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CHAN 3106 Book Cover.qxd 20/9/06 10:42 am Page 1

CHAN 3106(2) CHANDOS O PERA IN ENGLISH

PETER MOORES FOUNDATION CHAN 3106 BOOK.qxd 20/9/06 10:51 am Page 2 Clive

This recording of Jenu˚fa was based on Welsh National ’s new production in Spring 2003, in which the young British Susan Chilcott was cast as Jenu˚fa. Very sadly, the stage performances with WNO, to which Susan brought intense commitment, were her last and she was obliged to withdraw from our projected recording. She died from cancer in September 2003.

The recording went ahead as planned in July 2003 – thanks to the talent, sensitivity and commitment of Janice Watson, who stepped in to record the title role at my request. I hope the recording will serve as a tribute to the memory of Susan Chilcott and in gratitude to Janice for her splendid performance.

Sir

Left: Susan Chilcott in the title role of ’s production of Jenu˚fa

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Leosˇ Janácˇek (1854–1928)

Jenu˚fa, her Stepdaughter ( version) Opera in three acts

Lebrecht Collection Lebrecht by the composer after Gabriela Preissová’s play Její pastorkynˇa English version by and Otakar Kraus Grandmother Buryja, retired mill owner ...... Elizabeth Vaughan mezzo-soprano The Kostelnicˇka, her daughter-in-law, Jenu˚fa’s stepmother...... Dame soprano Jenu˚fa, Grandmother Buryja’s granddaughter...... Janice Watson soprano Sˇteva Buryja, Grandmother Buryja’s grandson, present owner of the mill...... Peter Wedd Laca Klemenˇ, Sˇteva’s older half-brother...... Nigel Robson tenor Foreman at the mill...... Neal Davies Mayor of the village ...... Alan Fairs Mayor’s wife...... Marion McCullough mezzo-soprano Karolka, their daughter...... Charlotte Ellett soprano Jano, shepherd boy ...... Claire Hampton soprano Barena, a servant at the mill...... Rosie Hay soprano Maid ...... Imelda Drumm mezzo-soprano Village woman ...... Sarah Pope mezzo-soprano

Chorus of Welsh National Opera Simon Philippo chorus master Orchestra of Welsh National Opera Leosˇ Janácˇek Sir Charles Mackerras Gareth Jones assistant conductor

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Notes on the version used in this recording A short guide to Czech pronunciation

In this recording we have used the so-called it and partially re-orchestrate the score. In Czech the stress is invariably on the first ‘soft’, as are the letters d and t. Cˇ is ‘Brno Version’ of the opera, being the final Janácˇek was most anxious that his opera syllable of a word. pronounced like the ch in ‘cheese’, nˇ is like form and orchestration of Jenu˚fa before it went should be performed in and so he The pronunciation of (unmarked) the Spanish ñ (as in ‘España’), sˇ is like the sh to Prague in a re-orchestration by the Musical accepted Kovarˇovic’s changes. consonants is generally akin to English, with in ‘shoe’, zˇ is like the zh sound in ‘pleasure’, Director of the Prague National Theatre, Karel Although Janácˇek eventually repudiated the following exceptions: c is pronounced while rˇ is a sound unique to Czech and is Kovarˇovic. these changes, the opera was performed all like ts (Laca = Latsa), j is like the English produced by the simultaneous combination Jenu˚fa was performed sporadically between over the world in Kovarˇovic’s version until I y (Jenu˚fa = Yenoofa). The letters ch are of a rolled r and a zh. The letter d produces January 1904 (the date of the Brno première) decided to re-construct Janácˇek’s own version. similar in pronunciation to the final sound a sound similar to the initial sound in the and 1913. During this time Janácˇek This was a challenge I had been considering in Scottish ‘loch’. colloquial ‘d’ya like it?’, while t has a similarly continually revised the score, making since the 1970s. Luckily there was still a copy There are short and long vowels; a ˇác rka or softening effect. considerable alterations both to the musical of the score in Brno in which Kovarˇovic’s long-sign is used to designate long vowels – The hácˇek used over e produces a ye sound form and the orchestration. He had already changes were all noted in red ink. Thus it was á, é, í, ó, ú,y ´ (long u is also represented by as in ‘yellow’, e.g. obeˇd (‘lunch’) = ob-yed. submitted the opera to the National Theatre possible to distinguish between the original u˚, using the krouzˇek sign). These are not Appearing after d, t and n, the vowels i and í in Prague in 1903 and it had been turned and the additional orchestration. John Tyrrell stress marks. soften the preceding consonant; for example, down. During the First World War, in 1915, and I finally produced an edition of the opera Consonants marked with a reversed the n in the Kostelnicˇka’s name is pronounced Jenu˚fa was again submitted to the National which was faithful to Janácˇek’s own final circumflex or hácˇek – cˇ, nˇ, rˇ, sˇ and zˇ – are soft (Kos-tel-nyich-ka). Theatre and this time was accepted for revisions and we discarded Kovarˇovic’s performance, largely through the influence of alterations. This version has been performed © 2004 Robert Sargant Maria Calma-Vesela, who had campaigned on worldwide since 1982 and finally reached behalf of the work for several years. Kovarˇovic Brno on 21 January 2004, the 100th agreed to perform it on condition that Janácˇek anniversary of the Brno première. This is the would accept that he, Kovarˇovic, would revise version presented on this recording.

© 2004 Sir Charles Mackerras

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COMPACT DISC ONE Time Page Act I Clive Barda Clive Scene 1 1 ‘Soon it will be evening’ 11:59 [p. 94] Jenu˚fa, Grandmother Buryja, Laca, Jano

Scene 2 2 ‘What are you doing here, Laca?’ 5:07 [p. 95] Foreman, Laca, Jenu˚fa, Grandmother Buryja, Kostelnicˇka

Scene 3 3 ‘Come now, Jenu˚fa’ 0:37 [p. 97] Grandmother Buryja, Jenu˚fa

Scene 4 4 ‘They’re all for marrying’ 1:46 [p. 98] Recruits, Sˇteva, Jenu˚fa, Foreman, Laca

Scene 5 5 ‘My dear heart, my Sˇteva, Sˇtevusˇka!’ 13:03 [p. 98] Jenu˚fa, Sˇteva, Chorus, Kostelnicˇka, Grandmother Buryja, Laca, Foreman

Scene 6 6 ‘Sˇteva, Sˇteva, I know you got drunk today’ 5:32 [p. 101] Jenu˚fa, Sˇteva, Grandmother Buryja

Scene 7 Janice Watson 7 ‘How all this boasting of Sˇteva’ 4:31 [p. 102] as Jenu˚fa Laca, Jenu˚fa, Grandmother Buryja, Foreman, Barena

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Time Page Time Page Act II Scene 7 Scene 1 3 ‘Who is there?’ 5:51 [p. 110] 8 Introduction 1:16 [p. 103] Jenu˚fa, Kostelnicˇka 9 ‘If I leave the door ajar a little’ 7:11 [p. 104] Kostelnicˇka, Jenu˚fa Scene 8 4 ‘He’s coming now!…’ 6:17 [p. 112] Scene 2 Kostelnicˇka, Laca, Jenu˚fa 10 ‘Yes, in all these twenty weeks’ 2:05 [p. 105] Act III Kostelnicˇka Scene 1 5 ‘Don’t you feel nervous, Jenu˚fka?’ 2:35 [p. 114] Scene 3 Maid, Jenu˚fa, Laca, Kostelnicˇka 11 ‘Aunt Kostelnicˇka, in the note you sent me’ 8:49 [p. 105] ˇ Steva, Kostelnicˇka, Jenu˚fa, Laca Scene 2 6 ‘God be with you!’ 4:26 [p. 114] Scene 4 Mayor, Maid, Laca, Jenu˚fa, Kostelnicˇka, Mayor’s Wife 12 ‘But I saw a man come in here just now’ 3:11 [p. 108] Laca, Kostelnicˇka Scene 3 TT 65:21 7 ‘There now, Laca, just as I foresaw’ 3:51 [p. 115] Jenu˚fa, Laca COMPACT DISC TWO Scene 4 Scene 5 8 ‘Aha! Here they are’ 2:38 [p. 116] 1 ‘One moment… In that moment must I lose hope’ 3:50 [p. 109] Laca, Karolka, Sˇteva, Jenu˚fa Kostelnicˇka Scene 5 Scene 6 9 ‘There’s no denying that all that was really a sight worth 2 ‘Mamicˇko, my head is aching’ 9:01 [p. 109] seeing’ 0:16 [p. 117] Jenu˚fa Mayor, Kostelnicˇka, Laca, Mayor’s Wife

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Time Page Scene 6 10 ‘God be with you one and all! 3:20 [p. 118] Barena, Peasant Girls, Mayor, Jenu˚fa, Laca, Grandmother Buryja, Chorus, Kostelnicˇka Scene 7 Family tree 11 ‘What baby’s that they’re shouting about?’ 0:30 [p. 119] Kostelnicˇka, Jano, Mayor, Sˇteva, Chorus Grandmother Buryja Scene 8 12 ‘Come quickly now!’ 0:44 [p. 119] (1) Klemenˇ = unnamed woman = (2) Buryja Tomásˇ Buryja = (1) unnamed woman Jano, Kostelnicˇka, Grandmother Buryja = Kostelnicˇka Buryjovka Scene 9 13 ‘Sˇteva, this is terrible…’ 0:43 [p. 120] Karolka, Jenu˚fa, Sˇteva, Laca Laca KlemenˇSˇteva Buryja Jenu˚fa Scene 10 14 ‘Ha, there now, you see his baby clothes!’ 4:02 [p. 120] Sˇteva (by Sˇteva Buryja) Jenu˚fa, Mayor’s Wife, Village Woman, Mayor, Chorus, Laca, Kostelnicˇka, Karolka, Maid Scene 11 15 ‘Do not kneel, dear mother!’ 3:55 [p. 122] Jenu˚fa, Kostelnicˇka, Laca Scene 12 16 ‘They have gone! Now you go!’ 3:35 [p. 123] Jenu˚fa, Laca TT 55:51

12 13 CHAN 3106 BOOK.qxd 20/9/06 10:51 am Page 14 Clive Barda Clive Richard Moran Richard

Dame Josephine Barstow as the Kostelnicˇka in ’s production of Peter Wedd as Sˇteva and Marion McCullough as Karolka in Welsh National Opera’s production of Jenu˚fa Jenu˚fa CHAN 3106 BOOK.qxd 20/9/06 10:51 am Page 16

caught Janácˇek’s imagination was not the lurid what is to come in Janácˇek’s first two operatic Jenu˚fa, her Stepdaughter narrative, but the emotional complexity of projects. Sˇárka is a standard folk epic, a pale Preissová’s characters. In particular, he warmed imitation of Smetana. The Beginning of a You will search in vain through the repertory life were among the first works of ‘kitchen to the dilemma of the Kostelnicˇka (the word Romance – also based on a play by Preissová – of Czech opera houses, for an opera called sink’ realism in the language, and Her means sexton or church-warden), a pillar of the is interesting in its use of folk melody, but Jenu˚fa. In his homeland, Janácˇek’s first Stepdaughter caused something of a scandal community confronted with personal shame. clumsy in its construction. Janácˇek himself theatrical masterpiece is always known by the when it was first produced in 1890. The In a crucial scene in the play, she speaks of her was only too aware of its shortcomings, and he title of Gabriela Preissová’s powerful public was enthusiastic about the grim tale of own former husband, a drunken wastrel called later suppressed the piece. Jenu˚fa is in an melodrama on which it is based – Její a village girl whose illegitimate child is Tomásˇ Buryja. She fears that Jenu˚fa’s lover entirely different league. Pastorkynˇa, Her Stepdaughter. These three murdered by her stepmother to protect her Sˇteva, Buryja’s nephew, is revealing unpleasant Janácˇek was a late developer and he was words provide an important clue to the honour and her marriage prospects. The inherited traits. This tangle of conflicting already in his early forties when he started abiding power of the work. Jenu˚fa is not the dilemma faced by Jenu˚fa may seem remote to feelings – protectiveness, guilt, piety and work on the opera. Composing the first act drama of a single heroine, but the tragedy of us today, but in late-nineteenth-century rural fear – is at the heart of the play and it provides was a struggle for him, and he put it aside for two women, entwined in the consequences of Moravia it was both painful and only too the core of Janácˇek’s opera. eight years before venturing any further. There their own emotions, as surely as Romeo and familiar. In an enclosed village community, to Janácˇek was first attracted to Preissová’s are still hints of traditional Romantic opera in Juliet or Antony and Cleopatra. Jenu˚fa, the conceive a child out of wedlock was common, writing when he was still an obscure choral the early scenes. The stamping folk melody for vain and impulsive young rural beauty and the provided the couple had been through a conductor and teacher, living in a backwater of the villagers and recruits who accompany the Kostelnicˇka, her severe and forceful step- formal public betrothal, but to give birth the Austro-Hungarian Empire. Like so many drunken Sˇteva might well be mistaken for a mother, take two parallel journeys through before marriage carried a savage social stigma. of his contemporaries in Central , he Dvorˇák Slavonic Dance. Nevertheless, we can suffering, one to despair and the edge of The tragic irony of the play rests in the fact was fascinated by vernacular culture, and sense Janácˇek’s unique musical world from the madness, the other to sober reconciliation. If that the father of Jenu˚fa’s baby escapes military Preissová’s stories of Moravian rural life struck opera’s opening bars. On the surface, the the end of the opera is crowned by Jenu˚fa’s conscription, thus making him free to marry a chord with a composer deeply absorbed in obsessive ostinato depicts the growing maturity, it is the Kostelnicˇka’s her, but is prevented from doing so by the collecting and arranging the folk music of his relentless turning of the mill wheel, but at a agonised and murderous decision in the Kostelnicˇka, who disapproves of his drunken birthplace. What is remarkable about Jenu˚fa is deeper level it portrays Jenu˚fa’s state of mind second act, which stays with us long after the lifestyle. No wonder the audience identified the masterly way in which someone with so and the disasters which await her. This curtain has fallen. with the drama so readily. little theatrical experience transformed a relentless percussive tapping recurs four times; Preissová played a small but significant role However, the critics universally condemned gripping but fairly conventional tale of firstly when Jenu˚fa fears ill fortune if her in the development of Czech literature. Her it as a sleazy slice of life, quite inappropriate illegitimacy and social retribution into a heart- rosemary plant were to die, then when she short stories and dramas of Moravian village for the stage of the National Theatre. What rending psychodrama. There is no hint of broods on her unwanted pregnancy after

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Sˇteva’s banishment. It is heard a third time gives Jenu˚fa the sleeping draught, a noble tune again in triple time when Laca arrives in Kostelnicˇka’s guilty terror is clearly audible as when Jenu˚fa fears that Sˇteva will abandon her on the harps and woodwind conjures up the response to the Kostelnicˇka’s appeal. the take up her knocking motif and for another and finally returns just before the alternative future she has dreamed for Jenu˚fa It is as if Janácˇek has constructed a musical transform it into a shattering tattoo. jealous Laca slashes her face. It provides the before the girl’s unwanted pregnancy cast a prison, whose only exit is the door through The emotional intensity of this act brings to musical scaffolding on which the first act is pall over their lives. which the Kostelnicˇka rushes, carrying the still mind the mature of Puccini, and it is built. The dramatic action is shaped with In contrast with the bucolic jostling of the sleeping baby to drown it in the mill-race. The fascinating to think of the Tuscan and the equal assurance. While Preissová’s original first act, Act Two features only the four monologue which precedes the murder, is one Moravian working simultaneously on dramas plot would not be out of place in a soap principals. There is also a fifth character, heard of the composer’s most remarkable which focus on young women abandoned by opera, Janácˇek’s libretto shaves the narrative but not seen – the sleeping child, conjured in achievements, from its tortured opening, the fathers of their unborn children. What back the bone and in doing so, he exposes the tender folk-like fragments of melody accompanied by glassy string harmonies to its separates Jenu˚fa and Madama , the nerve endings of the four principal associated with him, which constantly emerge desperate conclusion, where the omnipresent though, is Janácˇek’s total lack of characters. from the harmonic darkness. Throughout the harps and horns are joined by fortissimo sentimentality. In the final act, he returns to By the time the curtain rises on the second act, the score suggests the noose of fate screams from the . Yet here again, the folk melodies which dominate Act One, act, written eight years after the first, there is tightening around the Kostelnicˇka’s throat. It Janácˇek refuses to take the obvious path. The but the brooding presence of the broken figure no doubt that we are in the presence of a is a rope she has woven for herself. In her phrases which accompany the Kostelnicˇka’s of the Kostelnicˇka, both on stage and in the theatrical master craftsman. The opening notes ignorance of her stepdaughter’s condition, she appeal to God have a fearful nobility, and after tortured harmonies of the orchestra, – an abrupt fortissimo chord and a shuddering has banished Sˇteva for his vulgar and her departure Janácˇek weaves terror and constantly serves to poison the atmosphere. string tremolo – plunge us into the irresponsible behaviour. Now she must go tenderness into an ambivalent fabric, with a The jaunty little tune with which the act claustrophobia of the Kostelnicˇka’s cottage. down on her knees and beg him to marry melting solo for the principal violin emerging opens is underpinned by yet another ostinato, The savage string staccatos which follow, slice Jenu˚fa, and when that fails, to turn in from the climactic orchestral discord. Jenu˚fa’s as if fate were pushing the newlyweds towards into the main melody like a scalpel. A less desperation to Laca. To depict the trap closing , as she wakes from her narcotic slumber catastrophe. As the act progresses, the conflict assured composer might have been tempted to in on the Kostelnicˇka, Janácˇek returns to his and realises her baby is missing, is built on a between the cosy folk tunes and Jenu˚fa’s dark spread an atmosphere of unrelieved gloom favourite musical device, the ostinato, nagging still more massive scale, drawing together harmonies mirrors the contrast between the throughout the act. However, time and again, insistently in the orchestra. Her monologue musical material from earlier scenes, and brightly coloured traditional dresses of the the pain of the two women’s predicament is after Jenu˚fa retires to bed is underpinned by reaching a frightening climax as the returning villagers and the heroine’s black mourning penetrated by an ambivalent tenderness. When edgy repetitions on strings, horns and harp. Kostelnicˇka hammers on the window. outfit. When the young boy Jano bursts in to the Kostelnicˇka tells Jenu˚fa that it would be The same combination of instruments in a Janácˇek’s newly developed skill in fashioning announce that a tiny frozen corpse has been better if God were to take the child away, a similar rhythm returns when Jenu˚fa cries out huge dramatic paragraphs drives the drama discovered under the ice, it is a shock, but not caressing theme contradicts her. As she in her drugged sleep, and we hear it once through to the end of the act, and the a surprise.

