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Royal Ballet and Opera

Escenografía

Escenografía (+3)

Michael Levine

Diseño de vestuario

Diseño de vestuario (+2)

Gesine Völlm

Iluminación

Iluminación (+2)

James Farncombe

Coreografía

Coreografía (+2)

Teresa Rotemberg

Dirección de escena

Dirección de escena (+4)

Claus Guth

Video

Video (+1)

Rocafilm

Dramaturgo

Dramaturgo (+3)

Yvonne Gebauer

Dirección orquestal

Dirección orquestal (+2)

Jakub Hrůša

Soprano

Corinne Winters

Jenufa

Soprano (+4)

Karita Mattila

Kostelnicka

Tenor (+1)

Thomas Atkins

Steva

Tenor (+5)

Nicky Spence

Laca

Mezzosoprano (+4)

Hanna Schwarz

Abuela Burya

Barítono (+3)

James Cleverton

Capataz

Barítono (+4)

Jonathan Lemalu

Alcalde

Soprano (+2)

Marie McLaughlin

Esposa del Alcalde

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

Tetka

Bajo (+1)

Nigel Cliffe

Baritone

Concertino Invitado

Vasko Vassilev

Marianne Cotterill

Soprano Voice

Asistente del director de orquesta

Dirección orquestal (+4)

Lada Valesova

Valentina Puskás

Karolka

Dirección coral

Dirección coral (+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?

Vídeos