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Royal Ballet and Opera

Scenografia

Scenografia (+3)

Michael Levine

Costumi

Costumi (+2)

Gesine Völlm

Luci

Luci (+2)

James Farncombe

Coreografia

Coreografia (+2)

Teresa Rotemberg

Regia

Regia (+4)

Claus Guth

Video

Video (+1)

Rocafilm

Drammaturgo

Drammaturgo (+3)

Yvonne Gebauer

Direttore d'orchestra

Direttore d'orchestra (+2)

Jakub Hrůša

Soprano

Corinne Winters

Jenůfa

Soprano (+4)

Karita Mattila

Kostelnička Buryjovka

Tenore (+1)

Thomas Atkins

Števa Buryja

Tenore (+5)

Nicky Spence

Laca Klemen

Mezzosoprano (+4)

Hanna Schwarz

Nonna Buryjovka

Baritono (+3)

James Cleverton

L'amministratore del mulino

Baritono (+4)

Jonathan Lemalu

Il sindaco

Soprano (+2)

Marie McLaughlin

La moglie del sindaco

Mezzosoprano (+2)

Veena Akama-Makia

Pastuchnyňa

Mezzosoprano (+1)

Cai Jingwen

Barena

Orchestra

Orchestra of the Royal Opera House

Royal Opera House

Chorus

Chorus of the Royal Opera House

Mezzosoprano

Renata Skarelytë

La zia

Basso (+1)

Nigel Cliffe

Baritone

Concertino Ospite

Vasko Vassilev

Marianne Cotterill

Soprano Voice

Assistente del direttore d'orchestra

Direttore d'orchestra (+4)

Lada Valesova

Valentina Puskás

Karolka

Direzione del coro

Direzione del coro (+2)

William Spaulding

Alison Kettlewell

Isabela Diaz

Jana

Kirsty Mclean

Corinne Winters (Jenůfa) and Karita Mattila (the Kostelnička) lead in Janáček’s evocative opera with a score that is infused with traditional folk melodies of the composer’s native Moravia. Music Director Designate Jakub Hruša conducts Claus Guth’s staging which is an ‘edgy, evocative’ (Telegraph) take on this poignant domestic drama.

THE MUSIC OF JENŮFA 
Janáček’s folk-inspired music movingly captures Jenůfa’s progression from hope to despair to eventual radiant happiness, while her stepmother, the Kostelnička, is one of opera’s most complex maternal figures. Writer Nigel Simeone describes the unique structure of Janáček's stirring music as such: ‘Every character has his or her own musical language, and Janáček sets down a pattern that will serve him for all of his mature operas. A theme, often as short as four notes, dominates each scene [of the opera] but then gives way to another, equally memorable'.  

WHAT IS A KOSTELNIČKA?  
Jenůfa's stepmother is referred throughout Janáček’s opera as ‘the Kostelnička’, a title given to a village church-warden or elder. Initially presenting as a strong matriarch who is fiercely protective of Jenůfa, the Kostelnička has one of the more dramatic – and dark – character transformations across opera. As Jenůfa's future is turned increasingly precarious by her illegitimate child, the Kostelnička’s maternal instinct morphs into obsessive determination... In a small, stifling community, how far must a mother go to protect her child?

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