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Royal Ballet and Opera

Scenografia

Scenografia (+3)

Michael Levine

Kostiumy

Kostiumy (+2)

Gesine Völlm

Reżyseria światła

Reżyseria światła (+2)

James Farncombe

Choreograf

Choreograf (+2)

Teresa Rotemberg

Reżyseria

Reżyseria (+4)

Claus Guth

Wideo

Wideo (+1)

Rocafilm

Dramaturgia

Dramaturgia (+3)

Yvonne Gebauer

Dyrygent

Dyrygent (+2)

Jakub Hrůša

Sopran

Corinne Winters

Jenůfa

Sopran (+4)

Karita Mattila

Kostelnička Buryjovka

Tenor (+1)

Thomas Atkins

Števa Buryja

Tenor (+5)

Nicky Spence

Laca Klemeň

Mezzosopran (+4)

Hanna Schwarz

Stařenka Buryjovka

Baryton (+3)

James Cleverton

Stárek

Baryton (+4)

Jonathan Lemalu

Rychtár

Sopran (+2)

Marie McLaughlin

Rychtárka

Mezzosopran (+2)

Veena Akama-Makia

Pastuchnyňa

Mezzosopran (+1)

Cai Jingwen

Barena

Orchestra

Orchestra of the Royal Opera House

Royal Opera House

Chorus

Chorus of the Royal Opera House

Mezzosopran

Renata Skarelytë

Tetka

Bas (+1)

Nigel Cliffe

Baritone

Gościnny Koncertmistrz

Vasko Vassilev

Marianne Cotterill

Soprano Voice

Asystent dyrygenta

Dyrygent (+4)

Lada Valesova

Valentina Puskás

Karolka

Przygotowanie chóru

Przygotowanie chóru (+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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