Janacek’s upsetting opera Katya Kabanova, which hasn’t been seen in the UK for some time, turned up in two different productions over the weekend, with a third to follow in Scotland.
The Opera North production by Tim Albery dates from 2007, when it was conducted by Richard Farnes with the clarity and passion which characterises all his work. This revival had Sian Edwards making her Opera North debut, and all told it had a slightly muted quality. The paradoxical jagged lyricism of Janacek’s orchestral writing only struck home intermittently, and there were stretches which could almost have been by Smetana, against whom Janacek partly defined himself. Albery’s production and Hildegard Bechtler’s sets remain serviceable and convey the oppressive atmosphere of the work without drawing attention to themselves, with the sombre colours of the natural world contrasting subtly with the gloom of the interiors.
As for the musical performance, I think it will improve during the run. The opening night had stretches of tentative singing, though it was in English — and with side-titles, almost an excess of words. Stephanie Corley has all the notes, but didn’t make as much of them as she will. Heather Shipp as Kabanicha, arguably the most disagreeable figure in the whole of opera, gave a chilling performance which almost had one surprised that Katya didn’t kill herself earlier. The men, of whom Janacek had a uniformly low opinion, are all well taken. A satisfactory evening, but not a great one.
Still, I am writing this review the morning after one of the greatest operatic experiences of my life, so everything so far should perhaps be taken with a pinch of salt. The Royal Opera’s new production of Katya, with Richard Jones at his most relevantly inventive, and Edward Gardner conjuring from the orchestra sounds at once precise and glowing with intensity, provided me with a touchstone virtually ensuring that any future account will be a disappointment.
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