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Janácˇek’s objectivity persists to the very end. conductor of this recording, Sir Charles Background Kostelnicˇka, however, have a close and loving After the Kostelnicˇka’s confession and her step- Mackerras. Only when we hear the work, It is the late nineteenth century. Veborany, a relationship. Jenu˚fa always calls her Mamicˇko, daughter’s act of forgiveness, the music acquires uncut, without woodwind filling in and mountain village in Moravia, is a small, or Mummy, and the Kostelnicˇka, a God- a stoical warmth as the two young people smoothing out Janácˇek’s austere contours, tightly-knit rural community. The local saw fearing but overbearing woman, is very proud contemplate their future together and the trials without heroic horns replacing the stark mill is owned by the Buryja family, and it is of her stepdaughter. they must still undergo. Nevertheless, this is no in the final scene, can we truly the complex relationships within this group easy apotheosis. How can it be, when their appreciate the naked directness of his first fully which are at the root of the drama. COMPACT DISC ONE relationship has been forged in such pain? achieved musical drama. The composition of A century later, we mistrust glib romantic Jenu˚fa coincided with the most heart-breaking Family tree Act I solutions, but for Janácˇek’s contemporaries, the years of Janácˇek’s life – years in which his Grandmother and Grandfather Buryja had The Buryja Mill severe conclusion and the music in which it is marriage finally disintegrated and he lost his two sons, ‘Miller’ Buryja, the older and heir, Dusk at the end of August expressed, proved too much to take. Although daughter to typhoid fever. It was the product and Tomásˇ Buryja. Miller Buryja married a 1 Grandmother Buryja and Laca are both his home town of Brno welcomed Jenu˚fa, It of personal as well as artistic struggle, as he certain Widow Klemenˇ, and so acquired a working. Jenu˚fa is waiting anxiously for Sˇteva took twelve years and much scheming behind recorded in his autobiography: young stepson, Laca Klemenˇ. The couple then to return from an interview with the army the scenes before it was produced in Prague. I would bind Jenu˚fa with the black ribbon of the had a son of their own, Sˇteva, to whom both conscription board. If he is forced into Even then, Janácˇek was persuaded to accept cuts long illness, the pain and the sighing of my the mill and the family fortune were left when military service, they will not be able to get and re-orchestrations to soften the savage impact daughter Olga and my little boy Vladimir. the parents died. He is a fair-haired handsome married for some time, and her pregnancy will of the original. It did not help that the director As she was dying, Olga asked her father to lad, but promiscuous and a heavy drinker. His be discovered. The only other person who of the Prague opera, Karel Kovarˇovic, had been play though the score of the Jenu˚fa. At the half-brother, Laca Klemenˇ, dark and sensitive, knows about it is Sˇteva himself, the father-to- criticised by the composer for one of his own very end, Janácˇek made musical sketches of feels overlooked and disregarded by the whole be. And if it is revealed Jenu˚fa, according to early works. His opposition was compounded her last exhausted words. It seems a strange, Buryja family. the tenets of the time, has earned death by by the traditionally low opinion in which almost heartless act, but throughout his work, Miller’s younger brother, Tomásˇ, is now also stoning and eternal damnation. cosmopolitan Prague held provincial Brno. music provided him with an objective distance dead. He was married twice. By his first wife Laca, who has loved Jenu˚fa since childhood, Kovarˇovic’s rationalisation of the score held he was unable to summon up in his life. The he had a daughter, Jenu˚fa Buryjovka. When watches her jealously, tortured by her feelings sway in for almost a hundred fact that he could transform such pain into widowed he married again – the Kostelnicˇka, for Sˇteva. years. It was only in 2004, on the opera’s enduring art marks Janácˇek out as one of the or Lady Sacristan of the local church. The A herdboy, Jano, thanks Jenu˚fa for teaching centenary, that Brno was able to hear the world’s operatic giants. marriage was not a happy one, as Tomásˇ him how to read. 2 – 3 The mill foreman music once more as the composer intended, turned out to be violent and quick-tempered, brings the news that Sˇteva has not been thanks to the inspired championship of the © 2004 Dennis Marks a spendthrift and a drunkard. Jenu˚fa and the recruited after all.

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4 Sˇteva himself arrives, drunk, and work in Vienna. Her baby boy was born eight 12 Laca, who has been a regular visitor over frozen and she cannot open the door. She accompanied by the local band and the men days ago. She has called him Sˇteva, and the the past months, sees Sˇteva leaving and calls to knocks at the window, throws in the key, and who have been drafted. 5 They dance and sing Kostelnicˇka has christened him. ask whether this means that Jenu˚fa is back Jenu˚fa lets her in. The Kostelnicˇka says that with the millworkers, but their merrymaking is The Kostelnicˇka is continually reminding from Vienna, and that she and Sˇteva are to be Jenu˚fa has been ill with a fever for two days and cut short by the Kostelnicˇka. She regards Sˇteva Jenu˚fa of her guilt and dishonour, and saying married. He himself still wants to marry her that the baby has died. Jenu˚fa weeps quietly, and as an unsuitable husband for her beloved that she should pray God to take the child and the Kostelnicˇka has encouraged him. The asks whether Sˇteva has called. The Kostelnicˇka stepdaughter, spendthrift and violent like her from her. Jenu˚fa is deeply unsettled and feels Kostelnicˇka tells him the truth: Jenu˚fa has tells of his cash offer and, his disinterest in own husband, his uncle. Not knowing that unwell. The Kostelnicˇka offers her a sleeping been kept hidden in the house and has just Jenu˚fa herself and the baby, and his impending Jenu˚fa is pregnant, the Kostelnicˇka prohibits draught and Jenu˚fa retires for the night. had a baby by Sˇteva. Laca is stunned. Does the marriage to Karolka. She recommends Jenu˚fa to their marriage for a year, during which Sˇteva 10 For the last five months the Kostelnicˇka Kostelnicˇka expect him also to take Sˇteva’s prefer Laca, who has been told about the baby must give up drinking. 6 Left alone together, has prayed that Jenu˚fa might miscarry, but as baby? She lies to him that the baby has died. and its death and has forgiven her. Sˇteva boasts to Jenu˚fa that all the girls flirt with the baby is healthy she now feels she must 4 Laca returns and asks her to marry him him, but she replies possessively that he belongs plead with Sˇteva to marry Jenu˚fa. She has COMPACT DISC TWO and she accepts – the Kostelnicˇka blesses to her. 7 After he has gone, Laca jealously therefore sent him a message to come round them, but becomes hysterical when the taunts Jenu˚fa that Sˇteva loves her only for her that evening. 11 When he arrives she 1 Left alone, the Kostelnicˇka distractedly window suddenly blows wide open. pretty face and rosy cheeks. He glances at the reproaches him for never asking about the tries to decide what to do. She can’t take the knife he is working with. ‘Think how it could baby. He says he’s sorry, and offers to support baby far away somewhere – he will always be a Act III spoil those looks of yours.’ He attempts to kiss the child, on condition that he does not have shame and dishonour. She will ‘send him to The Kostelnicˇka’s house her, they struggle, and he ‘accidentally’ cuts her to admit to being its father. She begs him to God’ – put him under the ice in the river. The Morning cheek with his knife. marry Jenu˚fa and to take the baby, to remove body will be swept away when the stream 5 – 9 It is Jenu˚fa’s wedding day and the the shame from Jenu˚fa’s name and her own. thaws. She and Jenu˚fa will not be tainted. She Kostelnicˇka is still not herself. She has been ill, Act II Sˇteva bursts into tears and replies that Jenu˚fa takes the baby and rushes out into the night, and suffers attacks of terror and delusions. The Kostelnicˇka’s house by the river. Five months has latterly changed from her gentle self to an locking the door behind her. Jenu˚fa and Laca have invited Sˇteva, his fiancée later. Evening at the end of January intense and demanding person, resembling the 2 Jenu˚fa wakes up, still slightly drugged. Karolka and her parents, the mayor and his 8 – 9 It is some time since Jenu˚fa finally Kostelnicˇka. Her beauty has been ruined by At first hysterical with worry that she can’t wife. The wedding is to be very plain in style, told her stepmother about her pregnancy. To the scar on her cheek. He has fallen out of find her Mamicˇko or her baby, she then which disappoints the Mayoress and Karolka. save them both from disgrace, the Kostelnicˇka love with her and he is now engaged to marry supposes happily that he has been taken to be 10 Uninvited, some workers from the mill has hidden her in the back room of the house the Mayor’s daughter, Karolka. Jenu˚fa calls out shown off at the mill. She prays for the baby. come in with a song, wishing Jenu˚fa well. and told everyone that Jenu˚fa has gone to find in her sleep and Sˇteva rushes out of the door. 3 The Kostelnicˇka returns – her hands are Grandmother Buryja gives her good wishes,

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11 – 13 but as the Kostelnicˇka is about to memorial award. under Michael Tilson-Thomas, the Verdi and Shostakovich and an enormous bless the couple, shouts are heard. Brewery She has been a Orchestra under Sir , range of roles from Mozart to Janácˇek via workers cutting ice on the river have found a regular guest with and , the Beethoven, Verdi, Puccini and . dead baby, frozen in the ice. Jenu˚fa knows both Welsh National Orchestre de Paris and Frans Brüggen, the In 1986 she toured the USSR singing in from the baby’s clothes that it is little Sˇteva. Opera and English Academy of St Martin-in-the-Fields and Tbilisi, Riga and at the Bolshoi in Moscow. 14 The gathering people threaten to stone her National Opera. She Sir Neville Marriner, the London She created the protagonist in the world for murder and are only just restrained by has sung Musetta at Philharmonic Orchestra and premiere of Die schwarze Maske at the Laca, who leaps to her defence. and both the Chicago Symphony and Royal Salzburg Festival where Karajan invited her They are silenced as the Kostelnicˇka House, Covent Concertgebouw Orchestras under Riccardo back for and . absolves Jenu˚fa from suspicion and confesses Garden; Pamina Chailly. She has sung with the Paris Opéra, the her own guilt. Karolka realises that Sˇteva was with the Paris Her many recordings include Orff's Bayerische Staatsoper, Munich, English the father and refuses to marry him. Laca Opéra; Countess Almaviva; Vitellia for Carmina Burana, Ellen Orford in Chandos’ National Opera and at the Royal Opera blames himself. The Kostelnicˇka adds to her Flanders Opera; Strauss’ and award-winning recording of House, . In the United States confession by admitting that she now realises and Elettra () at the Santa Fe Festival; under , Poulenc’s for she has sung for the , New she was thinking more of her own honour and Daphne, Arabella and Eva (Die Meistersinger Chandos, Howells’ Missa Sabrinensis under York, and in San Francisco, Chicago and good name than of Jenu˚fa’s and begs her von Nürnberg) with the ; Gennady Rozhdestvensky, and Helena in Houston. She was made a CBE in 1985 and stepdaughter’s forgiveness. 15 Jenu˚fa Pamina at the ; Ellen A Midsummer Night’s Dream under Sir Colin in 1995 she was created a Dame of the British understands, forgives the Kostelnicˇka and asks Orford at Covent Garden, the Vienna State Davis. Empire. God to comfort her. The Mayor escorts the Opera, Netherlands Opera and with the Other engagements have included the title Kostelnicˇka away for trial. 16 Jenu˚fa tells Laca London Symphony Orchestra; Countess Dame Josephine role in for the Netherlands Opera and to go too, as she is not worthy of him, but he Almaviva in Lyon, Munich, for the Deutsch Barstow is the Kostelnicˇka for , replies that he still loves her and intends to Staatsoper, Berlin, and the New National acknowledged as a Opera North and Flanders Opera; Emilia stand by her. She joyously accepts. Theatre, Tokyo; Micaela at both the Lyric singing actress of the Marty (The Makropoulos Case) for Welsh Opera of Chicago and the Metropolitan highest rank. Her National Opera; Amelia (Un ballo in maschera) © 2004 Barbara Johnstone Opera and the Marschallin for English distinguished career has for the Hong Kong Festival; Tosca for Opera National Opera included acclaimed North; Ellen Orford (Peter Grimes) for the Janice Watson studied at the Guildhall School Her concerts include the Boston Symphony performances of Royal , Covent Garden and in of Music and Drama and first came to Orchestra under both Roger Norrington and Salome, Tosca, the Palermo, and Anna Maurrant () for prominence as winner of the Kathleen Ferrier André Previn, the San Francisco Symphony Lady Macbeths of the Teatro Nacional de Sao Carlos in Lisbon.

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She has sung regularly with Opera North and Kudrjas (Kat’á Kabanová). At Welsh Nigel Robson was Schumann’s Genoveva for . including the title roles in Medea and , National Opera his roles have included Don born in Argyleshire His involvement in the work of living Alice Ford ( ), Marie () and José (), Tamino (Die Zauberflöte), and studied with composers includes the Dutch world premiere Elizabeth I in , which was also Don Ottavio () and Laca Alexander Young and the UK premiere of Guo Wenjing’s Wolf performed at the , Covent (Jenu˚fa). and Gustave Sacher. Cub Village, Alexander Goehr’s Kantan and Garden, and has sung the role of Miss Other appearances in the UK and Ireland He is well Damask Drum, the world premiere of Make Wingrave in a TV film of have included Federico (L’Arlesiana) and Pluto established as one of Ishi’s Tojiraretta Fune, and John Lunn’s The conducted by . (Orphée aux enfers) for Opera Holland Park, Britain’s most Maids. Her current recordings include two recitals, Kyska (Sˇarkatán) and Julius (I cavalieri di versatile lyric Concert appearances have included and Marie (Wozzeck) for Chandos’ Opera in Ekebu) at the Wexford Festival, and Satyavan with an operatic and Maderna’s Venetian Journal, Bach’s St John English series, Street Scene, Beethoven’s Ninth (Savitri) at the , and he has concert repertoire , Judas Maccabeus, Jephtha, Britten’s Symphony, Britten’s Gloriana conducted by had great success singing Rodolfo in a new ranging from Monteverdi to the most Spring Symphony, Stravinsky’s Renard, Das Sir Charles Mackerras, and Lady Billows in production of La bohème at London’s Royal contemporary of compositions, and is Lied von der Erde, Britten’s War , . Albert Hall. Peter Wedd has sung Tamino and particularly well known for his interpretations Elgar’s Dream of Gerontius, and Die schöne Eisenstein () for European of Britten. Müllerin. Peter Wedd studied as well as Lysander Operatic engagements have included Bajazet Nigel Robson’s recordings include Handel’s at the Guildhall (A Midsummer Night’s Dream) for the () in Drottningholm, the title role in Tamerlano, Jephtha and Alexander’s Feast, School of Music and Singapore Lyric Theatre. Peter Grimes for the Nationale Reisopera in Monteverdi’s Orfeo, Il coronazione di Poppea Drama with William He is much in demand as a concert artist Holland; Captain Vere ( ) for the and Vespers 1610, Tippett’s Songs for Dov, McAlpine and and has worked with orchestras including the ; Laca and Captain Mozart’s Idomeneo, and for Chandos Britten’s subsequently at the London Philharmonic, Royal Scottish Vere for Welsh National Opera; the title role , Walton’s Troilus and National Opera National, City of London , Northern in Il ritorno d’Ulisse in patria in Lisbon and for Cressida and Delius’s Mass of Life. Studio. He was a Sinfonia and the Bournemouth Symphony. Opera North; the title role in Idomeneo at the Company Principal Peter Wedd has appeared at the Covent Bayerische Staatsoper in Munich; Male Elizabeth Vaughan was born in Wales and at the Royal Opera, Garden and Edinburgh Festivals and abroad at Chorus (The Rape of Lucretia) at the Grand studied at the where Covent Garden from 1999 to 2001 and is a the Maribor Festival, Slovenia and the Cernier Théâtre de Tours; Pandarus (Troilus and she won every major prize including the regular guest artist for Welsh National Opera. Festival in Switzerland. Cressida) for Opera North; The Madwoman coveted Kathleen Ferrier Memorial As a Company Principal of the Royal Opera Recordings in the Opera in English series (Curlew River) for , Septimus Scholarship. She made her operatic debut with he sang Ywain ( and the Green Knight) include and The . () for Glyndebourne, and Golo in Welsh National Opera where she sang

