United Kingdom Janáček, Jenůfa (live performance efficiency): Soloists, London Symphony Refrain and Orchestra / Sir Simon Rattle (conductor). Barbican, London, 11.1.2024. (AK)
Forged:
Grandmother Buryjovka – Carole Wilson
Kostelnička – Katarina Karnéus
Jenůfa – Agneta Eichenholz
Laca Klemeń –Aleš Briscein
Števa Buryja – Nicky Spence
Foreman / Mayor – Jan Martiník
Jano – Erika Baikoff
Barena / Herdswoman – Claire Barnett-Jones
Mayor’s Spouse – Hanna Hipp
Karolka – Evelin Novak
Musically this live performance efficiency was a triumph, exhibiting the London Symphony Orchestra, the London Symphony Refrain and conductor Simon Rattle on really excessive. All was recorded and we are able to sit up for forthcoming broadcasts on Marquee TV from eighth February.
For me, visually the staging (or non-staging) didn’t work. Dramatic interpretations diverse from singer to singer; they weren’t helped by being a comparatively lengthy distance from these they need to have stood nearer to. Having to go off/on stage with additional care – so as to not disturb the stream of music – should have been appreciable burden on a number of the singers.
Shortly earlier than the primary superb folksong-like choral quantity two violinists walked on stage, performed a number of bars, after which walked off. I’m not certain if these bars had been meant for offstage or on it within the opera home, however to me it appeared odd to extend the disturbing site visitors on the Barbican Corridor stage.
Rattle’s insightful musical drive, the excessive commonplace of the orchestra in addition to that of their beginner refrain was astonishing. In my youth the conductor to go to for Janáček was Sir Charles Mackerras, so therefore I’m delighted that the rating used for this efficiency was that revised by John Tyrrell and Mackerras. Rattle’s affinity with Janáček, specifically with the folksong-type components (like within the choral actions) did conjure the Moravian setting of the opera’s plot. The story, primarily based on Gabriela Preissová’s play, may have unfolded in any rural village anyplace on the planet however Janáček’s music and Rattle’s understanding firmly positioned it into Janáček’s homeland.
Of the solo singers – all of whom had been glorious – a number of stood out as clearly proudly owning their elements: Katarina Karnéus (Kostelnička), Aleš Briscein (Laca) and Nicky Spence (Števa). The latter two likely may have exchanged their elements and nonetheless ship high performances. Moreover, though Briscein is Czech and Spence is Scottish, their supply of the Czech textual content was exemplary. (I don’t communicate/perceive Czech, however I can inform when a phrase begins and finishes.)
For me, at the very least in the beginning, Agneta Eichenholz as Jenůfa was underpowered. She might need been significantly nervous as she solely stepped into the position when Asmik Grigorian withdrew just some weeks in the past. Nonetheless, all through the night, Eichenholz visibly – and aurally – became a reputable Jenůfa for Janáček’s drama.
Violins and cellos sang superbly on their devices shortly into the second act (or had been they violas, placing all viola jokes into everlasting mattress?) and live performance grasp/LSO chief Benjamin Gilmore delivered a mesmerising violin solo, adopted by a lovely duet for Jenůfa and solo violin. The LSO cellists warmed my ex-cellist coronary heart with their stunning rendering of their tutti melody within the third act …they clearly cared, as did all on the stage.
An ideal opera in an excellent musical efficiency…
Agnes Kory
Featured picture: LSO’s Jenůfa: Sir Simon Rattle conducts Agneta Eichenholz (Jenůfa) and the LSO © Mark Allan
