Admin

Organization

Chanteur

Soprano

Sally Matthews

Jenufa

Andrea Danková

Ténor

Charles Workman

Laca Klemeň

Nicky Spence

Steva Burya

Jeanne-Michèle Charbonnet

Kostelnicka Buryjovka

Contralto

Carole Wilson

Grand-mère Buryjovka

Baryton

Ivan Ludlow

Starek

Basse

Alexander Vassiliev

Le maire

Mezzo-soprano

Mireille Capelle

L'épouse du maire

Hendrickje Van Kerckhove

Karolka

Beata Morawska

Pastuchnyňa

Chloé Briot

Jano

Nathalie Van de Voorde

Barena

Marta Beretta

Tetka

Direction d'orchestre

Ludovic Morlot

Mise en scène

Alvis Hermanis

Décors

Costumes

Anna Watkins

Video

Inita Sipunova

Lumières

Gleb Filshtinsky

Chorégraphie

Alla Sigalova

Direction de choeur

Martino Faggiani

Dramaturgie

Christian Longchamp

La Monnaie/De Munt

Orchestra

La Monnaie Symphony Orchestra

tchèque

Jenůfa -  (Jenufa)

Bruxelles

Belgique

La Monnaie

Grande Salle

A splendid Jenůfa, one of Janáček's best-known operas, here directed for stage by Alvis Hermanis and conducted by Ludovic Morlot at La Monnaie / Die Munt in Brussels.

Premiered in Brno in 1904, Jenůfa was written after a play by Gabriela Preissová. It is a turning point in Janáček's stylisitic evolution: breaking off with the German operatic tradition, Janáček drew his inspiration from the natural inflexions of the spoken language, as well as from the rhythms and harmonies of the Czech folk repertoire. A genuine pioneer in the scientific study of the popular legacy, even before Zoltán Kodály and Béla Bartók, Leoš Janáček integrated in his own language the essence of the traditional music, without falling into pastiche or mere quotation. The particularity of his style lies in an extremely individual manner, as well as in the descriptive abilities of his musical language: popular reminiscences evoke a social frame, while the harshness of the orchestra depicts a greedy and brutal society.

Indeed, Jenůfa bears witness of the social violence within a small village in Moravia. Two brothers, Števa et Laca, ruin Jenůfa's life because of their crual and irresponsible behaviour. The former has seduced and abandoned the young woman, after making her pregnant. The latter, in love with Jenůfa, disfigures the young woman's face with his knife out of jealousy. The birth of the young child does not make anything better. Števa still refuses to take responsibility for the consequences of his actions. Laca agrees to marry Jenůfa, though he does not like the idea of raising his brother's child. In order to comfort him, Kostelnička, Jenůfa's adoptive mother, tells him that the child is dead. A lie which leads to a sinister infanticide...

Jenůfa is not only a work that depicts the violence of a human drama stemming from the main characters' selfishness and the fear of a social opprobrium. It also bears witness of the composer's own distress at the time of composition, when he saw his daughter die from typhus. "I would bind Jenůfa with the black ribbon of the long illness, pain and sighing of my daughter Olga and my little boy Vladimir."

Next to la Monnaie's chief conductor Ludovic Morlot, the Latvian stage director and actor Alvis Hermanis, one of the leading figures on the European contemporary scene, here makes his début at la Monnaie.

Photos