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acclaimed performances Opera (in the UK and on tour to Japan) and Studio, Zurich, under the patronage of Dame Bonze (Madama of Abigaille (). also with the Opera Bastille in Paris and South . He is a regular guest at the Butterfly), Dikoj For The Royal Opera Korea. Other engagements have included Edinburgh Festival and at the BBC Proms. (Katya Kabanova), and she sang many roles Madame de Croissy (Dialogues of the His operatic appearances have included most recently Bartolo including Cio-Cio San Carmelites) for both English and Welsh Rameau’s Platée under McGegan, Handel’s (The Marriage of (), National Operas, concert performances of under Ivor Bolton and Figaro in Figaro). Violetta Hansel and Gretel with the City of Le nozze di Figaro all for the Royal Opera, With other (La traviata), Leonore Birmingham Symphony Orchestra conducted Covent Garden; Handel’s L’Allegro for English companies and (), Abigaille by Elder, and concert performances of National Opera; Handel’s for the festivals, he has (Nabucco), Donna Salome with the at the Opéra de Marseille; Handel’s Theodora with performed many Elvira (Don Giovanni), Gilda (), Athens Concert Hall. Internationally, her Les Arts Florissants and William Christie (Paris major roles which Euridice (Orfeo) and Teresa (Benvenuto career has taken her to the Metropolitan and Salzburg); Handel’s with the include Don Alfonso (Così fan tutte), Don Cellini). Opera in New York, Vienna, Paris, Hamburg, Gabrieli Consort; Leporello for both Scottish Pasquale, Osmin (Die Entführung aus dem Elizabeth Vaughan has returned to Welsh Munich, Prague, Marseilles, Athens, Montreal, Opera and Opéra de Quebec; and Guglielmo Serail ), Sarastro (Die Zauberflöte), Leporello National Opera as a guest artist singing many Florence, Pisa, Sydney and South America. (Così fan tutte), Leporello and Dulcamara (Don Giovanni ), Gremin (), leading roles including those in Recordings include highlights from Der (L’elisir d’amore) for Welsh National Opera. Oroveso (), Geronimo (Il matrimonio Lescaut, , Madama Butterfly, Rosenkavalier for Chandos’ Opera in English His recordings include Britten’s segreto), Falstaff (Falstaff and The Merry Wives La traviata and Andrea Chenier, and Peter series. A Midsummer Night’s Dream under Sir Colin of Windsor) and Alberich (Das Rheingold ). Maxwell Davies’ The Doctor of Myddfai. She Davis, , Theodora and under Paul has also appeared frequently with English Neal Davies was born McCreesh, Vivaldi Cantatas and Handel's Born in South Wales, National Opera, Opera North and Scottish in Newport, Gwent L’Allegro under Robert King, and Dutilleux Charlotte Ellett Opera in operas including Aida, , and studied at King’s songs under Yan Pascal Tortelier for Chandos. studied at the Royal Madama Butterfly, Tosca, , La traviata, College, London, and Northern College and the role of Auntie in Peter the Royal Academy of Alan Fairs studied privately with Audrey Music and then the Grimes. Music, of which he Langford and Robert Dean. He appears National Opera Since 1990 she has been a mezzo-soprano was made a Fellow in frequently as a guest artist with Welsh Studio where she was and has received the highest critical acclaim 2003. He continued National Opera where he has performed the supported by the for her performances including Herodias his studies at the roles of Dulcamara (L’elisir d’amore), Swallow Wood/Peters Award (Salome) for , Welsh National International Opera (Peter Grimes), Basilio (), in association with

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Glyndebourne, The Peter Moores Foundation, is a member of the Chorus of Welsh National Sarah Pope was born in Leicester and studied Welsh National Opera won the Royal the Sybil Tutton Award and The Countess of Opera. at the Guildhall School of Music and the Philharmonic Society Music Award, in the Munster Award. She continues her studies Royal Northern College of Music. She joined Large Ensemble category. with Enid Hartle and in January 2004 started Rosie Hay was born in Stoke-on-Trent and Welsh National Opera in 1992 and has sung a on Welsh National Opera’s Associate Artist studied at the City of College of Music. number of small roles with the company. She The Chorus of Welsh National Opera began Programme. She joined the Chorus of Welsh National created the role of Kabanicha in the WNO as a professional body in 1968 working with Her operatic roles include, Despina (Così Opera in 1992 and has sung a number of MAX commission. the Company’s famed Voluntary Chorus until fan tutte) for Aix-en-Provence Festival and small roles with the company. She has also 1973, when the latter was disbanded. The Pimlico Opera, Frasquita (Carmen) for performed the role of Cio-Cio-San for Opera The Orchestra of Welsh National Opera was Voluntary Chorus was made up of amateur Glyndebourne Touring Opera, and Karolka, Lyrica, Stowe Opera and Welsh National founded in 1970. Since then it has established singers who gathered together in 1943 to form and Barbarina for Welsh National Opera, and Hanna Glawari (The Merry itself as one of the finest British orchestras, the nucleus of what became Welsh National Opera. Widow) for York Theatre Royal. highly praised as much for its distinction in a Opera. In the late 1960s it became clear that wide-ranging operatic repertoire as for its WNO should become fully professional, and Marion McCullough was born in Bloxwich Imelda Drumm was born in Ireland and concert work and recordings. the Voluntary Chorus was replaced by the and studied with . Roles studied singing with Anne Marie Under Richard Armstrong, the Musical Chorus of Welsh National Opera. The for Welsh National Opera include Flosshilde O’Sullivan and Veronica Dunne. She completed Director from 1973 to 1986, the orchestra reputation of the Chorus grew quickly, and its (Das Rheingold ), Alisa (), her singing studies at the National Opera developed a broad operatic repertoire. In was operatic and concert work has won wide Annina and Flora (La traviata), and Hansel Studio supported by Glyndebourne Opera. during this period that first praise, not only in the traditional repertory (Hansel and Gretel ). Roles include Kate Pinkerton (Madama worked with the orchestra. Sir Charles such as Verdi, but also in twentieth-century Butterfly), Hansel (Hansel and Gretel ), Mackerras became Musical Director in 1987 works such as Tippett’s A Midsummer Claire Hampton was born in Staffordshire and Dorabella (Così fan tutte), the title role in and the Orchestra’s recording schedule began Marriage and Janácˇek’s From the House of the studied at the Royal Northern College of Carmen, Cherubino (Le nozze di Figaro), to expand considerably. Previously several Dead. Music under Teresa Cahill. She received a Beatrice (Beatrice and Benedict ) for Welsh complete operas had been recorded under The Chorus has recorded many operas scholarship from the Peter Moores Foundation National Opera; Dorabella and Cherubino for Richard Bonynge, with , including Andrea Chenier, which enabled her to continue her Glyndebourne Festival Opera; Cherubino, Montserrat Caballé and Pavarotti leading and , I Masnadieri, Norma, , postgraduate studies and to further her Isolier (Le Comte Ory) for Glyndebourne world-class casts. Under Mackerras the , Anna Bolena and , language and opera studies. She has performed Touring Opera; the title role in La Cenerentola orchestra went on to record Janácvek’s Osud Tosca, Rigoletto, and Un ballo in maschera the roles of Dorinda (Orlando) and Susanna for English Touring Opera; and Carmen for (CHAN 3019). Carlo Rizzi has been Musical as well as , , () for Floral Opera, and at the . Director since 1992. In 1995 the Orchestra of , Trial by Jury,

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Britten’s Gloriana and Janácˇek’s Osud with productions of Janácˇek’s operas, as well as , several oratorios by Handel and Sir Charles received a CBE in 1974, was Mackerras. Among concert pieces it has more standard repertoire, when he became symphonies by Mahler and Elgar. He is at knighted in 1979, honoured with the Medal recorded are Sea Drift by Delius, The Vigil of Musical Director of English National Opera present Principal Guest Conductor of the of Merit from the Czech Republic in 1996 Venus by George Lloyd and Hiawatha by (1970–77) and for Welsh National Opera Philharmonia Orchestra, Conductor Laureate and made a Companion of the Order of Coleridge-Taylor. Foreign touring has taken when he became their Musical Director of the Scottish Chamber Orchestra and Australia in 1997. In 2003 he became a the chorus to Paris, Tokyo, New York, , (1987–1992). He has been a pioneer in the Conductor Emeritus of Welsh National Opera Companion of Honour in the Queen’s Wiesbaden, Lisbon, Oporto, Berlin and dissemination of the music of Janácˇek and the San Francisco Opera. Birthday Honours. Leipzig. throughout the capitals of Europe and in the USA and Australia. Jenu˚fa has been a Sir Charles Mackerras particular favourite. studied at the Sydney He has had a long association with the Conservatorium of Czech Philharmonic and recorded most of Music and came to Janácˇek’s orchestral works with them as well as in 1947. He Katya Kabanova and Dvorˇák’s . gained a British Included in his vast discography is an award- Council Scholarship winning cycle of the Janácˇek operas with the to study further at the in the early 1980s. For Academy of Music in Chandos he has recorded Janácˇek’s Glagolitic Prague. His great Mass in the original version, Kodály’s Psalmus interest and love for Hungaricus and Dvorˇák’s Cello Concerto. As Janácˇek commenced in 1947 on hearing Katya part of the Opera in English series he has Kabanova conducted by the great Václav recorded Osud, La traviata, , Julius Talich. Caesar and Mary Stuart. As an assistant conductor at Sadler’s Wells Sir Charles has also undertaken much in 1951 he gave the first performance of Katya research into the music of the eighteenth Kabanova in the English-speaking world. Later century, particularly Handel and Mozart. He he introduced The Makropoulos Case and From has recorded a series of Mozart and Gilbert the House of the Dead at Sadler’s Wells and and Sullivan operas as well as a complete series continued highly successful of Mozart, Beethoven and Brahms

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SIR PETER MOORES, CBE, DL youth, social and environmental projects. To date, because of his initiatives and life-long Sir Peter Moores was born in Lancashire and educated at Eton College commitment to these causes, he has disbursed more than £85 million of his own money through and Christ Church, Oxford, where he studied Italian and German. He the Foundation and the Peter Moores Charitable Trust – ‘to get things done and to open doors’.

Bill Cooper/PMF Bill had a ‘gap year’ at Glyndebourne working as a behind-the-scenes Projects to help the young have ranged from a scheme to encourage young Afro-Caribbeans to administrator before going to Oxford, then studied for three years at the stay on at school to the endowment of a Faculty Directorship and Chair of Management Studies at Vienna Academy of Music, where he produced the Austrian premiere of Oxford University (providing the lead donation in 1991 for the new School of Management 's The Rape of Lucretia and was a production assistant Studies). In 1994 a permanent Transatlantic Slave Trade Gallery, initiated by Peter Moores, opened with the working as assistant producer of at the Merseyside Maritime Museum, with the aim of fostering discussion about the heritage and performances by Viennese artists at the San Carlo Opera House, Naples, true history of the slave trade. Substantial help was given to the Royal Liverpool Philharmonic at the Geneva Festival and at the Rome Opera. Development Trust, whilst through annual PMF Scholarships established in 1971 well over In 1957 he joined his father’s business, Littlewoods, becoming two hundred young singers have received practical support at the outset of their careers, enabling a Vice-Chairman in 1976, Chairman from 1977 to 1980 and remaining a significant number to become international opera stars. director until 1993. His public appointments include from 1981 to 1983 Governor of the BBC, In 1993 the Foundation acquired Compton Verney, an eighteenth-century mansion, and Trustee of the Tate Gallery from 1978 to 1985 and from 1988 to 1992 a Director of Scottish established the Compton Verney House Trust, an independent charity which it funded in order to Opera. He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from transform the mansion into an art gallery designed especially to encourage newcomers to the visual Christ Church, Oxford in 1975, and was made an Honorary Member of the Royal Northern arts. Alongside major international touring exhibitions, it will house permanent collections of College of Music in 1985. In 1992 he was appointed Deputy Lieutenant (DL) of Lancashire by North European art, Neapolitan paintings and one of the finest collections of archaic oriental HM Queen Elizabeth II. He was appointed a Commander of the British Empire (CBE) in 1991 bronzes in the UK, as well as a British Portrait Collection and a British Folk Art Collection. The and received a Knighthood in the New Year’s Honours List for 2003 in recognition of his gallery is scheduled to open in Spring 2004. charitable services to the arts. Opera has given the Foundation its most public ‘face’. Since Peter Moores initiated the live recording of the ‘Goodall Ring’ at the in the 1970s, the Foundation has enabled PETER MOORES FOUNDATION some eighty recordings to be produced: ’ Opera in English series – ‘Opera that Peter Moores’ philanthropic work began with his passion for opera: in his twenties he identified speaks your language’ – is now the largest recorded collection of operas sung in English whilst and helped a number of young artists in the crucial, early stages of their careers, several of whom – Opera Rara’s recordings of rare operas have opened up an immensely rich repertory Dame Joan Sutherland, Sir Colin Davis and the late Sir amongst them – became previously only accessible to scholars. In live performance, the Foundation has encouraged the world-famous. He set up his eponymous Foundation in 1964 when he was thirty-two, in order to creation of new work and schemes to attract new audiences, financing the publication of scores develop his charitable aims, not only in music and the visual arts, but also in education, health, and enabling rarely heard works to be staged by British opera companies and festivals.

34 35 CHAN 3106BOOK.qxd20/9/0610:51amPage36 Nigel Robson asLacain Welsh National Opera’s production of Jenu ˚fa

Clive Barda Peter WeddS as ˇ teva, Marion McCullough andNigel asKarolka Robson asLacain Welsh National Opera’s production of Jenu ˚fa

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obwohl sie von der Kritik in Bausch und Erzählungen der Preissová über das mährische Jenu˚fa, ihre Stieftochter Bogen als anstößig abgelehnt und völlig Landleben unmittelbar Anklang bei ihm. Was unpassend für das Nationaltheater erklärt an seiner Jenu˚fa so ganz besonders erstaunt, ist Im Spielplan tschechischer Häuser sucht man Schauspiele über das mährische Dorfleben wurde. Dass sie Janácˇek sofort zusagte, beruht die Meisterhand, mit der Janácˇek, der in vergebens nach einer Oper namens Jenu˚fa. In waren die ersten veristischen Werke in dieser nicht auf dem schaurigen Stoff, sondern auf Bühnenwerken so gut wie unerfahren war, seiner Heimat heißt Janácˇeks erstes großes Sprache und als Ihre Ziehtochter 1890 erstmals der emotionellen Vielschichtigkeit der eine packende, wenngleich recht Bühnenwerk stets Její Pastorkynˇa, (ihre über die Bühne ging, wurde sie sehr kühl Personen. Besonders interessierte er sich für konventionelle Geschichte über ein Stieftochter); so nannte Gabriele Preissová ihr empfangen. Das Publikum begeisterte sich für das Dilemma der Küsterin, einer Stütze der uneheliches Kind und die Haltung der erschütterndes Drama, auf dem die Oper die bedrückende Geschichte vom Gesellschaft, die sich mit ihrer persönlichen Gesellschaft zu einem herzzereißenden basiert. Diese drei Worte bergen einen Dorfmädchen, dessen uneheliches Kind ihre Schande auseinandersetzen muss. In einer Psychodrama gestaltete. Seine ersten beiden wichtigen Hinweis auf die anhaltende Wirkung Ziehmutter umbringt, um ihre Ehre und kritischen Szene spricht sie von ihrem Versuche im Genre Oper – Sˇárka, ein des Werks. Bei Jenu˚fa handelt es sich nämlich Aussichten auf eine gute Partie zu wahren. verstorbenen Mann Tomásˇ Buryja, der ein gewöhnliches Volksepos und Abklatsch von nicht um das Schicksal einer einzigen Heute scheint das Dilemma der Jenu˚fa fast betrunkener Nichtsnutz war. Sie befürchtet, Smetana, und das ebenfalls auf einem Titelheldin; vielmehr ist es die Tragödie zweier unverständlich, aber auf dem mährischen dass Sˇtewa, Tomásˇ’ Neffe, unliebenswürdige Schauspiel von Gabriele Preissová basierende Frauen, die genau so in die Folgen ihrer Land war es Ende des 19. Jahrhunderts nicht ererbte Wesenszüge hat. Diese Der Anfang einer Romanze – sind in Bezug auf Gefühle verstrickt sind wie Romeo und Julia nur ein fast alltägliches, sondern auch ein widersprüchlichen Gefühle – das Bedürfnis, die Auswertung von Volksmelodien von oder Antonius und Cleopatra. Die Leidenswege schmerzliches Ereignis. Freilich gab es in eng Jenu˚fa zu beschützen, Schuld, Frommheit und Interesse, aber der Bau ist unbeholfen. Janácˇek der eitlen, impulsiven Bauernschönheit Jenu˚fa begrenzten Dorfgemeinden viele außereheliche Angst – die im Mittelpunkt des Schauspiels war sich über diese Mängel keineswegs im und der Küsterin, ihrer strengen, herrischen Kinder, doch erwartete man von den Eltern, liegen, bilden auch den Kern von Janácˇeks Zweifel und zog beide Stücke später zurück. Ziehmutter, verlaufen auf parallelen Wegen; der dass sie öffentlich verlobt waren; die Oper. Jenu˚fa ist etwas ganz Anderes. eine führt zur Verzweiflung und an den Rand Mutterschaft vor der Hochzeit war eine Als Janácˇek sich für die Werke der Preissová Janácˇek, war ein Spätentwickler; als er die des Wahnsins, der andere zu sachlicher Katastrophe. Die tragische Ironie des Dramas zu interessieren begann, war er noch immer Oper in Angriff nahm, war er schon über Versöhnung. Obwohl Jenu˚fa am Ende der Oper beruht auf dem Umstand, dass der junge ein unbedeutender Chorleiter und Lehrer in vierzig Jahre alt. Der erste Akt machte ihm zu größerer Reife findet, ist es die Sˇtewa, dessen Kind Jenu˚fa trägt, vom der österreichisch-ungarischen Provinz. Wie große Schwierigkeiten und lag acht Jahre lang Verzweiflungstat der Küsterin, der Kindermord, Militärdienst worden ist und sie viele seiner mitteleuropäischen Zeitgenossen in der Schublade, ehe er sich wieder daran die einen noch lange danach nicht verläßt. heiraten könnte, doch die Küsterin verweigert war auch er von der landesprachlichen Kultur heranwagte. Die Anfangsszenen tragen noch In der Entwicklung der tschechischen ihre Einwilligung, weil er zu viel trinkt. Kein fasziniert und befasste sich eingehend mit der immer Spuren der traditionsgebundenen Literatur spielte die Preissová eine kleine, aber Wunder, dass sich das Brünner Publikum ohne Sammlung und Bearbeitung seiner romantischen Oper. So könnte die stampfende maßgebliche Rolle. Ihre Erzählungen und Weiteres mit der Handlung identifizierte, heimatlichen Volksmusik; daher fanden die Volksweise der Dörfler und Rekruten, die den

