Jenufa

This terrific production of Leos Janacek’s JENUFA come to La Opera by way of the Metropolitan Opera in New York City. What a gift. Janacek is not that well known to a general audience who may have heard of Bach or Beethoven or even Mozart (ah yes “AMADEUS”).  His operas are not often performed because they are written in Czech and it’s not an easy language to pronounce let alone sing. LA is blessed with not only a great production but with a cast of singers who specialize in the music of Eastern Europe. Janufa is gloriously sung by Finnish soprano Karita Mattila making her LA Opera debut. She is considered on of today’s top lyric sopranos and is known not only for her singing, but her acting as well. Think Callas. She shares the stage with Eva Urbanova who has been, for years, the supreme star of the National Theatre of Prague.  She plays Jenufa’s stepmother and the Kostelnicka or sacristan the moral center of the town. She seemed quite moved by the audience’s overwhelming reception which was interesting in that she is considered THE INTERPRETOR of the role. These sopranos are more than ably supported by the rich tenor of Kim Begley as the jealous brother of Jenufa’s intended, in love with Jenufa. WE get not one, but two tenors Jorma Silvasti is the cowardly brother Steva who leaves Jenufa when she gets pregnant. He is associated with this role worldwide as well as the role of the jealous brother Laca. There is, in short, an embarrassment of riches. Finally, there is the grandmother of Elizabeth Bishop. She is ever bit a match with the other singers and in fact was my favorite.

The story is one of great passion, dealing with betrayal, honor, love, sex. Infanticide, and ultimately, it all hinges on redemption. The opera represents something new in the history of opera. Up until this time, opera audiences usually experienced tales of epic proportions, musically based on Germanic models. Janecek changed all that, incorporating the rhythms of Czech speech, folk songs, and Russian realism. He created his own musical language and led the way in Europe towards simpler tales of common folk caught in horrible circumstances. He was also a great believer in the rights of women and believed they were the backbone of the social order. There are only five more performances so don’t miss this unique and satisfying evening.

DOROTHY CHANDLER PAVILLION- LA MUSIC CENTER
Performances Oct.4, 10 and13 at 7:30 and two matinees, Sept.30 and Oct7
213 972 8001 or online at www.laopera.com