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Royal Ballet and Opera

Художник-постановщик

Художник-постановщик (+3)

Michael Levine

Художник по костюмам

Художник по костюмам (+2)

Gesine Völlm

Художник по свету

Художник по свету (+2)

James Farncombe

Хореограф

Хореограф (+2)

Teresa Rotemberg

Режиссер-постановщик

Режиссер-постановщик (+4)

Claus Guth

Видео

Видео (+1)

Rocafilm

Драматург

Драматург (+3)

Yvonne Gebauer

Дирижер

Дирижер (+2)

Jakub Hrůša

Сопрано

Corinne Winters

Енуфа

Сопрано (+4)

Karita Mattila

Дьячиха

Тенор (+1)

Thomas Atkins

Штева Бурыйа

Тенор (+5)

Nicky Spence

Лаца Клемень

Меццо-сопрано (+4)

Hanna Schwarz

Бабушка Бурыйа

Баритон (+3)

James Cleverton

Старик

Баритон (+4)

Jonathan Lemalu

Староста

Сопрано (+2)

Marie McLaughlin

Старостиха

Меццо-сопрано (+2)

Veena Akama-Makia

Pastuchnyňa

Меццо-сопрано (+1)

Cai Jingwen

Barena

Orchestra

Orchestra of the Royal Opera House

Royal Opera House

Chorus

Chorus of the Royal Opera House

Меццо-сопрано

Renata Skarelytë

Tetka

Бас (+1)

Nigel Cliffe

Baritone

Приглашённый Концертмейстер

Vasko Vassilev

Marianne Cotterill

Soprano Voice

Помощник дирижера

Дирижер (+4)

Lada Valesova

Valentina Puskás

Каролка

Хормейстер

Хормейстер (+2)

William Spaulding

Alison Kettlewell

Isabela Díaz

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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