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betrunkenen Sˇtewa begleiten, ohne weiteres Der zweite Akt, der allerdings erst acht Bruchstücke tauchen wiederholt aus dem Janácˇeks erstaunlichsten Schöpfungen, von den ein Tanz von Dvorˇák sein. Dennoch gibt sich Jahre später entstand, beweist sogleich, dass harmonischen Dunkel auf. Während des gläsernen Streicherflageoloetts der qualvollen die ganz besondere Welt von Janácˇeks Janácˇek sich zu einem Meister der ganzen Aktes drückt die Musik die Schlinge Einleitung bis zum verzweiflungsvollen Schluss, Inspiration schon von Anfang an zu erkennen. Bühnenkunst entwickelt hatte. Die ersten aus, die sich die Küsterin selbst gedreht hat. in dem fortissimo Aufschreie der Trompeten zu Vordergründig beschreibt das beharrliche Noten – ein abrupter Fortissimo-Akkord und Da sie nicht weiß, dass ihre Ziehtochter ein den omnipräsenten Harfen und Hörnern Ostinato des Xylophons das unaufhörlich sich ein schauderndes Tremolo der Streicher – Kind erwartet, hat sie die Heirat mit Sˇtewa treten. Doch auch hier betritt Janácˇek nicht den drehende Mühlrad, doch darunter ist es auch versetzen den Hörer schlagartig in das wegen dessen liederlicher Lebensweise auf ein nächstliegenden Weg. Die Phrasen, mit denen eine Vertonung von Jenu˚fas seelischer klaustrophobische Milieu in der Hütte der ganzes Jahr verschoben. Nun muss sie ihn die Küsterin Gott anruft, sind so erschütternd Verfassung und der kommenden Katastrophe. Küsterin. Wilde Streicher-Staccati dringen wie kniefällig beschwören, Jenu˚fa zu heiraten, aber wie erhaben; nachdem sie sich entfernt hat, Nach dem Vorspiel erklingt das konstante Messer in die Hauptmelodie ein. Ein weniger er schlägt ihre Bitte ab, und in ihrer verwebt Janácˇek Schrecken und Zärtlichkeit in Klappern noch viermal: zunächst, während selbstsicherer Komponist wäre vielleicht in die Verzweiflung wendet sie sich an Laca. Die ein ambivalentes Ganzes, in dem der Jenu˚fa sich Sorgen macht, dass ihr Topf mit Versuchung geraten, die Stimmung den Falle, in die sie sich zunehmend verstrickt, Konzertmeister eine schmelzende Solopartie Rosmarin eingeht, denn das wäre ein böses ganzen Aktes unvermindert düster zu veranschaulichte Janácˇek durch das hartnäckig spielt, die sich der dissonanten Hektik im Wahrzeichen; dann während der Vorwürfe, die gestalten. Indes erhellt von Zeit zu Zeit eine im Orchester nagende Ostinato – eine Orchester entringt. Noch großformatiger ist die sie Sˇtewa macht, nachdem die Küsterin die ambivalente Zärtlichkeit das Dilemma der Satztechnik, die er besonders liebte. Der Arie der Jenu˚fa, die aus ihrem Betäubungsschlaf Heirat verboten hat, sowie bei ihrer Eifersucht, beiden Frauen. Als die Küsterin Jenu˚fa erklärt, Monolog, den die Küsterin singt, nachdem erwacht und sieht, dass ihr Kind verschwunden weil er von anderen Mädchen spricht. es wäre das Beste, wenn der Herr das Kind zu sich Jenu˚fa schlafen gelegt hat, ist von ist; hier wird musikalisches Material aus Schließlich hört man das Mühlrad knapp vor sich nehmen würde, widerspricht ihr ein unbehaglichen Wiederholungen der Streicher, früheren Szenen combiniert, das sich zum der Stelle, an der ihr der eifersüchtige Laca die inniges Cello. Und während sie Jenu˚fa den Hörner und Harfe gestützt. Dieselbe Höhepunkt steigert, als die heimkehrende Wange aufschlitzt. Das klappernde Xylophon Schlaftrunk verabreicht, malt ein herrliches Instrumentation und Rhythmik begleiten den Küsterin an das Fenster hämmert. Janácˇek hatte ist das musikalische Skelett, das den ersten Akt Thema der Harfen und Holzbläser die Aufschrei der betäubten Jenu˚fa im Schlaf, und erlernt, riesige dramatische Bögen zu gestalten: trägt. Nicht minder eindringlich ist der mit Zukunft, die ihr für ihre Ziehtochter dann ertönt sie noch einmal im Dreiertakt, als das Drama treibt unerbittlich dem Aktschluss sicherer Hand entworfene dramatische vorschwebte, bevor deren unglückselige Laca, der dringenden Aufforderung der zu und das angstvolle Schuldbewusstsein der Aufbau. Das ursprüngliche Drama der Schwangerschaft beiden das Leben verbitterte. Küsterin nachkommend, sie aufsucht. Küsterin wird in den Paukenschlägen, die ihr Preissová hätte sich ohne Weiteres für eine Im Gegensatz zum bukolischen Treiben im Janácˇek hat gleichsam ein musikalisches Klopfen übernehmen und in einen gewaltigen Soap-Opera geeignet, aber Janácˇek nahm ersten Akt, treten nur die vier Hauptpersonen Gefängnis erbaut, durch dessen einzigen Trommelwirbel umwandeln, deutlich. radikale Kürzungen vor, als er an dem Libretto im zweiten Akt auf. Man kann aber auch eine Ausgang die Küsterin eilt, um das schlafende Die emotionelle Dichte dieses Aktes arbeitete; nun sind die Nerven der vier fünfte Person hören: sanfte, volksliedhafte, mit Baby im Mühlbach zu ertränken. Der erinnert sehr an die Opern aus Puccinis Hauptpersonen schonungslos bloßgelegt. dem schlafenden Kind assoziierte melodische Monolog, der den Mord einleitet, ist eine von Reifezeit; interessanterweise arbeiteten der

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toskanische und der mährische Komponist Freilich ist die Apotheose nicht unbeschwert – sich unermüdlich dafür einsetzte. Allein wenn Janácˇek ein Riese in der Welt des Operngenres gleichzeitig an Dramen über Mädchen, die wie wäre es auch möglich, da ihre Beziehung man das Werk ungekürzt hört, ohne die war. vom Vater ihres Kindes im Stich gelassen mit solchen Schmerzen erprobt worden ist? Holzbläser, die Janácˇeks kargen Satz ausfüllen werden. Der große Unterschied liegt allerdings Ein Jahrhundert später hält man nicht und glätten, oder die heroischen Trompeten, © 2004 Dennis Marks in Janácˇeks völligem Mangel an besonders viel vom glatten Happy-End, aber die in der letzten Szene die Posaunen Übersetzung: Gery Bramall Sentimentalität. Im letzten Akt kehrt er zu den Janácˇeks Zeitgenossen konnten sich mit dem vertreten, kann man die unverblümt direkte im ersten Akt vorherrschenden Volksweisen nüchternen Ausgang und der Musik, die ihn Tonsprache seines ersten wirklich gelungenen Der Hintergrund zurück, obwohl die Anwesenheit der völlig ausdrückt, nicht zurechtfinden. Trotz des Musikdramas würdigen. Die Komposition von Zeit der Handlung: Ende des 19. Jahrhunderts. gebrochenen Küsterin auf der Bühne sowie die Erfolgs, den die Oper in seiner Heimatstadt Jenu˚fa fiel mit den traurigsten Jahren von Schauplatz ist Veborany, eine enge, mährische gequälte Harmonik des Orchesters dauernd Brünn hatte, wurde sie erst nach zwölf Jahren Janácˇeks Leben zusammen, als seine Ehe in die Dorfgemeinde im Gebirge. Die Sägemühle ist die Stimmung trüben. Die flotte und vieler Manövern hinter den Kulissen in Brüche ging und seine Tochter an Typhus im Besitz der alten Buryja, deren komplizierte Eröffnungsmelodie wird wieder von einem Prag angesetzt. Selbst dann ließ sich Janácˇek starb. Laut seiner Autobiographie war die Familienverhältnisse das Drama verursachen. Ostinato getragen, ganz so, als ob das zu Strichen und Revisionen der Oper das Produkt eines persönlichen wie Brautpaar einer Katastrophe zutreibe. Im Instrumentierung überreden, um die grimmige künstlerischen Kampfes: Der Stammbaum Verlauf des Aktes spiegelt der Konflikt Auswirkung der Originalfassung zu mildern. Am liebsten möchte ich Jenu˚fa mit dem Das alte Ehepaar Buryja hatte zwei Söhne: den zwischen den gemütlichen Volksweisen und Dass er Karel Kovarˇovic, den Direktor des schwarzen Band der langen Krankheit, der ältesten, “Müller” Buryja, der die Mühle erbte, Jenu˚fas düsteren Harmonien den Kontrast Prager Nationaltheaters, in dessen Schmerzen und Seufzer meiner Tochter und Tomásˇ. Der Müller heiratete die Witwe zwischen ihrem Witwenkleid und der bunten Studentenjahren kritisiert hatte, war der Sache Olga und meines kleinen Sohnes Vladimir Klemenˇ, die bereits einen Sohn namens Laca Landestracht der Dörfler wider. Der gewiss auch nicht förderlich. Außerdem zubinden. hatte. In zweiter Ehe hatte das Paar einen Augenblick, in dem der junge Jano mit der betrachtete die Metropole Prag das provinzielle Als Olga im Sterben lag, bat sie ihren Vater, Sohn namen Sˇtewa, der nach dem Tod seiner Kunde von einem toten Kind unter dem Eis Brünn seit eh und je als nicht ebenbürtig. ihr die Partitur der Jenu˚fa vorzuspielen. Als das Eltern die Mühle und das Vermögen der herbeistürzt, erschreckt, aber er überrascht Kovarˇovic’ Eingriffe in die Partitur Ende kam, hielt Janácˇek ihre letzten, Familie erbte. Er ist ein blonder, fescher nicht. herrschten fast hundert Jahre lang in der erschöpften Worte in musikalischen Skizzen Schürzenjäger und Säufer. Sein dunkler, Bis zum Schluss lässt Janácˇeks Objektivität Tschechoslowakei vor. Erst als die Oper 2004 fest. Dieses Verhalten scheint sonderbar, ja feinfühliger Halbbruder Laca meint, die ganze nicht nach. Nachdem die Küsterin gestanden ihre Hundertjahrfeier erlebte, konnte Brünn geradezu herzlos, aber in seinem gesamten Sippe der Buryja nehme ihn nicht ernst. und ihre Ziehtochter ihr verziehen hat, die Musik wieder so genießen, wie sie dem Schaffen konnte ihm die Musik die objektive Tomásˇ, der jüngere Bruder des Müllers, ist erklingen im Orchester stoische, warme Töne, Komponisten vorgeschwebt hatte. Der Dank Distanzierung bieten, die ihm im Leben nicht mehr am Leben. Auch er war zweimal als Laca und Jenu˚fa ihre Zukunft und die dafür gebührt dem Dirigenten der versagt blieb. Dass er dieses Leid in zeitlose verheiratet. Seine erste Frau gebar ihm eine Prüfungen, die ihnen bevorstehen, erwägen. vorliegenden CD, Sir Charles Mackerras, der Kunst umwandeln konnte, beweist, dass Tochter – Jenu˚fa Buryaková. Als deren Mutter

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starb, heiratete er die Küsterin; die Ehe war 4 Der betrunkene Sˇtewa kehrt heim, zwanzig Wochen vergangen. Um sie beide vor Er liebt sie nicht mehr und hat sich mit nicht glücklich, denn Tomásˇ war ein rabiater begleitet von Musikanten und den Burschen, der Schande zu bewahren, hat die Küsterin sie Karolka, der Tochter des Dorfrichters, verlobt. Verschwender und Trunkenbold. Jenu˚fa hat die einrücken müssen. 5 Sie tanzen und in einer Stube versteckt und allen Leuten Jenu˚fa ruft im Schlaf aus und Sˇtewa läuft eine liebevolle Beziehung zur Küsterin, nennt singen mit dem Gesinde, doch die Ankunft gesagt, Jenu˚fa suche in Wien Arbeit. Vor acht davon. sie Mamicˇko (Mütterchen), und die Küsterin, der Küsterin macht ihrer guten Laune schnell Tagen hat sie ein Kind zur Welt gebracht und 12 Laca, der monatelang bei der Küsterin eine gottesfürchtige, diktatorische Frau, ist ein Ende. Sie hält Sˇtewa nicht dür den Sˇtewa genannt. Die Küsterin hat ihn getauft. zu Besuch war, hat Sˇtewas Flucht gesehen und sehr stolz auf ihre Stieftochter. richtigen Mann ihrer geliebten Stieftochter, Die Küsterin wirft Jenu˚fa noch immer die will wissen, ob Jenu˚fa endlich aus Wien denn er scheint seinem verschwenderischen, Schande vor, die auf ihr lastet; sie solle den heimgekehrt ist und Sˇtewas Frau werden soll. COMPACT DISC ONE gewalttäigen Onkel nachzugeraten. Sie hat Herrgott bitten, das Kind zu sich zu nehmen. Er möchte sie selber gerne heiraten und die keine Ahnung, das Jenu˚fa in anderen Jenu˚fa ist verstört und fühlt sich nicht wohl. Küsterin hat ihn nicht entmutigt. Nun erfährt Erster Akt Umständen ist und verbietet die Heirat auf ein Die Küsterin gibt ihr einen Schlaftrunk und er die Wahrheit: Jenu˚fa war im Haus versteckt Vor der Mühle der alten Buryja Jahr, während dessen er nüchtern sein muss. sie legt sich in ihrer Kammer schlafen. und hat Sˇtewas Kind geboren. Laca ist wie vor Ende August, Dämmerung 6 Allein mit Jenu˚fa, prahlt Sˇtewa über die 10 Die Küsterin hat fünf Monate lang um den Kopf geschlagen. Erwartet die Küsterin 1 Die alte Buryja und Laca sind beide an der vielen Mädchen, die ihm Augen gemacht eine Fehlgeburt gebetet, doch das Kind ist bei von ihm, dass er Sˇtewas Kleinen an Kindes Arbeit. Jenu˚fa wartet sorgenvoll auf Sˇtewas haben; sie antwortet, sehr aufgebracht, dass er bester Gesundheit; deshalb entschließt sie sich, Statt annehmen soll? Sie lügt ihn an und Heimkehr von der Musterung. Wenn er nur an sie denken darf. 7 Er geht ab und der Sˇtewa zu bitten, Jenu˚fa zu heiraten und hat behauptet, es sei gestorben. einrücken muss, können sie nicht heiraten und eifersüchtige Laca reizt Jenu˚fa und behauptet, ihn für den Abend zu sich bestellt. 11 Er ihre Schande wird offenbar. Nur Sˇtewa weiss, Sˇtewa liebe sie nur wegen ihrer apfelglatten kommt und sie macht ihm Vorwürfe, dass er COMPACT DISC TWO dass sie ein Kind von ihm erwartet. Laut den Wangen. Er arbeitet gerade an einer nie nach dem Kind gefragt hat. Er macht damaligen Grundsätzen stehen ihr die Schnitzerei. “Wie leicht könnte ich deine Ausflüchte, verspricht, für das Kind zu zahlen, 1 Die verzweifelte Küsterin ist allein. Was Steinigung und ewige Verdammnis bevor. Wangen verschandeln!” Er versucht, sie zu vorausgesetzt, dass niemand erfährt, dass er soll sie tun? Sie kann das Kind nicht Laca, der Jenu˚fa seit seiner Kindheit liebt küssen, sie wehrt sich und er schlitzt ihr sein Vater ist. Sie beschwört ihn, Jenu˚fa zu irgendwohin schaffen, denn es wird ihnen und den ihre Liebe zu Sˇtewa quält, behält sie “versehntlich” die Wange auf. heiraten und das Kind anzuerkennen, um ihre immer Schande machen. Sie wird ihn Gott eifersüchtig in den Augen. und Jenu˚fas Schande zu tilgen. Er bricht in übergeben – im Mühlbach ertränken und Der Hirtenjunge Jano kommt Zweiter Akt Tränen aus und erwidert, Jenu˚fa habe sich unter dem Eis begraben. Gewiss wird das freudestrahlend gelaufen und dankt Jenu˚fa, Im Haus der Küsterin am Mühlbach. Fünf ganz verändert: sie sei nicht mehr so lieb und Tauwasser den kleinen Leichnam dass sie ihn das Lesen gelehrt hat. 2 – 3 Der Monate später. Ende Januar, Abend fröhlich wie zuvor, sondern werde der Küsterin fortschwemmen. Sie packt das Kind, läuft in Altgeselle bringt die frohe Kunde, das Sˇtewa 8 – 9 Seitdem Jenu˚fa ihrer Stiefmutter immer ähnlicher. Ausserdem ist sie nicht mehr hinaus und versperrt die Tür von vom Militärdienst befreit worden ist. gebeichtet hat, dass sie schwanger ist, sind schön, seit sie eine Narbe auf der Wange hat. aussen.

