such as not forgetting to carry on the suitcase or how to remove the wig correctly while on stage.

HS: The constant movement while singing and speaking was difficult to manage at times

OW: What did you find most stressful about the experience? 

IS: I suppose it was trying to remember all the letters; there were lots of them, along with many other things. I was worried, just in case.

EK: The thought that I would disappoint my fellow performers and ruin everything for all of us.

HS: Learning all of Olga’s letters from memory.

OW: Were you happy with your performance?

IS: There were difficulties in rehearsals, but my premiere went really well. So I was very happy.

EK: You can always do better, but I was very happy with my performance.

HS: I think I did my best, and it went well, so yes, I was satisfied with my performance.

THE FUTURE

OW: Which role that has attracted your attention would you like to sing?

IS: Octavian from “Der Rosenkavalier.”

EK: Carmen.

HS: Violetta from “La Traviata.”

OW: In which theatre would you love to sing? 

IS: Nowhere in particular. I would just like to have a successful career and sing in as many countries as possible.

EK: My dream would be to sing at La Scala.

HS: I would love to sing here, at the Janáček Theatre, Brno.

OW: What do you think you might dislike about being an opera singer? 

IS: The petty competitiveness that can arise.

EK: The stress of rehearsals and learning everything.  

HS: The petty jealousies.

OW: What do you think you are going to like about being an opera singer? 

On this, all three were agreed: being on stage.

The post In Less Than Five Minutes, Get To Know – ‘The Three Olgas’ appeared first on OperaWire.

So without further ado, we’ll let them do the reflecting. Enjoy!

João Copertino – Laurent Naouri & Maciej Pikulski in Recital (Athenée Theater)

This was a formidable year in terms of Opera: Lise Davidsen’s voice in “Ariadne” still rings in my head; Sabine Devieilhe and Raphaël Pichon were sublime in their “Lakmé;” Ian Bostridge and Veronique Gens showed all their power in Gluck’s “Armide” … There were many wonderful moments.

However, in my opinion, the most remarkable concert was a recital of chansons given by Laurent Naouri and Maciej Pikulski at Paris’s Athenée theater in November. It is hard to imagine a duo one would greet with more anticipation, and they truly exceeded already high expectations. A cozy Monday night recital metamorphosed into a night to remember. Naouri acted all the songs theatrically, displaying intimate connections among language, music, and storytelling. His movements, though grandiloquent, were never over-the-top. Everything was meticulously choreographed: each breath, each high note, each consonant. Pikulski, scenically shy, was the perfect pianist. Few times have Ravel’s intricate rhythms sounded more uncomplicated. I cannot say it was a flawless night, but the amazing thing was that even the mistakes were deeply incorporated into the performance in a way that made everything even more special. Only great artists have this superpower.

Mike Hardy – Numerous

2022 was a ‘catch-up’ year for me, finally getting to see and review some performances that were canceled due to the “unprecedented” pandemic.

June saw the Grange Park Opera stage “La Gioconda” with an ailing, but still magnificent Joseph Calleja, and November saw the Royal Opera House stage “La Bohème” with a magnificent but underpowered Juan Diego Florez.

That “Bohème,” however, will most definitely remain one of my highlights, not least for the bravura shown by Danielle de Niese’s Musetta, who staggered majestically across the tables of Café Momus in high-heeled shoes, singing a glorious “Quando m’en vo,” whilst simultaneously managing to remove her underwear in the process!

More Puccini in June with Armenian soprano Lianna Haroutounian singing a stunning “Madama Butterfly” alongside great British tenor hope Freddie de Tommaso.

July saw the UK debut of Mark Adamo’s “Little Women” at Opera Holland Park. The beautiful and gifted Mezzo Charlotte Badham also made her professional debut here in the role of Jo. Although thoroughly modern, with undertones of Sondheim and a touch of Bernstein in parts, it’s a taste I haven’t yet fully acquired, but Louisa May Alcott would probably have been sufficiently enchanted by it.

Polina Lyapustina — Boris Godunov (Teatro alla Scala)

Despite all the ambiguity of the choice of the opera for Prima della Scala and the obvious politicization of the event, the early version of Boris Godunov presented by Riccardo Chailly in a new — darker staging by Kasper Holten is a true masterpiece.

When I was writing an editorial reflecting on this event, I could barely keep myself from showering in compliments on the striking dramaturgy and witty directing, showing a deep understanding of both the historical context and current situation. Perfectly complemented by thoughtful scenery, lighting, and costumes, it was an ideal realization to keep the audience involved and fascinated by this grave story for hours.

But certainly, it wasn’t just that. It was Riccardo Chailly who led the orchestra with passion but kept the tempo slow and smooth, letting us taste every shade of the grief. It was the choristers, showing such perfect diction, that one surely understand and feel through every word.

