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A pitch perfect but damp revival of Janáček’s masterpiece.Summary
Rating
Good
Jenůfa is with child but without husband – very naughty in 1904 when Czech composer Leoš Janáček wrote this opera and at least ‘unadvisable’ in 1970’s Czechoslovakia, where David Alden sets this show. In 2024, its third time out of the ENO store cupboard, this production has lost some of its growl. Not due to the subject matter; for what it’s worth, one probably still shouldn’t drown a child in the river and gaslight the mother into thinking it died of natural causes.
It’s a solid show which still works after its premiere 18 years ago. Charles Edwards’ sparse and cold new-industrial peasant-y designs for factory floor and a bleak home life are chilling. There’s no warmth to be found on stage. Oddly enough there’s plenty of warmth to be found coming from the pit.
Janáček’s music is as grisly as one would expect considering the subject matter, but here led with a brevity by conductor Keri-Lynn Wilson; a natural choice at this moment – she is founding conductor of the Ukrainian Freedom Orchestra, (which are touring Europe with London dates this August) and has just finished conducting La Bohème at the Royal Opera House. There is something of the lightness of Puccini in her interpretation here, which is an interesting choice that leaves the orchestration feeling underdeveloped and a bit too light and airy for the subject matter.
The cast are fantastic and the singing is tremendous throughout, but some odd choices have been made on character. Jennifer Davis (Jenůfa) is in fine, warm voice and a delight to hear, but doesn’t let much of the psychology of the role out of her head. As with Richard Trey Smagur’s Laca, (Jenůfa’s back-up option if she can’t wed the baby-daddy), who is played as a bit of a Lenny from Of Mice and Men, there’s a lot of wistful looking around with wide eyes. All fair and well until you’re expected to bring about an act one passionate climax, slicing a penknife though your pregnant beloved’s cheek.
Susan Bullock as step-mother Kostelnička is a frightening sight, charged with terror. She is giving her all in this production and brava for that. It is she, we can easily believe, would do the fatal deed to the baby. If the rest of the characterisation in the other roles were better developed and less wet, she might have something to play against. In effect, she is stranded, playing against her own fantastic performance, an excellent example of camp in opera! The drama starts and ends with her.
Conductor: Keri-Lynn Wilson
Director: David Alden
Set Designer: Charles Edwards
Costume Designer: Jon Morrell
Choreographer: Maxine Braham
Jenůfa runs at the Coliseum until Wednesday 27 March. Further information and bookings can be found here.