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2 Jenu˚fa erwacht, noch immer panischen Wahnvorstellungen. Jenu˚fa und noch immer und will sie nicht im Stich lassen. Konzertiert hat sie mit dem Boston schlaftrunken. Zunächst ist sie ausser sich, weil Laca haben Sˇtewa, seine Braut Karolka und Freudig willigt sie ein, ihn zu heiraten. Symphony Orchestra unter der Leitung von weder ihre Mamicˇko noch das Kind da sind, deren Eltern, den Dorfrichter und seine Frau, Roger Norrington und André Previn, San aber dann tröstet sie sich mit dem Gedanken, eingeladen. Die beiden Frauen sind über die © 2004 Barbara Johnstone Francisco Symphony Orchestra unter Michael dass sie ihn sicher zur Mühle getragen hat, um schlichten Hochzeitsvorbereitungen sehr Übersetzung: Gery Bramall Tilson-Thomas, London Symphony Orchestra ihn den Leuten zu zeigen. Sie betet für ihr enttäuscht. 10 Das Gesinde der Mühle unter Sir Colin Davis, André Previn und Kind. 3 Die Küsterin kommt zurück – ihre kommt – uneingeladen – daher und wünscht Janice Watson studierte an der Guildhall Riccardo Chailly, mit dem Orchestre de Paris Hände sind vor Kälte steif und sie kann nicht Jenu˚fa viel Glück an ihrem Freudentag. School of Music and Drama und machte und Frans Brüggen, der Academy of St. aufsperren. Sie hämmert ans Fenster, wirft den 11 – 13 Die Küsterin will das junge Paar erstmals von sich reden, als sie mit dem Martin-in-the-Fields und Sir Neville Marriner, Schlüssel ins Zimmer und Jenu˚fa lässt sie ein. gerade segnen, als lautes Geschrei ertönt. Die Kathleen Ferrier Memorial Award ausgezeichnet dem London Philharmonic Orchestra und Die Küsterin macht ihr vor, sie habe zwei Tage Arbeiter aus der Brauerei haben im Mühlbach wurde. Sie hat regelmäßig an der Welsh Bernard Haitink sowie dem Chicago lang hoch gefiebert und unterdessen sei der Eis gehackt und ein totes, steif gefrorenes Kind National Opera und der English National Symphony Orchestra und dem Royal Kleine gestorben. Die weinende Jenu˚fa will gefunden. An den Kleidern erkennt Jenu˚fa ihr Opera gastiert. Wichtige Stationen waren Concertgebouw Orchestra unter Riccardo wissen, ob Sˇtewa gekommen ist. Sie erfährt Kind. 14 Die Menge zieht sich drohend Musetta an der Royal Opera Covent Garden, Chailly. von seinem Besuch, seiner Gleichgültigkeit zusammen, um sie für den Mord zu steinigen Pamina an der Pariser Opéra, Gräfin Almaviva, Zu ihren vielen Schallplattenaufnahmen über sie und seinen Sohn und die Verlobung und wird nur von Laca zurückgehalten, der sie Vitellia an der Vlaamse Opera, Strauss’ Daphne gehören Orffs Carmina Burana, Ellen Orford mit Karolka. Die Küsterin rät ihr, Laca zu verteidigt. und Arabella sowie Elettra (Idomeneo) beim in der preisgekrönten Chandos-Einspielung erhören, der von dem gestorbenen Kind Nun zerstreut die Küsterin den Verdacht Santa Fe Festival, Daphne, Arabella und Eva von Peter Grimes unter der Leitung von erfahren hat und ihr verzeiht. 4 Laca kommt der Anwesenden, indem sie ihr Verbrechen (Die Meistersinger von Nürnberg) an der San Richard Hickox, Poulencs Gloria für Chandos, wieder, bittet sie, ihn zu heiraten und sie willigt gesteht. Karolka begreift, dass Sˇtewa der Vater Francisco Opera, Pamina an der Bayerischen die Missa Sabrinensis von Howells unter ein. Die Küsterin erteilt den beiden ihren des Kindes war und weigert sich, ihn zu Staatsoper, Ellen Orford an der Royal Opera Gennady Rozhdestvensky sowie Helena in Segen, doch plötzlich reisst ein Windstoß das heiraten. Die Küsterin erkennt, dass es ihr Covent Garden, der Wiener Staatsoper, der A Midsummer Night’s Dream unter Sir Colin Fenster auf und sie wird ganz hysterisch. mehr um ihre eigene Ehre und Reputation zu Nederlandse Opera und mit dem London Davis. tun war als um Jenu˚fas und bittet sie, ihr zu Symphony Orchestra, Gräfin Almaviva in Lyon, Dritter Akt verzeihen. 15 Ihre Stieftochter versteht alles, München, an der Deutschen Staatsoper Berlin Dame Josephine Barstow ist eine singende Im Haus der Küsterin vergibt ihr und und bittet Gott, sie zu und am New National Theatre Tokio, Micaela Schauspielerin von höchstem Niveau. Morgen trösten. Der Dorfrichter führt die Küsterin ab. an der und an der Glanzlichter ihrer erlauchten Karriere waren 5 – 9 Jenu˚fas Hochzeitstag: die Küsterin ist 16 Jenu˚fa sagt Laca, er solle auch fortgehen, Metropolitan Opera sowie die Marschallin an unter anderem Salome, Tosca, die Lady wie ausgewechselt. Sie war krank und leidet an dass sie seiner nicht würdig sei, aber er liebt sie der English National Opera. Macbeth von Verdi und von Schostakowitsch

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sowie die verschiedensten Rollen in Opern von sowie Anna Maurrant (Street Scene) am Teatro Weitere Verpflichtungen auf den britischen als einer der vielseitigsten lyrischen Tenöre Komponisten wie Mozart, Beethoven, Verdi, Nacional de Sao Carlos in Lissabon. Sie hat Inseln waren Federico (L’Arlesiana) und Pluto Großbritanniens; sein Opern- und Puccini, Richard Strauss und Janácˇek. 1986 regelmäßig an der Opera North gesungen, (Orphée aux enfers) mit der Opera Holland Konzertrepertoire reicht von Monteverdi bis bereiste sie die Sowjetunion und trat in Tbilisi, darunter die Titelpartien in Medea und Aida, Park, Kyska (Sˇarkatán) und Julius (I cavalieri zu den Komponisten unserer Zeit, wobei seine Riga und an der Bolshoi-Oper in Moskau auf. Alice Ford (Falstaff ), Marie (Wozzeck) und di Ekebu) beim Wexford Festival sowie Britten-Interpretationen besondere Sie sang die Hauptrolle in der Elizabeth I. in Gloriana (auch an der Royal Satyavan (Savitri) beim Aldeburgh Festival. Anerkennung finden. Welturaufführung von Pendereckis Die Opera Covent Garden aufgeführt), und sie Außerdem hatte er großen Erfolg als Rodolfo Er hat Bajazet (Tamerlano) in schwarze Maske bei den Salzburger war Miss Wingrave in einer Fernseh- in einer Neuinszenierung von La bohème in Drottningholm gesungen, die Titelpartie in Sommerfestspielen; danach wurde sie von produktion von Owen Wingrave unter der der Royal Albert Hall London. Peter Wedd hat Peter Grimes an der Nationale Reisopera der Karajan auch zur Mitwirkung in Tosca und Leitung von Kent Nagano. Tamino und Eisenstein (Die Fledermaus) mit Niederlande, Captain Vere (Billy Budd ) mit Un ballo in maschera eingeladen. Man hat sie Zu ihren jüngsten Aufnahmen gehören zwei der Europäischen Kammeroper sowie Lysander der Canadian Opera Company, Laca und an die Pariser Opéra, Bayerische Staatsoper, Recitals, Marie (Wozzeck) für die Chandos- (A Midsummer Night’s Dream) am Lyric Captain Vere an der Welsh National Opera, English National Opera und Royal Opera Serie “Opera in English”, Street Scene, Theatre Singapur gesungen. die Titelpartie in Il ritorno d'Ulisse in patria in Covent Garden verpflichtet. In den USA hat Beethovens Neunte, Brittens Gloriana unter Als vielgefragter Konzertkünstler ist er u.a. Lissabon und an der Opera North, die sie an der Metropolitan Opera New York, in der Leitung von Sir Charles Mackerras und mit dem London Philharmonic Orchestra und Titelpartie in Idomeneo an der Bayerischen San Francisco, Chicago und Houston Lady Billows in Albert Herring. dem Royal Scottish National Orchestra, der Staatsoper, Male Chorus (The Rape of Lucretia) gesungen. 1985 erhielt sie den britischen City of London Sinfonia und der Northern am Grand Théâtre de Tours, Pandarus (Troilus Verdienstorden CBE, und 1995 wurde sie als Peter Wedd studierte an der Guildhall School Sinfonia sowie dem Bournemouth Symphony and Cressida) an der Opera North, The Dame of the British Empire in den Adelsstand of Music and Drama bei William McAlpine Orchestra aufgetreten. Peter Wedd hat bei Madwoman (Curlew River) an der Opera erhoben. und anschließend am . Festspielen wie in Covent Garden und Factory, Septimus (Theodora) in Glyndebourne Weitere Rollen waren die Titelpartie in Er war von 1999 bis 2001 erster Tenor an der Edinburgh, Maribor (Slowenien) und Cernier und Golo in Schumanns Genoveva an der Salome an der Nederlandse Opera und Royal Opera Covent Garden und gastiert (Schweiz) gesungen. Garsington Opera. Sein Engagement für neue Kostelnicˇka an der English National Opera, regelmäßig an der Welsh National Opera. Als Für die Chandos-Serie “Opera in English” Musik fand Ausdruck in der niederländischen Opera North und Vlaamse Opera, Emilia erster Tenor an der Royal Opera sang er Ywain hat er Turandot und The Flying Dutchman Welturaufführung und der britischen Marty (Die Sache Makropulos) an der Welsh (Gawain and the Green Knight) und Kudrjás aufgenommen. Erstaufführung von Guo Wenjings Wolf Cub National Opera, Amelia (Un ballo in maschera) (Katja Kabanowa). An der Welsh National Village, Alexander Goehrs Kantan und beim Hong Kong Festival, Tosca an der Opera Opera ist er als Don José (Carmen), Tamino Nigel Robson wurde in Argyleshire Damask Drum, der Welturaufführung von North, Ellen Orford (Peter Grimes) an der (Die Zauberflöte), Don Ottavio (Don (Schottland) geboren und studierte bei Make Ishis Tojiraretta Fune und John Lunns Royal Opera Covent Garden und in Palermo Giovanni) und Laca (Jenu˚fa) aufgetreten. Alexander Young und Gustave Sacher. Er gilt The Maids.

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Zu seinen Konzertauftritten gehörten Elizabeth Vaughan ist als Gastkünstlerin an Wien, Paris, Hamburg, München, Prag, Seine Diskographie umfasst Brittens Madernas Venetian Journal, Bachs die Welsh National Opera zurückgekehrt und Marseilles, Athen, Montreal, Florenz, Pisa, A Midsummer Night’s Dream mit Sir Colin Johannespassion, Judas Maccabeus, Jephtha, hat dort viele Hauptrollen verkörpert, so etwa Sydney und Südamerika geführt. Davis, Messiah, Theodora und Saul mit Paul Brittens Spring Symphony, Strawinskys Renard, in , La forza del destino, Zu ihren Schallplattenaufnahmen gehören McCreesh, Vivaldi-Kantaten und Händels Das Lied von der Erde, Brittens War Requiem, Madama Butterfly, La traviata, Andrea Chenier Auszüge aus für die L’Allegro mit Robert King und Lieder von Elgars Dream of Gerontius und Die schöne und The Doctor of Myddfai von Peter Maxwell Chandos-Serie “Opera in English”. Dutilleux mit Yan Pascal Tortelier für Müllerin. Davies. Häufiger Gast ist sie auch an der Chandos. Nigel Robsons Diskographie umfasst English National Opera, Opera North und Neal Davies wurde in Newport (Wales) Händels Tamerlano, Jephtha und Alexander’s Scottish Opera in Inszenierungen wie Aida, geboren und studierte am King's College Alan Fairs studierte privat bei Audrey Feast, Monteverdis Orfeo, Il coronazione di Fidelio, Madama Butterfly, Tosca, Macbeth, London und an der Royal Academy of Music, Langford und Robert Dean. Er gastiert Poppea und Marienvesper, Tippetts Songs for La traviata, Il trittico und als Auntie in Peter die ihn 2003 zum Fellow ernannte. Am regelmäßig an der Welsh National Opera, wo Dov, Mozarts Idomeneo sowie – für Chandos – Grimes. Internationalen Opernstudio Zürich setzte er er Dulcamara (L’elisir d’amore), Swallow (Peter Brittens The Rape of Lucretia, Waltons Troilus Seit 1990 singt sie als Mezzosopran und mit Unterstützung von Dame Gwyneth Jones Grimes), Basilio (Il barbiere di Siviglia), Bonze and Cressida und Mass of Life von Delius. findet mit ihren Interpretationen höchste seine Studien fort. Er gastiert regelmäßig beim (Madama Butterfly), Dikoj (Katja Kabanowa) kritische Anerkennung, u.a. als Herodias Edinburgh Festival und bei den BBC Proms. und gerade erst Bartolo (Le nozze di Figaro) Elizabeth Vaughan wurde in Wales geboren (Salome) an der Scottish Opera und der Welsh Zu seinen Opernrollen gehören Rameaus gesungen hat. und studierte an der Royal Academy of Music, National Opera (in Großbritannien und auf Platée unter der Leitung von Nicholas Auch andernorts hat er viele wichtige wo sie mit allen wichtigen Auszeichnungen Japan-Tournee) sowie an der Opéra national McGegan, Händels Giulio Cesare unter Ivor Rollen verkörpert, u.a. Don Alfonso (Così fan geehrt wurde, so etwa mit dem begehrten de Paris-Bastille und in Südkorea. Weitere Bolton und die Titelpartie in Le nozze di Figaro, tutte), , Osmin (Die Entführung Kathleen Ferrier Memorial Stipendium. Sie Höhepunkte waren Madame de Croissy alle an der Royal Opera Covent Garden, aus dem Serail ), Sarastro (Die Zauberflöte), gab ihr Operndebüt an der Welsh National (Dialogues of the Carmelites) an der English Händels L’Allegro an der English National Leporello (Don Giovanni ), Gremin (Eugen Opera, wo sie als Abigaille (Nabucco) National Opera und der Welsh National Opera, Händels Radamisto an der Opéra de Onegin), Oroveso (Norma), Geronimo begeisterte. An der Royal Opera Covent Opera, Konzertaufführungen von Hänsel und Marseille, Händels Theodora mit Les Arts (Il matrimonio segreto), Falstaff (Falstaff und Garden sang sie viele Rollen, darunter Cio-Cio Gretel mit dem City of Birmingham Florissants und William Christie (Paris und The Merry Wives of Windsor) sowie Alberich San (Madama Butterfly), Violetta (La traviata), Symphony Orchestra unter der Leitung von Salzburg), Händels Orlando mit dem Gabrieli (Das Rheingold ). Leonore (Il trovatore), Abigaille (Nabucco), und Konzertaufführungen von Consort, Leporello an der Scottish Opera und Donna Elvira (Don Giovanni ), Gilda Salome mit dem Philharmonia Orchestra in der Opéra de Quebec sowie Guglielmo (Così Charlotte Ellett wurde in Süd-Wales geboren (Rigoletto), Euridice (Orfeo) und Teresa Athen. Ihre internationale Karriere hat sie an fan tutte), Leporello und Dulcamara (L’elisir und studierte zunächst am Royal Northern (Benvenuto Cellini ). die Metropolitan Opera New York, nach d’amore) an der Welsh National Opera. College Music und dann am National Opera

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Studio, wo sie durch den Wood/Peters Award Susanna (Le nozze di Figaro) für die Floral dans La Cenerentola avec l’English Touring Bonynge mehrere Operngesamtaufnahmen in Verbindung mit Glyndebourne, die Peter Opera gesungen und gehört dem Chorus of Opera; et Carmen dans la production de mit Joan Sutherland, Montserrat Caballé, Moores Foundation, den Sybil Tutton Award Welsh National Opera an. Raymond Gubbay donnée au Royal Albert Pavarotti und anderen weltberühmten Sängern und den Countess of Munster Award Hall de Londres. eingespielt. Mit Mackerras nahm das unterstützt wurde. Sie setzte ihre Studien bei Rosie Hay wurde in Stoke-on-Trent geboren Orchester Janácveks Osud (CHAN 3019) auf. Enid Hartle fort und wird seit Januar 2004 und studierte am City of Leeds College of Sarah Pope wurde in Leicester geboren und Seit 1992 liegt die musikalische Leitung bei durch das Gastkünstlerprogramm der Welsh Music. Sie trat 1992 dem Chorus of Welsh studierte an der Guildhall School of Music Carlo Rizzi. 1995 wurde das Orchester der National Opera gefördert. National Opera bei und hat eine Reihe und am Royal Northern College of Music. Sie Welsh National Opera in der Kategorie Sie hat Despina (Così fan tutte) bei den kleinerer Rollen an der Welsh National Opera trat 1992 der Welsh National Opera bei und Grofles Ensemble mit dem Musikpreis der Festspielen von Aix-en-Provence und mit der gesungen. Außerdem ist sie als Cio-Cio-San an hat dort eine Reihe kleinerer Rollen gesungen. Royal Philharmonic Society ausgezeichnet. Pimlico Opera gesungen, Frasquita (Carmen) der Opera Lyrica, Stowe Opera und Welsh Sie war die erste Kabanicha in der WNO mit der Glyndebourne Touring Opera sowie National Opera sowie als Hanna Glawari (Die MAX Produktion. Der Chorus of Welsh National Opera begann Karolka, Susanna und Barbarina an der Welsh lustige Witwe) am Theatre Royal York 1968 als Berufsensemble und arbeite bis 1973 National Opera. aufgetreten. Das Orchester der Welsh National Opera mit dem berühmten Voluntary Chorus der wurde 1970 gegründet. Seitdem hat es sich zu WNO zusammen, bis dieser aufgelöst wurde. Marion McCullough wurde in Bloxwich Née en Irlande, Imelda Drumm a étudié le einem der besten Orchester Großbritanniens Der Voluntary Chorus bestand aus geboren und studierte bei Constance Shacklock. chant avec Anne Marie O’Sullivan et Veronica entwickelt, das für seine herausragende Laiensängern, die 1943 zusammengefunden Zu ihren Rollen an der Welsh National Opera Dunne. Elle a complété ses études vocales au Leistung in einem breiten Opernrepertoire hatten und den Kern der späteren Welsh gehören Flosshilde (Das Rheingold ), Alisa National Opera Studio de Londres grâce au ebenso berühmt ist wie für seine National Opera bildeten. Ende der sechziger (Lucia di Lammermoor), Annina und Flora soutien du Glyndebourne Opera. Konzertauftritte und Schallplattenaufnahmen. Jahre war abzusehen, dass die WNO den Schritt (La traviata) sowie Hänsel (Hänsel und Gretel ). Les rôles de son répertoire incluent Kate Unter der musikalischen Leitung von zum professionellen Ensemble tun würde, und Pinkerton (Madama Butterfly), Hansel (Hansel Richard Armstrong (1973 bis 1986) baute das der Voluntary Chorus wurde vom Chorus of Claire Hampton wurde in Staffordshire und Gretel ), Dorabella (Così fan tutte), le rôle Orchester ein vielseitiges Opernrepertoire auf. Welsh National Opera abgelöst. Der Ruf des geboren und studierte am Royal Northern titre dans Carmen, Cherubino (Le nozze di Auf diese Zeit geht auch die Zusammenarbeit Chores wuchs schnell, und seine Opern- und College of Music bei Teresa Cahill. Mit einem Figaro), Béatrice (Béatrice et Bénédict ) au mit Reginald Goodall zurück. 1987 übernahm Konzerttätigkeit hat breite Anerkennung Stipendium der Peter Moores Foundation Welsh National Opera; Dorabella et Sir Charles Mackerras die musikalische gefunden, nicht nur im traditionellen Repertoire konnte sie ihr Anschlussstudium fortsetzen Cherubino au Festival de Glyndebourne; Leitung, und das Orchester widmete sich wie Verdi, sondern auch mit Werken des 20. und ihre Sprach- und Opernausbildung Cherubino, Isolier (Le Comte Ory) avec le verstärkt der Studioarbeit. Zuvor hatte man Jahrhunderts, wie Tippetts A Midsummer erweitern. Sie hat Dorinda (Orlando) und Glyndebourne Touring Opera; le rôle titre bereits unter der Leitung von Richard Marriage und Janácˇeks Aus einem Totenhaus.

