Switzerland Janáček, Kát’a Kabanová: Soloists, Choeur du Grand Théâtre de Genève (chorus master: Alan Woodbridge), Orchestre de la Suisse Romande / Tomáš Netopil (conductor). Grand Théâtre de Genève, 21.10.2022. (ALL)
Production:
Director – Tatjana Gürbaca
Sets – Henrik Ahr
Costumes – Barbara Drosihn
Dramaturgy – Bettina Auer
Videos – Kamil Polak
Lighting – Stefan Bolliger
Cast:
Katia Kabanova – Corinne Winters
Boris Grigorjevič – Aleš Briscein
Marfa Ignatěvna (Kabanicha) – Elena Zhidkova
Tichon Ivanyč Kabanov – Magnus Vigilius
Savël Prokofjevič Dikój – Tómas Tómasson
Váňa Kudrjaš – Sam Furness
Varvara – Ena Pongrac
Kuligin – Vladimir Kazako
Feklousa – Natalia Ruda
This is the third production of a Janáček Opera presented by the Geneva Grand Théâtre since the arrival of intendant Aviel Kahn. The first one was the brilliant and dramatic production of The Makropoulos Affair two years ago, followed last year by Jenůfa, staged by a team including the same orchestra, conductor, director and lead soprano.
Unlike at Zurich Opera house, the stage in Geneva is very wide, which can be a strain on the singers. Director Tatjana Gürbaca and set designer Henrik Ahr solved this issue by building a wooden setting which served dramatic objectives, like the drowning Katia disappearing from the back of the stage, but also musical ones: singers could soar above the orchestra.
Janáček’s works are great material for strong Personenregie, and this was the case here. Gürbaca’s production did not highlight Katia’s oppression and sorrow, but right from the start chose to present her as almost ‘autistic’, unable to connect with the other characters.
During the love scene, Katia and Boris sang with passion but were physically distant, reminding us of Bayreuth’s production of Tristan und Isolde by the late Heiner Müller where both singers in the second act sang unbelievably intense music, but at either end of the stage. Katia’s public confession in the last act was met with indifference from the characters on stage, each robotically repeating the same movement.
As with many reinterpretations, this worked very well in some moments and less so in others. The big loss was the caricature of Kabanicha, who was no longer the menacing presence she could be, as well as a voluntary lack of poetry from the young couple, Váňa (Sam Furness) and Varvara (Ena Pongrac), which usually provides a contrast to Katia both with her husband and her lover. But all scenes with Katia worked well and this was the ‘price to we had to pay’.
The casting was very strong overall. Corinne Winters, who sang the part in Salzburg this summer in a very different production by the Barrie Kosky/Jakub Hrůša team confirmed her great talent. The voice is powerful and secure. She has expression and intensity on stage. She is the modern Katia of our generation and a singer that one wishes to hear explore many roles.
By her side, Aleš Briscein displayed genuine vocal intensity as Boris. Elena Zhidkova (Kabanicha) was hampered by the production concept, which reduced the impact of her part. Tómas Tómasson (Dikój), who has often sung in Geneva, was quality casting. Geneva often finds and nurtures young singers in residence, from whence came the Varvara sung joyfully by Pongrac, whereas Ukrainian mezzo Natalia Ruda (Feklousa) may have only a few lines to sing but impressed and should be a name to follow.
As is often the case with premieres, the orchestra took time to find its mark. Usually, ensembles can be somewhat loud but the opposite happened here, they started out a little too softly. The timpani that provides a leitmotif throughout the work was inaudible … As the evening went on, balance improved and the Swiss Romande was a strong contributor in the last act. But these are issues usually resolved with further performances.
Readers in Brno will have the opportunity to hear these musicians on November 13th at the Janáček Brno Festival. They and Geneva residents should not hesitate to go and discover what is definitely a strong production.
Antoine Lévy-Leboyer