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Royal Ballet and Opera

Décors

Décors (+3)

Michael Levine

Costumes

Costumes (+2)

Gesine Völlm

Lumières

Lumières (+2)

James Farncombe

Chorégraphie

Chorégraphie (+2)

Teresa Rotemberg

Mise en scène

Mise en scène (+4)

Claus Guth

Video

Video (+1)

Rocafilm

Dramaturge

Dramaturge (+3)

Yvonne Gebauer

Direction d'orchestre

Direction d'orchestre (+2)

Jakub Hrůša

Soprano

Corinne Winters

Jenufa

Soprano (+4)

Karita Mattila

Kostelnicka Buryjovka

Ténor (+1)

Thomas Atkins

Steva Burya

Ténor (+5)

Nicky Spence

Laca Klemeň

Mezzo-soprano (+4)

Hanna Schwarz

Grand-mère Buryjovka

Baryton (+3)

James Cleverton

Starek

Baryton (+4)

Jonathan Lemalu

Le maire

Soprano (+2)

Marie McLaughlin

L'épouse du maire

Mezzo-soprano (+2)

Veena Akama-Makia

Pastuchnyňa

Mezzo-soprano (+1)

Cai Jingwen

Barena

Orchestra

Orchestra of the Royal Opera House

Royal Opera House

Chorus

Chorus of the Royal Opera House

Mezzo-soprano

Renata Skarelytë

Tetka

Basse (+1)

Nigel Cliffe

Baritone

Concertino Invité

Vasko Vassilev

Marianne Cotterill

soprano

Assistant du chef d'orchestre

Direction d'orchestre (+4)

Lada Valesova

Valentina Puskás

Karolka

Direction de choeur

Direction de choeur (+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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