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Der Chor hat zahlreiche Opern der englischsprachigen Welt und brachte und Mozart. Er hat eine Reihe von Mozart- Emeritus der Welsh National Opera und der aufgenommen, darunter Andrea Chenier, später auch Die Sache Makropulos und Aus Opern und Gilbert-und-Sullivan-Operetten San Francisco Opera. Tristan und Isolde, Parsifal, I Masnadieri, einem Totenhaus nach Sadler’s Wells. sowie Gesamtaufnahmen der Sinfonien von Sir Charles wurde 1974 mit dem britischen Norma, Hamlet, Ernani, Anna Bolena, Adriana Hocherfolgreiche Inszenierungen von Janácˇeks Mozart, Beethoven und Brahms, mehrere Verdienstorden CBE ausgezeichnet, 1979 zum Lecouvreur, Tosca, Rigoletto, Faust und Un ballo Opern sowie vertrautere Werke aus dem Oratorien von Händel sowie Sinfonien von Ritter geschlagen, 1996 mit der Ehrenmedaille in maschera, aber auch Gilbert-und-Sullivan- Standardrepertoire leitete er auch während Mahler und Elgar vorgelegt. Derzeit ist er der Tschechischen Republik gewürdigt und Operetten wie The Mikado, The Pirates of seiner Zeit als Musikdirektor der English Hauptgastdirigent des Philharmonia 1997 zum Companion of the Order of Penzance, The Yeomen of the Guard und Trial National Opera (1970–77) und der Welsh Orchestra, Conductor Laureate des Scottish Australia ernannt. 2003 erhob ihn Königin by Jury, Brittens Gloriana sowie Janácˇeks Osud National Opera (1987–1992). In ganz Europa, Chamber Orchestra sowie Conductor Elizabeth II. zum Companion of Honour. mit Mackerras. Zu seinen Konzertaufnahmen den USA und Australien gilt er als Wegbereiter gehören Sea Drift von Delius, The Vigil of der Musik Janácˇeks. Jenu˚fa ist ihm besonders Venus von George Lloyd und Hiawatha von ans Herz gewachsen. Coleridge-Taylor. Auslandsreisen haben den Name verbindet sich seit langem mit der Chor nach Paris, Tokio, New York, Mailand, Tschechischen Philharmonie, mit der er die Wiesbaden, Lissabon, Oporto, Berlin und meisten Orchesterwerke Janácˇeks, Katja Leipzig geführt. Kabanowa und Dvorˇáks Rusalka aufgenommen hat. Seine umfangreiche Sir Charles Mackerras studierte am Diskographie enthält einen preisgekrönten Konservatorium in Sydney und kam 1947 Zyklus von Janácˇek-Opern mit den Wiener nach England. Von der Kulturorganisation Philharmonikern aus den frühen achtziger British Council erhielt er ein Stipendium zur Jahren. Für Chandos hat er Janácˇeks Erweiterung seines Studiums an der Glagolitische Messe in der Originalfassung, Musikakademie Prag. In jenem Jahr begann Kodálys Psalmus Hungaricus und Dvorˇáks seine Leidenschaft für die Musik Janácˇeks, als Cellokonzert eingespielt. Für die Chandos- er Katja Kabanowa unter der Leitung des Serie “Opera in English” hat er Osud, La großen Václav Talich hörte. traviata, Werther, Julius Caesar und Mary Als Assistant Conductor am Londoner Stuart aufgenommen. Opernhaus Sadler's Wells dirigierte er 1951 Sir Charles hat auch die Musik des 18. die erste Aufführung von Katja Kabanowa in Jahrhunderts erforscht, insbesondere Händel

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étonnant que l’auditoire se soit si facilement vernaculaire et les histoires de la vie rurale Jenu˚fa, sa belle-fille identifié à ce drame. morave de Preissová trouvèrent un écho chez Pourtant, la condamnation de la critique fut un compositeur profondément absorbé par la Si vous cherchez dans tout le répertoire des littérature tchèque. Ses nouvelles et ses drames unanime, car elle y voyait un aspect de la vie collecte et l’ de musique théâtres lyriques tchèques un opéra intitulé de la vie des villages de Moravie furent parmi scabreux et tout à fait inapproprié à la scène traditionnelle de son pays natal. Ce qui est Jenu˚fa, ce sera peine perdue. Dans sa patrie, le les premières œuvres au langage réaliste du du Théâtre national. Ce qui captiva remarquable à propos de Jenu˚fa, c’est la façon premier chef d’œuvre lyrique de Janácˇek est “théâtre naturaliste” et Sa Belle-fille causa un l’imagination de Janácˇek ce n’est pas la magistrale dont une personne si peu toujours mentionné sous le titre du magistral certain scandale lorsque l’œuvre fut représentée narration épouvantable, mais la complexité expérimentée en matière théâtrale transforma mélodrame de Gabriela Preissová dont il est pour la première fois en 1890. Le public émotionnelle des personnages de Preissová. Il une histoire captivante mais assez tiré: Její Pastorkynˇa, Sa belle-fille. Ces trois s’enthousiasma pour l’effroyable histoire de la s’enthousiasma en particulier pour le dilemme conventionnelle de naissance illégitime et de mots constituent un indice important sur la jeune villageoise dont l’enfant illégitime est de la Kostelnicˇka (ce mot veut dire marguillier châtiment social en un psychodrame puissance durable de l’œuvre. Jenu˚fa n’est pas assassiné par sa belle-mère pour protéger son ou sacristine), un pillier de la communauté déchirant. Il n’y a rien en commun avec ce que le drame d’une seule héroïne, mais la tragédie honneur et ses perspectives de mariage. Le confrontée à la honte personnelle. Dans une l’on trouve dans les deux premières tentatives de deux femmes, entremêlées dans les dilemme auquel est confronté Jenu˚fa peut scène cruciale de la pièce, elle parle de celui lyriques de Janácˇek. Sˇárka est une épopée conséquences de leurs propres émotions, aussi nous paraître très loin de nous aujourd’hui, qui fut autrefois son mari, un folkorique standard, une pâle imitation de sûrement que Roméo et Juliette ou Antoine et mais, à la fin du XIXe siècle, dans la campagne alcoolique du nom de Tomásˇ Buryja. Elle Smetana. Le Début d’une romance – également Cléopâtre. Jenu˚fa, la jeune et belle paysanne, morave, il n’était que douloureux et trop craint que l’amant de Jenu˚fa, Sˇteva, le tiré d’une pièce de Preissová – est intéressant vaniteuse et impulsive, et la Kostelnicˇka, sa familier. Dans une communauté villageoise, il neveu de Buryja, a des traits héréditaires dans son utilisation de la mélodie belle-mère sévère et énergique, empruntent était courant de concevoir un enfant hors des désagréables. Cet imbroglio de sentiments traditionnelle, mais maladroit dans sa deux voies parallèles dans la souffrance; pour liens du mariage, pourvu que le couple ait contradictoires – instinct de protection, construction. Janácˇek lui-même n’était que l’une, c’est celle du désespoir au bord de la contracté des fiançailles officielles, mais culpabilité, piété et peur – est au cœur de la trop conscient de ses points faibles et il retira folie, pour l’autre celle de la réconciliation donner naissance à un enfant avant le mariage pièce et constitue le noyau central de l’opéra par la cette œuvre. Jenu˚fa se situe à un discrète. Si la maturité croissante de Jenu˚fa laissait de cruels stigmates sociaux. L’ironie de Janácˇek. niveau totalement différent. couronne la fin de l’opéra, c’est la décision tragique de la pièce repose sur le fait que le Janácˇek fut tout d’abord attiré par l’écriture Janácˇek a connu un développement tardif et déchirante et meutrière de Kostelnicˇka au père du bébé de Jenu˚fa échappe à la de Preissová alors qu’il n’était encore qu’un il avait déjà plus de quarante ans lorsqu’il deuxième acte qui nous reste longtemps en conscription militaire, ce qui devrait lui obscur chef de chœur et professeur dans un commença à travailler à cet opéra. La mémoire lorsque le rideau est retombé. permettre de l’épouser, mais c’est Kostelnicˇka village tranquille de l’Empire Austro-Hongrois. composition du premier acte fut un combat Preissová joua un petit rôle, mais un rôle qui l’en empêche car elle désapprouve son Comme bon nombre de ses contemporains en pour lui et il le mit de côté pendant huit ans important dans le développement de la mode de vie et son ivrognerie. Il n’est guère Europe centrale, il était fasciné par la culture avant de s’aventurer un peu plus loin. On y

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trouve encore des traces de l’opéra romantique faisant, met en lumières les terminaisons entend sans le voir – l’enfant endormi, évoqué pour le noyer dans le chenal. Le monologue traditionnel dans les premières scènes. La nerveuses des quatre principaux personnages. dans les tendres fragments de la mélodie qui précède le meurtre est l’une des pages les mélodie traditionnelle que chantent en tapant Lorsque le rideau se lève au deuxième acte, traditionnelle à laquelle il est identifié et qui plus remarquables du compositeur, du début des pieds les villageois et les recrues qui de huit ans postérieur au premier, il ne fait émerge constamment de l’obscurité torturé sur des harmonies glaciales aux cordes accompagnent Sˇteva, complètement ivre, aucun doute que nous sommes en présence harmonique. D’un bout à l’autre de l’acte, la à la conclusion désespérée, où les harpes et les pourrait très bien être prise pour une Danse d’un maître de l’art dramatique. Les notes partition évoque la corde du destin qui se cors omniprésents sont rejoints par les cris slave de Dvorˇák. Néanmoins, on peut initiales – un brusque accord fortissimo et un resserre autour du cou de la Kostelnicˇka. C’est fortissimo des trompettes. Une fois encore, percevoir la spécificité de l’univers musical de tremolo frissonnant des cordes – nous plongent une corde qu’elle s’est elle-même tissée. Janácˇek refuse de prendre le chemin le plus Janácˇek dès les premières mesures de l’ouvrage. dans la claustrophobie de la petite maison de la Ignorant l’état de sa belle-fille, elle a banni Sˇteva évident. Les phrases qui accompagnent l’appel En surface, l’ostinato de xylophone obsédant Kostelnicˇka. Les staccatos violents des cordes qui en raison de son comportement vulgaire et à Dieu de la Kostelnicˇka possèdent une dépeint la roue du moulin qui tourne suivent tranchent dans la mélodie principale irresponsable. Maintenant, elle doit se mettre à noblesse craintive et, après son départ, Janácˇek inexorablement, mais, si on considère les comme un scalpel. Un compositeur moins genoux et le supplier d’épouser Jenu˚fa, et après entremêle terreur et tendresse dans un tissu choses plus en profondeur, il dépeint l’état assuré aurait pu être tenté de recréer une cet échec, en désespoir de cause, elle doit se ambivalent, avec un solo attendri de violon d’esprit de Jenu˚fa et les désastres qui atmosphère de morosité permanente d’un bout tourner vers Laca. Pour dépeindre le piège qui qui émerge d’une discordance orchestrale l’attendent. Ce battement percussif incessant à l’autre de l’acte. Toutefois, de temps à autre, la se referme sur la Kostelnicˇka, Janácˇek revient à cruciale. L’air de Jenu˚fa, lorsqu’elle s’éveille de revient quatre fois; en premier lieu, lorsque souffrance liée à la situation difficile des deux son procédé musical favori, l’ostinato, une sorte son sommeil narcotique et se rend compte de Jenu˚fa craint la malchance si son romarin femmes s’efface derrière une tendresse d’obsession qui se reproduit avec insistance au l’absence de son bébé, est construit à une meurt, puis lorsqu’elle ressasse sa grossesse non ambivalente. Lorsque la Kostelnicˇka dit à Jenu˚fa sein de l’orchestre. Lorsque Jenu˚fa est couchée, échelle encore plus massive; on y trouve du désirée après le bannissement de Sˇteva. On qu’il vaudrait mieux que Dieu emmène l’enfant, son monologue est étayé par des répétitions matériel musical de scènes antérieures et l’air l’entend une troisième fois lorsque Jenu˚fa a un thème caressant du violoncelle la contredit. anxieuses aux cordes, aux cors et à la harpe. La parvient à un sommet effrayant lorsque la peur que Sˇteva l’abandonne pour une autre et Lorsqu’elle donne à Jenu˚fa le soporifique, un air même combinaison instrumentale sur un Kostelnicˇka revient et frappe à la fenêtre. il revient enfin juste avant que Laca ne lui noble aux harpes et aux bois évoque comme par rythme analogue revient lorsque Jenu˚fa pousse Grâce à l’expérience récemment acquise par entaille la figure sous l’emprise de la jalousie. Il magie l’autre avenir dont elle a rêvé pour Jenu˚fa des cris dans son sommeil drogué et on l’entend Janácˇek pour façonner d’énormes séquences constitue l’échafaudage musical sur lequel est avant que la grossesse non désirée de la jeune une fois encore en rythme ternaire lorsque Laca dramatiques, il conduit le drame jusqu’à la fin construit le premier acte. L’action dramatique fille ne vienne assombrir leurs vies. arrive en réponse à l’appel de la Kostelnicˇka. de l’acte et la terreur coupable de la est façonnée avec une égale assurance. Alors En contraste avec la bousculade bucolique On a l’impression que Janácˇek a construit Kostelnicˇka est clairement perceptible lorsque que l’intrigue originale de Preissová pourrait du premier acte, l’acte II ne fait appel qu’aux une prison musicale, dont la seule issue est la les timbales reprennent le motif de ses coups à très bien s’insérer dans un “soap opera”, le quatre principaux personnages. Il y a porte par laquelle se précipite la Kostelnicˇka, la fenêtre et le transforment en un roulement livret de Janácˇek décortique la narration et, ce également un cinquième personnage, que l’on lorsqu’elle emporte le bébé encore endormi accablant.

