Created in 2007 and revived in 2015 at the Stuttgart Opera, this production of Jenufa by Leos Janacek signed for the staging by Calixto Bieito can destabilize by its profound originality and above all its expressive, even expressionist power:
The stagings of Calixto Bieito often turn out to be radical and daring. His very specific approach to Tristan and Isolda by Richard Wagner, his latest lyrical production presented this month at the Vienna Opera, is no exception to this fundamental rule (our report). Created 15 years ago at theStuttgart Operahis vision of Jenufa chooses to place the action in a more contemporary overall atmosphere, deliberately erasing all traces of folklorism, all village or even religious references. It inscribes the drama within a textile factory where human exploitation remains in order.
In the first act in a vast and icy warehouse, Jenufa and Grandmother Starenka Buryjovka sort through old clothes, while Laca pushes the carts. Jenufa dressed provocatively in anticipation of the arrival of her lover, Steva. She is pregnant with his works and demands marriage. The young miller emerges in the middle of a colorful and restless crowd (even very noisy, it must be admitted, to the detriment of the music).
The drama is therefore played out with the corollary of the stab wound in the face of the young woman by Laca who is rejected. Kostelnicka’s sordid hovel – a simple mattress, a kitchen table – occupies the space in the second act and underlines the ambient misery. The arrival of Steva now engaged to a better match, the daughter of the Mayor, then of Laca ready to assume and the child and the mother, provoke the murderous madness of Kostelnicka who stabs the child several times with Laca’s dagger – the shock is harsh for the public – before abandoning it in nature. The third act sees the workers overwhelmed with work with their sewing machines covering the stage, awaiting the wedding of Jenufa and Laca and the happy ending. The discovery of the child’s corpse puts everything in question and La Sacristine, who hunts everyone by showing off a pistol, will have to pay a heavy price.
Between social realism and visceral attachment to the characters, Calixto Bieitohelp to Rouen by his precious collaborator Nina Dudek, demonstrates a truth and a psychological sensitivity that permeate a show that is very demanding, but fascinating from start to finish. The scenography of Susanne Gschwender from sketches by Gideon Davey, the costumes created by Ingo Krueglerthe lights of Reinhard Traubstrongly branch out to the uncompromising vision of the director.
The Welsh soprano, but of Ukrainian origins, Natalya Romaniw who begins a rich career across the Channel, seems to play with the vocal difficulties of the role of Jenufa. The voice appears particularly ample, passing the ramp with fullness, determination and authority. The majestic treble, although a bit harsh at times, is carried by a vocal material of great richness, endowed with a powerful midrange and a silky and sustained bass. The actress is here at the height of the singer and her skin-deep incarnation upsets the audience.
By his side, Christine Rice does not demerit in this powerful role of Kostelnicka. She deploys an imposing mezzo-soprano voice, with a warlike timbre, quite radiant in the treble. Her shift into the character’s zone of madness and dementia is rendered with truth and acuity (the range of voices of the two roles is basically identical: it is the temperament that creates the difference, a singer being able to evolve from one role to another during his career within this majestic work).
The Lyric Tenor Dovlet Nurgeldiyev camped Steva, as spineless as she could wish and paradoxically very attractive for the young women present. The second tenor Kyle van Schoonhoven approaches Laca’s role with disarming depth and sincerity. His voice possesses brilliance, courage and a complete frankness even in the extremes. The fiery mezzo of Doris Lamprecht instills authority and character in the grandmother, while the baritone Yoann Dubruque (Starek), Victor Sicard (The Mayor of the village) and Aline Martin (his wife) impeccably fulfill their respective functions.
Seraphine Cotrez interprets with flame and what is necessary of anger the role of Karolka, fiancée of Steva, to then better flee it with horror at the discovery of the death of the child. The other three female roles are embodied with intelligence and spontaneity by Lise Nougier (Pastuchyna), Yete Queiroz (Barena) and Clara Guillon (John).
Le Chour stress is acclaimed without reservation, his involvement both on stage and vocals proving to be decisive for the performance. new head ofNational Orchestra of Belgium from the start of the school year in September, the Dutch chef Antony Hermus leads theRouen Normandy Opera Orchestra with a slightly accentuated lyricism in the first act, but more measured afterwards. His communicative energy, his wide beat, his unfailing support for the singers, give all its aesthetic dimension to the constantly bewitching music of Janáček. The Rouen public responds with fervor to this performance, which is certainly difficult, but in many ways captivating.
