“How the Lithuanian conductor Giedre Šlekyte conjures up beautiful timbres, what she gets out of the orchestra, is remarkable. This is a conductor one wants to hear more often.” (Kurier) The Cunning Little Vixen, first performed in 1924 and based on a novella by Rudolf Tešnohlídek, is an unconventional portrayal of humans and animals in which the composer Leoš Janácek breaks new ground. His music, as playful as it is melancholic, celebrates the circle of life. For Stefan Herheim, this is a good reason to use Janácek’s opera to celebrate the transformational power of musical theatre when he makes his entrance bow at the Musiktheater an der Wien as the new hands-on artistic director.
The Cunning Little Vixen
Nicholas Hytner’s enchanting production, sung in the original Czech, is conducted by Sir Charles Mackerras, a master of the best Janácek style. Through myriad shifts of scene, the episodic story is presented in brightly-coloured sets and costumes of blissful innocence and simplicity, designed by Bob Crowley. Jean-Claude Gallotta’s choreography for the insects and animals, and Jean Kalman’s lighting add to the nostalgically poetic effect of the whole. With Sir Thomas Allen as the Forester, the cast includes Eva Jenis, Hanna Minutillo, Richard Novak and Ivan Kusnjer.
Kata Kabanova
Janácek’s opera Káta Kabanová is set in a small Russian town and is based on the play The Storm by Aleksandr Ostrovsky. The story revolves around the central character, Káta – sung by “the phenomenal Corinne Winters” (Neue Musikzeitung) – who is trapped in a loveless marriage to an abusive man named Boris. Despite her unhappiness, she is bound by the strict societal norms of her time and is unable to escape the situation. However, when she meets and falls in love with a young man named Vána Kudrjáš, she finally experiences happiness and passion. But their relationship is short-lived, as Boris finds out and forces Káta to confess her infidelity in front of the entire town. Overwhelmed by the shame and guilt, she drowns herself in the nearby river. The opera explores themes of social conformity, oppression, and the consequences of forbidden love. Janácek’s use of musical leitmotifs and repetitive themes reflect the characters’ emotions and psychological states, adding depth and nuance to the story. Stage director Barrie Kosky managed to create an intimate but impressive setting in the magnificent Felsenreitschule. “Jittery and balletic, ecstatic and anxious, Winters has a child’s volatile presence, and her livewire voice conveys Kát’a’s wonder and vulnerability.” (The New York Times) “Corinne Winters is “Kát’a Kabanova”: a great, luminous longing from head to toe. With director Barrie Kosky and conductor Jakub Hruša, she makes the opera in Salzburg a triumph.” (Der Tagesspiegel)
Jenufa
Jenufa is still Janácek’s most successful and most often performed opera, and the Berlin premiere at the Staatsoper in 1924 brought the work its final breakthrough on German stages. This performance from Berlin’s Staatsoper Unter den Linden is “artistically unsurpassable. There are three reasons for this. Firstly, the cast […], secondly: the direction […], thirdly: Simon Rattle, the Staatskapelle and the chorus of the Staatsoper” (BR Klassik). “Simon Rattle revs up the Staatskapelle Berlin with a passion as if he had to fill a melodrama by Giacomo Puccini with bursting sound life” (Süddeutsche Zeitung). “A beguiling mixture of speaking articulation and tonal roundness.” (Frankfurter Allgemeine Zeitung)
Hélène Grimaud – Woodlands and beyond…
Together with photographer Mat Hennek, French star pianist Hélène Grimaud, comes up with a multimedia concert project at the Grand Hall of Hamburg’s Elbphilharmonie. Grimaud’s virtuous piano performance is accompanied by Hennek’s highly praised photo series “Woodlands”, which depicts genuine portraits of trees, Grimaud’s piano recital includes works by romantic and impressionistic composers. They are connected by seven “Transitions”, written exclusively for Grimaud by British composer and DJ Nitin Sawhney.
The motives of Hennek’s Woodlands series create an extraordinary visual backdrop, which in combination with Grimaud´s pianistic “impeccable clarity and articulation” (Hamburger Abendblatt) and the Elbphilharmonie’s splendid acoustics grants a concert experience of a special kind.
The Makropoulos Affair (Vec Makropulos)
Premiered in 1926, Leoš Janác?ek’s absorbing masterpiece Ve?c Makropulos reflects all the dominant musical styles of the early 20th century, from Bohemian tunefulness to big Straussian phrases, Berg-like jaggedness and primeval rhythms. With the “breathtakingly grandiose” (Salzburger Nachrichten) Angela Denoke in the lead role, this emotionally
powerful opera was given superior treatment at the hands of the Wiener Philharmoniker under Esa-Pekka Salonen. They and the entire cast joined forces to make this production one of the highlights of the 2011 Salzburg Festival. “Ms. Denoke is a compelling actress … Salonen ensures a brilliant reading of Janác?ek’s fascinating score.” – The New York Times
From the House of the Dead
From the Salzburg Festival 1992
Based on Dostoevsky’s ‘diary’ of his years as a political detainee, Janácek’s singular opera, with ist profoundly disturbing, but ultimately uplifting, message about the human condition, is set in a nineteenth-century Siberian prison camp. This Salzburg Festival production by Klaus-Michael Grüber graphically depicts the grinding tedium of life in this penal colony. A superb cast is headed by the great Bulgarian bass Nicolai Ghiaurov, and Claudio Abbado conducts the Vienna Philharmonic Orchestra in a performance hailed as a musical triumph. (Sung in the original Czech version)
Missa Glagolitica
In this recording, Janácek’s great choral work, the Glagolitic Mass, is performed by the Czech Philharmonic Chorus and Orchestra, conducted by Václav Neumann, with Jan Hora on the organ. The soloists are Gabriela Benackova (soprano), Drahomira Drobkova (contralto), Josef Kundlak (tenor) and Sergej Kopcak (bass).
Gabriela Benackova (soprano), Drahomira Drobkova (contralto), Josef Kundlak (tenor) and Sergej Kopcak (bass).
Dvorák: The Wood Dove / Janácek: Taras Bulba
This concert, recorded live from the Smetana Hall in Prague features The Wood Dove Op. 110 by Antonín Dvorák and Taras Bulba by Leoš Janácek. Neumann conducts the Czech Philharmonic Orchestra.
Intimate Pages
This Christopher Bruce ballet is set to Leoš Janácek’s String Quartet No. 2. The composer wrote this piece in 1928, the last year of his life, inspired by his unconsummated love for a young married woman, to whom he wrote over six hundred letters, Bruce’s lyrical work expresses both the joy and the anguish that are present in Janácek’s music. The designs for this studio recording are by Walter Nobbe.