he youthful Lithuanian soprano Asmik Grigorian has been garnering acclaim at La Scala, Salzburg and Bayreuth in newest a very long time and her debut at Covent Yard within the title job of Janacek’s Jenufa was eagerly predicted. The Finnish soprano Karita Mattila, as quickly as a beautiful Jenufa herself, returns to the Royal Opera within the function of the formidable Kostelnicka (church warden), Jenufa’s foster-mom.
Expectations ended up excessive and fairly largely they’ve been fulfilled. Grigorian beautifully incarnates the tragic function of Jenufa, equally in her anguished human physique language and her command of the half’s enthusiasm-infused lyricism. Doubtlessly the wide-open up areas of Michael Levine’s if not distinctive units, and her placing on them, actually don’t assist her ample, however when she arrives downstage with Laca on the shut, her entire vocal potential is at final realised within the rapturous redemption the pair bear.
Mattila, for her part, supplies an acutely perceptive analyzing of the job of the Kostelnicka: terrifying she may very well be, however she additionally suffers. Proper right here she is found as a frightened, weak aged matriarch, able to exhibit flashes of human heat, however damned by her murderous strategy to realize a decent marriage for her anticipating however deserted foster-daughter.
Nicky Spence’s splendidly sung Laca matures from a lumbering, sinister social reject right into a determine ready of a loyalty that gives some hope for the long run. Saimir Pirgu is an impassioned Steva, his 50 percent-brother and rival.
Claus Guth’s manufacturing is on the identical time powerfully, even intently, symbolic and psychologically probing. The white partitions and beds of Levine’s opening set, redolent of a psychological establishment, stand for a producing unit the place the village girls are incomes issues this type of as cradles and trousseaux. Their mechanised, alienated whole world (costumes by Gesine Völlm, lights by James Farncombe) delivers the backdrop for Jenufa’s tormented existence: in eloquent synchrony the ladies wrest liquor bottles from their menfolk.
Within the 2nd act, silhouetted lady figures huddle in a nook sporting headgear paying homage to a Handmaid’s cowl. From the group emerges an large crow, no query a ingredient of the sleeping Jenufa’s nightmare, which perches atop the aptly cage-like composition that’s her mattress room. Equally symbolic are the ever-present shutters that define Jenufa’s existence, however which lastly come down powering the few as they hesitantly face the foreseeable future.
Guth’s disposition of each equally principals and group unfailingly exudes a way of menace: the determined steps these characters resort to are plainly created by the stifling ecosystem that has spawned them. Glimpses of pure magnificence, these sorts of as a starlit sky, presage the uplifting closing transformation. Henrik Nánási’s high-quality conducting highlights the textures that glint like a knife, nonetheless captures additionally the heartwarming humanity that throbs by the do the job.