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L’intensité émotionnelle de cet acte évoque pardon que lui accorde sa belle-fille, la opéra, que Brno put à nouveau entendre la distance objective qu’il était incapable d’avoir les opéras de la maturité de Puccini et il est musique acquiert une chaleur stoïque alors que musique comme le voulait le compositeur, dans sa vie. Le fait qu’il ait pu transformer une fascinant de penser que le Toscan et le Morave les deux jeunes gens envisagent ensemble leur grâce à l’acharnement inspiré du chef telle douleur en une œuvre d’art durable fait ont travaillé simultanément à des drames avenir et les épreuves qu’ils doivent encore d’orchestre de cet enregistrement, Sir Charles de Janácˇek l’un des géants lyriques du monde. centrés sur des jeunes femmes abandonnées traverser. Néanmoins, ce n’est pas une Mackerras. C’est seulement en entendant par le père de leur nouveau-né. Toutefois, ce apothéose facile. Comment pourrait-il en être l’ouvrage, sans coupures, sans bois © 2004 Dennis Marks qui sépare Jenu˚fa et Madama Butterfly, c’est autrement, lorsque leur relation a été forgée supplémentaires et sans l’adoucissement des Traduction: Marie-Stella Pâris l’absence totale de sentimentalisme de Janácˇek. dans une telle douleur? Un siècle plus tard, les contours austères de Janácˇek, sans les cors Dans le dernier acte, il revient aux mélodies solutions romantiques désinvoltes suscitent héroïques substitués aux trombones saisissants Contexte traditionnelles qui dominent l’acte I, mais la notre méfiance, mais pour les contemporains de la scène finale, que l’on peut vraiment L’action se déroule à la fin du XIXe siècle. présence menaçante de la personne brisée de la de Janácˇek, la conclusion sévère et la musique apprécier la véritable authenticité de son Veborany, village de montagne en Moravie, est Kostelnicˇka, sur scène comme dans les qui l’exprime se sont avérées trop lourdes à premier drame musical entièrement achevé. La une petite communauté rurale très unie. La harmonies torturées de l’orchestre, sert supporter. Bien que sa ville natale de Brno ait composition de Jenu˚fa coïncida avec les années scierie locale appartient à la famille Buryja et constamment à empoisonner l’atmosphère. Le fait un accueil chaleureux à Jenu˚fa, il fallut les plus déchirantes de la vie de Janácˇek – des ce sont les relations complexes au sein de ce petit air guilleret qui ouvre l’acte est étayé par attendre douze ans et beaucoup de tractations années durant lesquelles son mariage finit par groupe qui sont à la racine du drame. un autre ostinato, comme si le destin était en de coulisse avant que l’ouvrage ne soit se désintégrer et où il perdit sa fille de la fièvre train de pousser les jeunes mariés à la représenté à Prague. Et même alors, Janácˇek typhoïde. Ce fut le produit d’un combat Arbre généalogique catastrophe. Au fur et à mesure du dut accepter des coupures et la réorchestration personnel et artistique, comme il le remarque Grand-mère et Grand-père Buryja eurent deux déroulement de l’acte, le conflit entre les airs de certains passages pour adoucir l’impact dans son autobiographie : fils, le “meunier” Buryja, l’aîné et l’héritier, et traditionnels rassurants et les harmonies violent de l’original. Le fait que le compositeur J’entourerai ma partition de Jenu˚fa de rubans Tomásˇ Buryja. Le meunier Buryja épousa une sombres de Jenu˚fa reflète le contraste entre les ait critiqué le directeur de l’Opéra de Prague, noirs: maladie, souffrance et gémissements de ma certaine veuve Klemenˇ, et eut ainsi un jeune couleurs vives des habits traditionnels des Karel Kovarˇovic, lorsqu’il était étudiant, n’a fille Olga et du petit Vladimir. beau-fils, Laca Klemenˇ. Le couple eut ensuite villageois et le noir de la tenue de deuil de pas joué en sa faveur. Son opposition fut Alors qu’elle était sur le point de mourir, Olga son propre fils, Sˇteva, auquel le moulin et la l’héroïne. Lorsque le jeune garçon Jano surgit encore accentuée par la mauvaise opinion demanda à son père de lui jouer toute la fortune de la famille furent laissés à la mort pour annoncer qu’un minuscule cadavre gelé a qu’avait traditionnellement la Prague partition de Jenu˚fa. À la toute dernière des parents. C’est un beau jeune homme été découvert sous la glace, c’est un choc, mais cosmopolite de la ville provinciale de Brno. extrémité, Janácˇek fit des esquisses musicales blond, mais un gros buveur aux mœurs pas une surprise. La partition altérée par Kovarˇovic domina la de ses dernières paroles épuisées. Cela semble légères. Son demi-frère, Laca Klemenˇ, sombre L’objectivité de Janácˇek persiste jusqu’à la scène tchécoslovaque pendant près d’un siècle. étrange, presque cruel, mais d’un bout à l’autre et sensible, se sent ignoré et négligé par toute fin. Après la confession de la Kostelnicˇka et le Ce n’est qu’en 2004, pour le centenaire de cet de cette œuvre la musique lui a fourni une la famille Buryja.

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Le jeune frère du meunier, Tomásˇ, est Laca, qui aime Jenu˚fa depuis son enfance, tes joues.” Il cherche à l’embrasser, ils se envoyé un message pour qu’il vienne ce soir-là. maintenant mort lui aussi. Il fut marié à deux l’observe jalousement, torturé par les battent et il lui coupe “accidentellement” la 11 Lorsqu’il arrive, elle lui reproche de n’avoir reprises. De sa première femme, il eut une fille sentiments qu’elle éprouve pour Sˇteva. joue avec son couteau. jamais demandé de nouvelles du bébé. Il Jenu˚fa Buryakova. Une fois veuf, il épousa en Un berger, Jano, remercie Jenu˚fa de lui répond qu’il est désolé et propose de donner secondes noces Kostelnicˇka, ou la Sacristine. apprendre à lire. 2 – 3 Le contremaître du Acte II de l’argent pour faire vivre l’enfant, à Ce mariage ne fut pas heureux, car Tomásˇ se moulin vient annoncer que, finalement, Sˇteva La maison de la Kostelnicˇka près de la rivière. condition qu’il n’ait pas à admettre qu’il en est révéla violent et coléreux, dépensier et buveur. n’a pas été enrôlé. Cinq mois plus tard le père. Mais elle lui demande d’épouser Jenu˚fa Néanmoins, d’une certaine façon, Jenu˚fa et la 4 Sˇteva revient complètement ivre, Le soir, à la fin du mois de janvier et de prendre le bébé, afin d’effacer la honte Kostelnicˇka s’aiment bien. Jenu˚fa l’appelle accompagné d’une fanfare et de ceux qui ont 8 – 9 Vingt semaines se sont écoulées du nom de Jenu˚fa et de son propre nom. Sˇteva toujours Mamicˇko, ou Maman, et la été recrutés. 5 Ils dansent et chantent avec les depuis que Jenu˚fa a finalement annoncé sa fond en larmes et lui réplique que, ces derniers Kostelnicˇka, une femme qui craint Dieu, mais employés du moulin, mais leurs réjouissances grossesse à sa belle-mère. Pour échapper toutes temps, Jenu˚fa a changé, qu’elle n’est plus une qui est dotée d’un caractère dominateur, est sont interrompues par la Kostelnicˇka, qui voit deux à la disgrâce, la Kostelnicˇka a cachée sa personne douce mais une femme sérieuse et très fière de sa belle-fille. en Sˇteva un mari mal approprié pour sa chère belle-fille dans la chambre du fond de la exigeante, qui ressemble à la Kostelnicˇka. Sa belle-fille, aussi dépensier et violent que son maison et elle dit à tout le monde que Jenu˚fa beauté a été anéantie par la balafre qu’elle a sur COMPACT DISC ONE propre mari, l’oncle de Jenu˚fa. Ignorant que est partie chercher du travail à Vienne. Son la joue. Il ne l’aime plus et s’est maintenant celle-ci est enceinte, la Kostelnicˇka refuse de bébé, un garçon, est né il y a huit jours. Elle engagé à épouser la fille du maire, Karolka. Acte I consentir à leur mariage à moins qu’ils ne le lui a donné le nom de Sˇteva et la Kostelnicˇka Jenu˚fa crie dans son sommeil et Sˇteva se Le moulin des Buryja repoussent d’un an; au cours de cette année l’a baptisé. précipite hors de la maison. Le crépuscule à la fin du mois d’août d’attente, Sˇteva devra renoncer à la boisson. 10 La Kostelnicˇka rappelle encore à Jenu˚fa sa 12 Laca, qui est venu régulièrement au 1 Grand-mère Buryja et Laca sont tous deux 6 Laissés seuls, Sˇteva se vante auprès de culpabilité et son déshonneur et lui dit qu’elle cours des derniers mois, voit Sˇteva s’en aller et en train de travailler. Jenu˚fa attend avec Jenu˚fa de ce que toutes les jeunes filles flirtent devrait prier Dieu de lui enlever son enfant. appelle pour savoir si cette visite signifie que impatience le retour de Sˇteva convoqué par la avec lui, mais elle lui répond de façon Jenu˚fa est profondément perturbée et ne se sent Jenu˚fa est de retour de Vienne et si elle va commission de conscription. S’il est recruté, il possessive qu’il lui appartient. 7 Après le pas très bien. La Kostelnicˇka lui propose un épouser Sˇteva. Lui-même veut toujours ne pourra pas l’épouser avant un bon moment départ de Sˇteva, Laca provoque jalousement somnifère et Jenu˚fa se retire pour la nuit. l’épouser, encouragé par Kostelnicˇka. Celle-ci et sa grossesse sera découverte. La seule personne Jenu˚fa en lui disant que Sˇteva l’aime Pendant les cinq derniers mois, la lui dit toute la vérité: Jenu˚fa est restée cachée au courant, c’est Sˇteva lui-même, le futur père. uniquement pour son joli minois et ses joues Kostelnicˇka a prié pour que Jenu˚fa fasse une dans la maison et vient d’avoir un bébé de Et si la vérité éclate au grand jour, selon les roses. Il jette un coup d’œil au couteau avec fausse couche, mais comme le bébé se porte Sˇteva. Laca est sidéré. Kostelnicˇka s’attend-t- principes de l’époque, Jenu˚fa sera vouée à la lequel il est en train de travailler. “Pense à quel bien, elle pense maintenant qu’elle doit elle à ce qu’il prenne le bébé de Sˇteva? Elle lui mort par lapidation et à la damnation éternelle. point ce couteau pourrait facilement abîmer supplier Sˇteva d’épouser Jenu˚fa. Elle lui a donc ment et lui dit que le bébé est mort.

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COMPACT DISC TWO Jenu˚fa de lui préférer Laca, qui est au courant Tous sont réduits au silence par la de Paris; la Comtesse Almaviva; Vitellia à de l’existence du bébé et de sa mort et qui lui a Kostelnicˇka, qui avoue sa propre culpabilité, l’Opéra des Flandres; Daphne et Arabella de 1 Restée seule, la Kostelnicˇka tente comme pardonné. 4 Laca revient et lui demande de dissipant ainsi les soupçons qui pèsent sur Richard Strauss et Elettra (Idomeneo) au une folle de prendre une décision. Elle ne peut l’épouser; elle accepte – la Kostelnicˇka les Jenu˚fa. Karolka comprend que Sˇteva était le Festival de Santa Fe; Daphne, Arabella et Eva éloigner le bébé – il sera toujours source de bénit, mais devient hystérique lorsque la père et refuse de l’épouser. Laca se reproche ce (Die Meistersinger von Nürnberg) à l’Opéra de honte et de déshonneur. Elle “l’enverra à fenêtre s’ouvre soudain sous la poussée du vent. qu’il a fait à Jenu˚fa. La Kostelnicˇka complète San Francisco; Pamina au Bayerische Dieu”, le mettra sous la glace dans la rivière. sa confession en avouant qu’elle se rend Staatsoper de Munich; Ellen Orford au Royal Le corps sera emporté à la fonte des glaces. Sa Acte III compte maintenant qu’elle a davantage pensé à Opera de Covent Garden, au Wiener réputation et celle de Jenu˚fa ne seront pas La maison de la Kostelnicˇka son propre honneur et à son propre nom qu’à Staatsoper, à l’Opéra de Hollande et avec le entachées. Elle prend le bébé et se précipite Un matin ceux de Jenu˚fa. Elle implore le pardon de sa London Symphony Orchestra; la Comtesse dehors dans la nuit, en refermant la porte à clé 5 – 9 C’est le jour des noces de Jenu˚fa et la belle-fille. 15 Jenu˚fa comprend, lui pardonne Almaviva à Lyon, Munich, au Deutsche derrière elle. Kostelnicˇka est toujours bouleversée. et demande à Dieu de la consoler. Le maire Staatsoper de Berlin et au Nouveau Théâtre 2 Jenu˚fa se réveille, encore légèrement sous Apparemment, elle a été malade et souffre emmène la Kostelnicˇka pour qu’elle soit jugée. National de Tokyo; Micaela au Lyric Opera de l’effet du somnifère. Elle est tout d’abord d’attaques de terreur et de crises de délire. 16 Jenu˚fa demande à Laca de partir également, Chicago et au Metropolitan Opera de New hystérique tant elle est inquiète de ne trouver Jenu˚fa et Laca ont invité Sˇteva, sa fiancée car elle n’est pas digne de lui, mais il lui York, et la Maréchale (Der Rosenkavalier) à ni sa Mamicˇko ni son bébé, puis elle suppose Karolka et ses parents, le maire et sa femme. Les répond qu’il l’aime encore et veut rester auprès l’English National Opera. joyeusement qu’on l’a emmené au moulin noces seront très simples ce qui déçoit Karolka d’elle. Elle accepte avec joie. En concert, Janice Watson s’est produite pour le présenter. Elle prie pour son enfant. et sa mère. 10 Sans avoir été invités, certains avec le Boston Symphony Orchestra sous la 3 La Kostelnicˇka revient – ses mains sont employés du moulin arrivent et chantent, © 2004 Barbara Johnstone direction de Roger Norrington et d’André gelées et elle ne peut ouvrir la porte. Elle souhaitant du bonheur à Jenu˚fa. 11 – 13 Alors Traduction: Marie-Stella Pâris Previn, le San Francisco Symphony Orchestra frappe à la fenêtre, lance la clé à l’intérieur et que la Kostelnicˇka est sur le point de bénir le sous la direction de Michael Tilson-Thomas, le Jenu˚fa la fait entrer. La Kostelnicˇka dit à couple, on entend des cris. En découpant la Janice Watson étudia à la Guildhall School of London Symphony Orchestra sous la direction Jenu˚fa qu’elle a été malade et fièvreuse glace sur la rivière, des ouvriers de la brasserie Music and Drama de Londres, et attira de Sir Colin Davis, André Previn et Riccardo pendant deux jours et que le bébé est mort. ont découvert un bébé mort, gelé dans la glace. l’attention du public en remportant le Chailly, l’Orchestre de Paris sous la direction Jenu˚fa pleure calmement et demande si Sˇteva Jenu˚fa reconnaît ses vêtements, réalise qu’il Kathleen Ferrier Memorial Award. Elle est de Frans Brüggen, l’Academy of St Martin in s’est manifesté. La Kostelnicˇka lui raconte sa s’agit du petit Sˇteva et fond en larmes. 14 La régulièrement invitée à se produire au Welsh the Fields sous la direction de Sir Neville visite, son désintérêt pour Jenu˚fa elle-même et foule rassemblée menace de la lapider pour le National Opera et à l’English National Opera. Marriner, le London Philharmonic Orchestra pour le bébé; elle lui annonce son prochain meurtre de son enfant, mais Laca l’en empêche Elle a chanté le rôle de Musetta au Royal sous la direction de Bernard Haitink, avec le mariage avec Karolka. Elle recommande à en bondissant pour la défendre. Opera de Covent Garden; Pamina à l’Opéra Chicago Symphony Orchestra et l’Orchestre

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royal du Concertgebouw sous la direction de Unis, elle a chanté au Metropolitan Opera de Symphonie de Beethoven, Gloriana de Britten Il est très demandé au concert et a travaillé Riccardo Chailly. New York et à San Francisco, Chicago et sous la direction de Sir Charles Mackerras, et avec des orchestres tels que le London La vaste discographie de Janice Watson inclut Houston. Elle a été nommée commandeur de Lady Billows (Albert Herring). Philharmonic Orchestra, le Royal Scottish Carmina Burana de Carl Orff, Ellen Orford l’empire britannique (CBE) en 1985 et Dame National Orchestra, le City of London dans l’enregistrement primé de Chandos de of the British Empire en 1995. Peter Wedd a étudié à la Guildhall School of Sinfonia, le Northern Sinfonia Orchestra et le Peter Grimes sous la direction de Richard Parmi les autres engagements de Josephine Music and Drama de Londres avec William Bournemouth Symphony Orchestra. Il s’est Hickox, le Gloria de Poulenc pour Chandos, la Barstow, on citera le rôle titre dans Salome à McAlpine et au National Opera Studio. Il a été produit au Festival de Covent Garden et au Missa Sabrinensis de Herbert Howells sous la l’Opéra de Hollande et le rôle de Kostelnicˇka Company Principal au Royal Opera de Covent Festival d’Edimbourg, et à l’étranger au direction de Gennady Rozhdestvensky, et (Jenu˚fa) à l’English National Opera, à l’Opera Garden de 1999 à 2001, se produisant dans le Festival Maribor en Slovénie et au Festival de Helena (A Midsummer Night’s Dream) sous la North et à l’Opéra des Flandres; Emilia Marty rôle de Ywain (Gawain and the Green Knight) Cernier en Suisse. direction de Sir Colin Davis. (L’Affaire Makropoulos) au Welsh National et dans celui de Kudrjas (Kat’á Kabanová). Il Peter Wedd a enregistré Turandot et Opera; Amelia (Un ballo in maschera) au est régulièrement invité au Welsh National The Flying Dutchman pour la série Opera in Dame Josephine Barstow est reconnue comme Festival de Hong Kong; Tosca à l’Opera Opera où il a chanté les rôles de Don José English de Chandos. une actrice-chanteuse du plus haut niveau. Sa North; Ellen Orford (Peter Grimes) au Royal (Carmen), Tamino (Die Zauberflöte), Don carrière distinguée a compté des prestations Opera de Covent Garden et à Parlerme, Anna Ottavio (Don Giovanni ) et Laca (Jenu˚fa). Né dans le comté d’Argyl, Nigel Robson a acclamées de Salome, Tosca, Lady Macbeth Maurrant (Street Scene) au Teatro Nacional de Parmi ses autres prestations en Grande- étudié avec Alexander Young et Gustave (Verdi et Chostakovitch), et d’une immense Sao Carlos de Lisbonne. Elle a chanté Bretagne et en Irlande, on citera Frederico Sacher. Il s’est imposé comme l’un des ténors diversité de rôles allant de Mozart à Janácek en régulièrement à l’Opera North, incluant les (L’Arlesiana) et Pluto (Orphée aux Enfers) avec lyriques anglais les plus talentueux et possède passant par Beethoven, Verdi, Puccini et rôles titres dans Medea et Aida, Alice Ford l’Opera Holland Park, Kyska (Sˇarkatán) et un répertoire de concert et d’opéra allant de Richard Strauss. En 1986, elle effectua une (Falstaff ), Marie (Wozzeck) et Elizabeth I Julius (I cavalieri di Ekebu) au Festival de Monteverdi aux œuvres les plus tournée en URSS, se produisant à Tbilissi, Riga (Gloriana), un rôle qu’elle a également incarné Wexford et Satyavan (Savitri) au Festival contemporaines. Il est particulièrement connu et au Théâtre du Bolchoï à Moscou. Elle créa la à Londres au Royal Opera de Covent Garden. d’Aldeburgh. Son interprétation du rôle de pour ses interprétations de Britten. protagoniste dans la première mondiale de Die Elle a chanté sous la direction de Kent Nagano Rodolfo dans une nouvelle production de Sur scène, il a chanté des rôles tels que schwarze Maske au Festival de Salzbourg où le rôle de Miss Wingrave (Owen Wingrave) La bohème donnée au Royal Albert Hall de Bajazet (Tamerlano) à Drottningholm, le rôle Karajan le réinvita pour chanter Tosca et dans dans un film réalisé pour la télévision. Londres a remporté un très vif succès. Peter titre dans Peter Grimes au Nationale Reisopera Un ballo in maschera. Elle s’est produite à La discographie de Josephine Barstow Wedd a chanté Tamino et Eisenstein en Hollande, Captain Vere (Billy Budd ) avec la l’Opéra de Paris, au Bayerische Staatsoper de comporte actuellement deux récitals, Marie (Die Fledermaus) avec l’European Chamber Canadian Opera Company, Laca et Captain Munich, à l’English National Opera et au (Wozzeck) pour la série Opera in English de Orchestra et Lysander (A Midsummer Night’s Vere au Welsh National Opera, le rôle titre Royal Opera de Covent Garden. Aux États- Chandos, Street Scene, la Neuvième Dream) avec le Singapore Lyric Theatre. dans Il ritorno d’Ulisse in patria à Lisbonne et à

