Leos Janacek’s reputation was established in 1916 by the huge success of Jenufa, which remains his most popular opera. Notable for its passion, its compassion, its humanity and its raw emotional force, the score has a thrilling impact, psychologically and sexually.
The opera is based on Her Stepdaughter, a realistic drama by Gabriela Priessova, which was based on a true story and premiered in 1890. It was too brutal and immoral for some critics and audiences, who did not think the subject matter – women becoming pregnant outside of marriage and killing their illegitimate children – suitable for the stage. The play was withdrawn after a few performances.
David Alden’s startling expressionistic production was first staged by ENO in 2006. The stage is extremely wide and bare and Charles Edwards’s set is lit by Adam Silverman in such a way as to create enormous and dramatic shadows. The revival, which is conducted by Keri-Lynne Wilson, is strongly cast and there is some impressive acting and singing.
Alden takes the story out of its 19th century rural Moravia setting and relocates it in a bleak 20th century industrial Eastern European town.
Jenufa (Jennifer Davis) is pregnant by Steva (John Findon), who is not prepared to marry her or acknowledge the child. She would be much better off with his half-brother, Laca (Richard Trey Smagur) who is devoted to her and so jealous of Steva that he slashes her face with his knife in order to make her look ugly so Steva will ditch her.
The second act has two great arias. The first, very powerful, is when Jenufa’s stepmother (Susan Bullock) agonises over what to do about the illegitimate baby and comes to a terrible conclusion. The second aria, very tender, very loving, very moving, is when Jenufa, not knowing the baby is dead, prays for his future.
The second act ends with a storm. The rattling and breaking of windows are Nature’s reaction to the murder and a forewarning of the damnation to come. The third act is shattering. The dead baby is discovered on Jenufa’s wedding day and she is accused of the murder. The neighbours turn nasty. But surprisingly, a tragic climax is avoided and love triumphs.
English National Opera deserves the fullest support.
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