And it was the cast. Ildar Abrazakov performed the role with outstanding musicianship switching the focus to Godunov’s inner world and showing the wide range of emotions in this rich bass in every part of the range. Ain Anger on the opposite showed incredible range constancy, and yet, with his dark and grave bass, he took us through all the twists of the history of Russia in the XVI century.

Suffering became a keyword of this interpretation. The darkest opera for the darkest times. And yet, the extraordinary work of the artists created a performance as grave as beautiful and enlightening,  the one I would gladly suffer to see again.

Alan Nielsen – From the House of the Dead & The Glagolitic Mass (Brno’s Janacek Festival)

I have been fortunate in having reviewed so many excellent productions over the course of the year that choosing my favorite was indeed a difficult task. Even whittling them down to a handful was no easy task.

There were three excellent productions of Rossini operas. There was a brilliantly sung “Le Comte Ory” starring Julie Fuchs and Juan Diego Flórez, and a cleverly conceived “Otello” directed by Rosetta Cucchi, both from Pesaro’s Rossini Festival, and an imaginatively updated version of his “Moise et Pharaon” from the Aix-en-Provence festival, which concluded with a video of the Egyptians drowning in the sea, followed by a scene in which tourists sat sunning themselves on the beach, oblivious to the tragedy that had occurred there.

Also from the Aix-en-Provence Festival was an electrifying production of Monteverdi’s “L’Incoronazione di Poppea” conducted by Leonardo Garcia Alarcón, starring Jake Arditti and Jacquelyn Stucker, who between them created a performance of high intensity in which it was possible to feel sexual tension pulsating through the performance.

However, my choice for the best production of 2022 would have to be Brno’s Janacek Festival’s double bill of “From The House Of The Dead” and “The Glagolitic Mass.” The director, Jiri Herman, took the imaginative and courageous decision not only to combine the two pieces so that one emerged from out of the other, but to incorporate overt Christian symbolism into “From The House Of The Dead.” Christ was ever-present, suffering with the prisoners, and in the final scene, he dies for them, to be resurrected in the Mass with the prisoners in attendance. It might sound unappealing to many people, but, I think, they would be very surprised. It was dramatically powerful, with each work enhancing the other. It was also a reading that grew naturally from Dostoyevsky’s book, the source material for the opera, with its message that Man is able to endure such traumatic situations due to his irrational faith. Musically, the new musical director of Covent Garden, Jakub Hrusa, oversaw a superb performance in which he brought out the intensity and dramatic potential of both works.

New York, New York
January 25, 2022
New York City Opera, Garden of The Finzi-Continis.
PHOTOGRAPH by ALAN CHIN

Chris Ruel – The Garden of the Finzi-Continis (New York City Opera)

I have chosen Ricky Ian Gordon and Michael Korie’s “The Garden of the Finzi-Continis” as my favorite opera of 2022. The opera teaches a stark lesson about an evil currently raising its ugly head in the United States: anti-Semitism.

“The Garden of the Finzi-Continis” is a warning, particularly given the rise and normalization of fascist and neo-Nazi ideologies in American politics. Though we don’t like thinking so, the sociopolitical realities of today can quickly change into the horrors of tomorrow.

The Italian-Jewish Finzi-Continis didn’t recognize this, and believed their wealth and privilege immunized them against the horrors of the Holocaust. It didn’t. And, 80 years later, it’s tempting to believe the political principles upon which US and European democracies were founded will keep us safe from murderous autocrats. They won’t.

Opera has a lot to say, and Gordon and Korie’s work spoke loud and clear: think again if you believe money, power, and influence is a surety against murderous hatred.

Evan Zimmerman / Met Opera

David Salazar – Lady Macbeth of Mtsensk (Metropolitan Opera)

Before we get to my pick, I must say that this was a year in which I saw a number of incredible individual star turns. Mostly at the Met, I witnessed the arresting Eleonora Buratto in “Madama Butterfly,” Ermonela Jaho stealing every moment she sang in “Turandot,” the endless breath control and expansive legato by Federica Lombardi in a couple Mozart operas, Allan Clayton and Nicole Car’s intricate portrayals in “Peter Grimes,” the glorious music of Kevin Puts and Joyce DiDonato’s immersive Virginia Woolf in “The Hours,” and Sondra Radvanovsky’s imperiousness in “Medea.” Then there was a trio of singers in “Rigoletto” across two different performances – Quinn Kelsey (Nov. 14), Benjamin Bernheim (Nov. 14 and Dec. 8), and Lisette Oropesa (Dec. 8) – that delivered some of the most thrilling and complex vocal palette of Verdi singing I have heard in ages.

