OPERA / Hints of summer: Edward Seckerson on Janacek's Jenufa at Covent Garden
Writer and broadcaster Edward Seckerson is Chief Classical Music and Opera Critic for The Independent. He wrote and presented the long-running BBC Radio 3 series Stage & Screen, in which he interviewed many of the most prominent writers and stars of musical theatre. He appears regularly on BBC Radio 3 and 4. On television, he has commentated a number of times at the Cardiff Singer of the World competition. He has published books on Mahler and the conductor Michael Tilson Thomas, and has been on Gramophone Magazine's review panel for many years. Edward presented the 2007 series of the Radio 4 music quiz Counterpoint. He has interviewed everyone from Leonard Bernstein to Liza Minelli; from Paul McCartney to Pavarotti: from Julie Andrews to Jessye Norman.
Thursday 22 April 1993
It shouldn't work, this hackneyed 'seasons' analogy, but Janacek's characters, like his music, are so completely elemental that to understand them we need to understand, to feel a part of the natural processes that govern them. The two are inseparable. So hope really does spring eternal in the closing pages of the opera, the sun does shine on this story of country folk. And that's hugely significant, because the key element here is a stifling provincialism. You long for someone to throw open the doors and windows and let the light and air in.
Which is precisely where Yuri Lyubimov's 1986 production proves so durable. On a wide-open stage, black-shrouded, bare-boarded, he manages to maintain an unrelenting claustrophobia. Revolving flats, black one side, white the other, torment us, jets of steam shoot from the floor like the release from some subterranean pressure-cooker, the lighting is harshly vertical and horizontal, movement tightly choreographed. During the prelude, the central core of the drama is revealed in microcosm: Jenufa is seen shadowed by her overbearing stepmother; the two men in her life are kept well at bay. In another extraordinary scene, Jenufa attempts to extricate the drunken Steva from a group of equally inebriated friends, and their stylised, almost comic swaying turns lachrymose as she too is caught up in the mass of bodies like reeds blowing in the wind. Lyubimov's expressionist shocks wear well, too: Laca hurling himself at the wall of the house after cutting Jenufa, the wall giving way to support his prone 'crucified' body; or the strange poetic justice of Kostelnicka's headlong rush upstage towards an altar of blinding white light where the silhouette of the cross bears witness to her murder of Jenufa's child.
None of which would carry much weight if the characters were not fleshily drawn. They are. This revival is strikingly well cast. Nancy Gustafson adds another tormented Slav heroine to her impressive gallery, and as ever she gives it her heart and soul. Physically, she knows the value of stillness and focus on stage, vocally the full and intense top of her range gives free rein to Jenufa's honesty and compassion. She is well-matched with Anja Silja's seasoned Kostelnicka, whose towering austerity is further proof of her pre-eminence among operatic stage animals. The ugly beat in the voice is as nothing to the purposefulness and force of the delivery: from her wounded cry 'the child gnaws at my soul' she is a woman trapped, victim of her own bigotry. And unlike some one-dimensional readings of the role, we see and feel her desperate, ignominious decline, and we pity her. Her final remorse is for once believable. As is Jan Blinkhof's transformation from bitter, uncouth, hulk (brave, raw- edged, Heldentenorial) to the real Laca - a caring, decent man for too long denied a purpose in life.
Janacek's serrated orchestral textures - all restless, nagging ostinati and lyric fragmentations, no sooner seized than gone - were suitably obssessive under Jiri Kout's taut direction. The rustic colours project well in the dry Royal Opera House acoustic, and yes, there was light - a blazing benediction - in that radiant coda.
Box office: 071-240 1066.
TV reviewBroadcasting House was preparing for a visit from Prince Charles spoiler alert
Glastonbury Michael Eavis reveals final headline act 'most likely' British pair
Film Ewan McGregor joins star-studded Beauty and the Beast cast as Lumiere
TVThe Island with Bear Grylls under fire after male contestants kill and eat rare crocodile
Grace Dent on TV The Secret Life of the Pub is sexist, ageist and a breath of fresh air
Arts & Ents blogs
- 1 Frank Lampard's face drops when Holly Willoughby introduces him as a 'Man City legend'
- 2 Migrant crisis: Greek soldier saved 20 people singlehandedly off Rhodes beach
- 3 UK weather: Britain braced for snow as arctic air mass moves in
- 4 Aaron and Melissa Klein: Oregon anti-gay bakers ordered to pay $135,000 after refusing to make cake for same-sex wedding
- 5 Stephen Hawking endorses Labour in the General Election
Fast & Furious 7 overtakes Frozen to become 5th highest grossing movie of all time
Poldark, series 1 finale, review: How a costume drama became a Sunday night swoon-fest
Al Pacino admits he was nearly fired from The Godfather and it's still his most 'difficult role'
Warner Music owner Len Blavatnik tops Sunday Times Rich List
Game of Thrones season 5 episode 3, review: Sansa and manhood-lopping torturer Ramsay Bolton - really?
General Election 2015: Chuka Umunna on the benefits of immigration, humility – and his leader Ed Miliband
The sickening truth about food banks that the Tories don't want you to know
Migrant boat disaster: Ukip candidate mocks victims in sickening Twitter post
Nigel Farage wants the BBC to stop making programmes like Doctor Who, Strictly Come Dancing, and Top Gear
Global warming: Scientists say temperatures could rise by 6C by 2100 and call for action ahead of UN meeting in Paris
Aaron and Melissa Klein: Oregon anti-gay bakers ordered to pay $135,000 after refusing to make cake for same-sex wedding