But as it says above, this is about that harsh, gritty, sarcastic, violent, icy opera by Shostakovich. The Met Opera’s production by Graham Vick is truly one of THE theatrical experiences at the Met, managing to find a way to explore the theatrical potential of the opera without getting in the way of the opera (a rare feat for most directors, including Vick himself). Moreover, the work feels as fresh and relevant as ever and the production’s pointed criticism rings even truer as a result. Throw in what was a triumphant cast with Svetlana Sozdateleva, in her Met debut, magnetic the entire time, both in her vocal presence and her characterization of the tragic Katerina. She was joined by Brandon Jovanovich in a truly chilling and lecherous turn as her lover/betrayer Sergei, not to mention John Relyea who has been a revelation in his recent performances at the Met. Then there’s Keri-Lynn Wilson who conjured up one incredible musical moment after another in a season. The Met Opera’s season got off to a tremendous start in its first week with fantastic productions of “Medea” and “Idomeneo,” but “Lady Macbeth of Mtsensk” was the triumphant capper of that trilogy.

Ph. Teatro alla Scala / Brescia – Amisano

Francisco Salazar – Fedora (Teatro alla Scala)

It was an interesting year in the opera world and one that had controversy to spare but for all the headlines there were many great performances to remember. I had the chance to see opera around the world starting in Muscat where I saw an unforgettable Vladislav Sulimsky in the title role of “Rigoletto.” Then there was the dazzling Jessica Pratt in “Il Barbiere di Siviglia” at the Teatro San Carlo di Napoli and how could I forget the impeccable work of Gregory Kunde in “La Forza del Destino” at the Verdi Festival. At the Met, I was surprised by the beauty of Kevin Puts’ score to “The Hours” and by Aleksandra Kurzak’s gritty turn as “Tosca.”

But the performance that I saw as the best of the best was “Fedora” at the Teatro alla Scala. Mario Martone brought an unconventional production that sometimes lacked new ideas, but it was Sonya Yoncheva and Roberto Alagna’s committed turns that brought fireworks to the stage. Yoncheva, who was making her role debut, demonstrated a lush tone in her middle voice, while Alagna was pure passion and fire in his big return to the Milan stage. It didn’t hurt that Marco Armiliato was at his best alongside George Petean’s impeccable voice and Serena Gamberoni’s star-making turn.

Countertenor Jakub Józef Orlinski as Orpheus in Gluck’s “Orpheus and Eurydice” at San Francisco Opera

Lois Silverstein – Orpheus and Eurydice (San Francisco Opera)

Gluck’s “Orpheus and Eurydice” is a quintessential love story: young lovers separated by death, who want to be reunited and what they do to make that happen. In the San Francisco production, directed by Matthew Ozawa, young Orpheus, in flaming red trousers and shirt, somersaults onto the stage to mourn his lost beloved. Performed by the exceptionally talented Polish countertenor Jakub Jósef Orlínski,  we were immediately captivated by his graceful movement and his sonorous sound. As he went to the Underworld to plead for the return of his beloved Eurydice, sung so poignantly by Chinese soprano, Meigui Zheng, we hung on every tone and gesture between them.

Orlínski sang and moved as if he were in and of water. His pleading was one in body and sound, his facial expression, his even yet expressive descant tones. Was he real? And if so from what planet? We remained immersed from beginning to end.

The San Francisco Opera Orchestra, conducted by Peter Whelan, with the utmost grace and felicity, bathed us, through three acts, with moving sound and artistry, in an array of beautiful feelings, and stirred some of our profound thoughts. Even weeks after, we experience the harmony such a well-coordinated production may bring. Truly it was a gem.

John Vandevert – Flight (Royal Music Conservatory London)

This year, I got to expand my operatic experiences greatly, leaping into contemporary opera but also refreshing my palette with contemporary takes on 19th century opera. However, my favorite opera of 2022 would have to be the fantastic production of “Flight” by Jonathan Dove, performed by the Royal Music Conservatory London and directed by Jeremy Sams. Blending digital screens and special effects with high level singing and dramaturgy, the students who performed the contemporary work were far above their years and it was a pleasure to review while in London. Right across the street from Royal Albert Hall, the opera was staged in The Britten Theatre, a mini La Scala if you will, a very handsome place for an opera. The best part was seeing how dimensions and levels were played with on the stage, as well as making the production “meta” by having the refugee (sung by countertenor Hugh Cutting) sit on the stage before the curtain rose, were all fascinating plays on operatic staging tropes and conventional procedures.

The post Best of 2022: OperaWire’s Staff on the Best Performances of the Year appeared first on OperaWire.