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l’Opera North, le rôle titre dans Idomeneo au Lucretia de Britten, Troilus and Cressida de Depuis 1990, Elizabeth Vaughan chante dans Zurich sous le patronage de Dame Gwyneth Bayerische Staatsoper de Munich, le Recitant Walton et la Mass of Life de Delius. le registre de mezzo-soprano, et a obtenu les Jones. Il est régulièrement invité à se produire (The Rape of Lucretia) au Grand Théâtre de plus hautes éloges pour ses interprétations du au Festival d’Edimbourg et aux BBC Proms de Tours, Pandarus (Troilus and Cressida) à Née au Pays de Galles, Elizabeth Vaughan a rôle d’Herodias (Salome) au Scottish National Londres. l’Opera North, The Madwoman (Curlew étudié à la Royal Academy of Music de Opera, au Welsh National Opera (en Grande- Neal Davies a chanté au Royal Opera de River) avec l’Opera Factory, Septimus Londres où elle a remporté tous les prix Bretagne et en tournée au Japon), à l’Opéra Covent Garden dans Platée de Rameau sous la (Theodora) à Glyndebourne, et Golo dans principaux, notamment le très convoité Bastille à Paris et en Corée du Sud. Elle s’est direction de McGegan, Giulio Cesare de Genoveva de Robert Schumann au Garsington Kathleen Ferrier Memorial Scholarship. Elle a également produite dans le rôle de Madame de Haendel sous la direction de Ivor Bolton et le Opera. Il a également donné la création fait ses débuts sur scène au Welsh National Croissy (Dialogues of the Carmelites) à l’English rôle de Figaro (Le nozze di Figaro); L’Allegro de mondiale en Hollande et la première anglaise Opera où son interprétation de Abigaille National Opera et au Welsh National Opera, Haendel à l’English National Opera; de Wolf Cub Village de Guo Wenjing, la (Nabucco) a été très acclamée. Elle a chanté de dans des versions de concert de Hansel und Radamisto de Haendel à l’Opéra de Marseilles; création mondiale de Tojiraretta Fune de Make nombreux rôles au Royal Opera de Covent Gretel avec le City of Birmingham Symphony Theodora de Haendel avec Les Arts Florissants Ishi, et a chanté dans Kantan et Damask Drum Garden, notamment Cio-Cio San (Madama Orchestra sous la direction de Mark Elder, et sous la direction de William Christie (Paris et d’Alexander Goehr et dans The Maids de John Butterfly), Violetta (La traviata), Leonore dans des versions de concert de Salome avec le Salzbourg); Orlando de Haendel avec le Lunn. (Il trovatore), Abigaille (Nabucco), Donna Philharmonia Orchestra au Mégaron d’Athènes. Gabrieli Consort; Leporello au Scottish Opera En concert, Nigel Robson a interprété le Elvira (Don Giovanni ), Gilda (Rigoletto), Sa carrière internationale l’a conduite au et à l’Opéra de Québec; Giuglielmo (Così fan Journal vénitien de , et chanté Euridice (Orfeo) et Teresa (Benvenuto Cellini ). Metropolitan Opera de New York, à Vienne, tutte), Leporello et Dulcamara (L’elisir d’amore) dans la Passion selon saint Jean de Bach, Judas Elizabeth Vaughan est revenue au Welsh Paris, Hambourg, Munich, Prague, Marseille, au Welsh National Opera. Maccabeus et Jephtha de Haendel, la Spring National Opera en qualité d’artiste invitée, Athènes, Montréal, Florence, Pise, Sydney et en Les enregistrements de Neal Davies incluent Symphony et le War Requiem de Britten, chantant de nombreux rôles importants dans Amérique du Sud. A Midsummer Night’s Dream de Britten sous la Renard de Stravinski, Das Lied von der Erde de des opéras tels que Manon Lescaut, La forza del La discographie d’Elizabeth Vaughan inclut direction de Sir Colin Davis, le Messie, Mahler, d’Elgar, et destino, Madama Butterfly, La traviata, Andrea des extraits de Der Rosenkavalier pour la série Theodora et Saul sous la direction de Paul Die schöne Müllerin de Schubert. Chenier, et dans The Doctor of Myddfai de Peter Opera in English de Chandos. McCreesh, des cantates de Vivaldi et L’Allegro La discographie de Nigel Robson inclut Maxwell Davies. Elle s’est également souvent de Haendel sous la direction de Robert King, Tamerlano, Jephtha et Alexander’s Feast de produite à l’English National Opera, à l’Opera Né à Newport au Pays de Galles, Neal Davies et des mélodies de Dutilleux sous la direction Haendel, l’Orfeo et Il coronazione di Poppea et North et au Scottish National Opera dans des a étudié au King’s College de Londres et à la de Yan Pascal Tortelier pour Chandos. les Vesperae de 1610 de Monteverdi, les Songs ouvrages tels que Aida, Fidelio, Madama Royal Academy of Music dont il est devenu for Dov de , Idomeneo de Butterfly, Tosca, Macbeth, La traviata, Il trittico membre en 2003. Il a ensuite poursuivi sa Alan Fairs a étudié en privé avec Audrey Mozart, et pour Chandos, The Rape of et dans le rôle de Auntie dans Peter Grimes. formation au Studio International d’Opéra de Langford et Robert Dean. Il se produit

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fréquemment au Welsh National Opera où il a tutte) au Festival d’Aix-en-Provence et avec le également incarné le rôle de Cio-Cio San avec Welsh National Opera en 1992, et a chanté chanté les rôles de Dulcamara (L’elisir Pimlico Opera, Frasquita (Carmen) avec le l’Opera Lyrica, le Stowe Opera et le Welsh quelques rôles secondaires avec cette compagnie. d’amore), Swallow (Peter Grimes), Basilio Glyndebourne Touring Opera, Karolka, National Opera, et Hanna Glawari (Die Elle a créé le rôle de Kabanicha dans la Welsh (Il barbiere di Seviglia), Bonze (Madama Susanna et Barbarina au Welsh National lustigen Weiber von Windsor) au Royal Theatre National Opera MAX production. Butterfly), Dikoj (Kat’á Kabanová), et très Opera. de York. récemment Bartolo (Le nozze di Figaro). L’Orchestre du Welsh National Opera fut Alan Fairs a interprété de nombreux rôles Née à Bloxwich, Marion McCullough a étudié Née en Irlande, Imelda Drumm a étudié le fondé en 1970. Il figure parmi les meilleurs importants avec d’autres compagnies lyriques avec Constance Shacklock. Elle a chanté au chant avec Anne Marie O’Sullivan et Veronica orchestres britanniques, apprécié non et dans des festivals, notamment Don Alfonso Welsh National Opera les rôles de Flosshilde Dunne. Elle a complété ses études vocales au seulement pour ses interprétations superbes (Così fan tutte), Don Pasquale, Osmin (Das Rheingold ), Alisa (Lucia di Lammermoor), National Opera Studio de Londres grâce au dans un vaste répertoire lyrique mais aussi (Die Entführung aus dem Serail ), Sarastro Annina et Flora (La traviata), et Hänsel soutien du Glyndebourne Opera. pour son travail en concert et ses (Die Zauberflöte), Leporello (Don Giovanni ), (Hänsel und Gretel ). Les rôles de son répertoire incluent Kate enregistrements. Gremin (Eugène Onéguine), Oroveso (Norma), Pinkerton (Madama Butterfly), Hansel (Hansel Sous la direction de Richard Armstrong, Geronimo (Il matrimonio segreto), Falstaff Née dans le Staffordshire, Claire Hampton a und Gretel ), Dorabella (Così fan tutte), le rôle directeur musical de 1973 à 1986, l’orchestre (Falstaff et Die lustigen Weiber von Windsor) et étudié au Royal Northern College of Music de titre dans Carmen, Cherubino (Le nozze di développa un large répertoire lyrique. C’est à Alberich (Das Rheingold ). Manchester auprès de Teresa Cahill. Une Figaro), Béatrice (Béatrice et Bénédict ) au cette époque que Reginald Goodall travailla bourse de la Peter Moores Fondation lui a Welsh National Opera; Dorabella et pour la première fois avec l’ensemble. Sir Née dans le Sud du Pays de Galles, Charlotte permis de poursuivre ses études de troisième Cherubino au Festival de Glyndebourne; Charles Mackerras devint directeur musical en Ellett a étudié au Royal Northern College of cycle et d’approfondir ses connaissances des Cherubino, Isolier (Le Comte Ory) avec le 1987 et développa considérablement le Music de Manchester puis au National Opera langues et de l’opéra. Elle a chanté Dorinda Glyndebourne Touring Opera; le rôle titre programme d’enregistrements de l’orchestre. Studio de Londres grâce au soutien d’un (Orlando) et Susanna (Le nozze di Figaro) avec dans La Cenerentola avec l’English Touring Avant 1987, plusieurs intégrales d’opéras Wood/Peters Award en association avec le Floral Opera, et est membre du Chœur du Opera; et Carmen dans la production de avaient été gravées sous la direction de Richard Glyndebourne, la Peter Moores Foundation, le Welsh National Opera. Raymond Gubbay donnée au Royal Albert Bonynge, avec Joan Sutherland, Montserrat Sybil Tutton Award et le Countess of Munster Hall de Londres. Caballé et Pavarotti à la tÍte de distributions Award. Elle continue ses études avec Enid Née à Stoke-on-Trent, Rosie Hay a étudié au de carrure internationale. Sous Mackerras, Hartle, et participe depuis janvier 2004 au Collège de Musique de Leeds. Elle est devenue Née à Leicester, Sarah Pope a étudié à la l’orchestre enregistra Osud de Janácvek (CHAN programme Artiste Associate du Welsh membre du Chœur du Welsh National Opera Guildhall School of Music and Drama de 3019). Carlo Rizzi est directeur musical depuis National Opera. en 1992, et a chanté plusieurs rôles Londres et au Royal Northern College of Music 1992. En 1995, l’Orchestre du Welsh National Elle a chanté le rôle de Despina (Così fan secondaires avec cette compagnie. Elle a de Manchester. Elle est devenue membre du Opera remporta le Prix de musique de la

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Royal Philharmonic Society, dans la catégorie Mikado, The Pirates of Penzance, The Yeomen devint directeur musical de l’English National Stuart. “Grands ensembles”. of the Guard, Trial by Jury, Gloriana de Britten Opera (1970–1977), et au Welsh National Charles Mackerras a également fait et Osud de Janácˇek sous la direction de Opera dont il fut directeur musical de 1987 à d’importantes recherches dans le domaine de Le Chorus of Welsh National Opera (Chœur Charles Mackerras. Parmi les pièces de concert 1992. Il a été un défenseur de la musique de la musique du dix-huitième siècle, en de l’Opéra National du Pays de Galles) est un qu’il a enregistrées figurent Sea Drift de Janácˇek dans les capitales européennes, aux particulier Haendel et Mozart. Il a enregistré ensemble professionnel depuis 1968. Il a Delius, USA et en Australie. Jenu˚fa est l’une de ses une série consacrée aux opéras de Mozart et à travaillé avec le célèbre Voluntary Chorus The Vigil of Venus de George Lloyd et œuvres préférées. ceux de Gilbert et Sullivan, ainsi que les cycles (Chœur volontaire) jusqu’à 1973, date de sa Hiawatha de Coleridge-Taylor. Les tournées Il a entretenu une longue collaboration avec complets des symphonies de Mozart, dissolution. Le Voluntary Chorus était internationales du Chœur l’ont conduit à la Philharmonie tchèque et a enregistré à la Beethoven et Brahms, plusieurs oratorios de constitué de chanteurs amateurs qui se Paris, Tokyo, New York, Milan, Wiesbaden, tête de cette formation la plupart des œuvres Haendel et des symphonies de Mahler et réunirent en 1943 pour former le noyau de ce Lisbonne, Oporto, Berlin et Leipzig. pour orchestre de Janácˇek, ainsi que Kat’á Elgar. Il est actuellement chef principal invité qui allait devenir le Welsh National Opera. Il Kabanová et Rusalka de Dvorˇák. Sa vaste du Philharmonia Orchestra, chef lauréat du apparut clairement vers la fin des années 1960 Sir Charles Mackerras étudia au Conservatoire discographie inclut le cycle primé des opéras Scottish Chamber Orchestra et chef émérite que le Welsh National Opera devait devenir de Musique de Sydney et vint en Angleterre en de Janácˇek réalisé avec le Wiener du Welsh National Opera et du San Francisco un ensemble entièrement professionnel, et le 1947. Il obtint une bourse du British Council Philharmoniker au début des années 1980. Opera. Voluntary Chorus fut remplacé par le Chœur pour continuer ses études à l’Académie de Pour Chandos, il a enregistré la version Charles Mackerras fut nommé commandeur du Welsh National Opera. Sa réputation Musique de Prague. Son vif intérêt et sa originale de la Messe Glagolitique de Janácˇek, le de l’empire britannique (CBE) en 1974 et grandit rapidement, et son travail à l’opéra et passion pour la musique de Janácˇek Psalmus Hungaricus de Kodály et le Concerto anobli en 1979. Il a reçu la Médaille du en concert lui a valu de nombreux éloges, non commença en 1947 après avoir entendu pour violoncelle de Dvorˇák. Dans la série Mérite de la République tchèque en 1996 et seulement dans le répertoire traditionnel l’opéra Kat’á Kabanová dirigé par le in English, il a enregistré Osud, fait Companion of the Order of Australia en (Verdi par exemple), mais également dans des Václav Talich. La traviata, Werther, Julius Caesar et Mary 1997. En 2003, la reine Elizabeth II l’a ouvrages du vingtième siècle tels que C’est en qualité de chef assistant au Sadler’s nommé Companion of Honour. A Midsummer Marriage de Tippett et La Wells qu’il donna la première de Kat’á Maison des morts de Janácˇek. Kabanová dans un pays de langue anglaise en Le Chœur a enregistré de nombreux opéras 1951. Plus tard, il présenta L’Affaire incluant Andrea Chenier, Tristan und Isolde, Makropoulos et La Maison des morts au Sadler’s Parsifal, I Masnadieri, Norma, Hamlet, Ernani, Wells. Il continua à diriger des productions Anna Bolena, Adriana Lecouvreur, Tosca, très acclamées d’opéras de Janácˇek ainsi que Rigoletto, Faust, Un ballo in maschera, The des ouvrages du répertoire habituel quand il

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sulla fantasia di Janácˇek non era stata la storia trasformare una vicenda avvincente, ma Jenu˚fa, la sua figliastra dello scandalo, ma la complessità emotiva dei alquanto tradizionale in uno straziante dramma personaggi della Preissová. In particolare si era psicologico. Non c’è alcun accenno di quello Nel repertorio del teatro lirico ceco, non esiste domestico in quella lingua e il dramma La sua sentito solidale con il dilemma di Kostelnicˇka che verrà nei primi due progetti operistici di un’opera intitolata Jenu˚fa. Il primo capolavoro figliastra fece scandalo quando venne allestito (il cui nome significa sagrestano), un pilastro Janácˇek. Sˇárka è una normale epopea popolare, teatrale di Janácˇek è sempre noto in patria con nel 1890. Il pubblico rimase entusiasta del della comunità, di fronte a una vergogna una pallida imitazione di Smetana. Inizio di un il titolo del potente di Gabriela sinistro racconto di una ragazza di villaggio personale. In una scena fondamentale del romanzo – anch’esso basato su un dramma Preissová a cui si ispira: Její Pastorkynˇa, La sua che dà alla luce un figlio illegittimo, dramma, parlando dell’ex marito, uno della Preissová – è interessante per l’utilizzo figliastra. Queste tre parole forniscono un assassinato dalla matrigna per proteggere il suo spendaccione ubriaco di nome Tomásˇ Buryja, delle melodie popolari, ma goffo nella sua indizio importante sul potere duraturo onore e le sue prospettive matrimoniali. Il la donna esprime il timore che Sˇteva, costruzione. Lo stesso Janácˇek era anche troppo dell’opera. Jenu˚fa non è il dramma di una sola dilemma affrontato da Jenu˚fa oggi può innamorato di Jenu˚fa, nipote di Buryja, ha consapevole dei suoi difetti e in seguito eliminò eroina, ma la tragedia di due donne, prigioniere sembrarci lontano, ma nella Moravia rurale i tratti ereditati antipatici. Questo groviglio il brano. Jenu˚fa è un’opera di livello delle conseguenze dei propri sentimenti, come dell’Ottocento era una realtà penosamente di sentimenti contrastanti – senso di completamente diverso. Giulietta e Romeo o Antonio e Cleopatra. nota. In una piccola comunità chiusa spesso protezione, colpa, pietà e paura – sta al cuore La produzione di Janácˇek ebbe uno Jenu˚fa, la bella ragazza di campagna, vanitosa e venivano concepiti figli illegittimi da coppie del dramma e costituisce il nucleo dell’opera sviluppo tardivo e il compositore era già impulsiva, e Kostelnicˇka, la sua severa ed pubblicamente fidanzate, ma dare alla luce un di Janácˇek. quarantenne quando iniziò a lavorare all’opera. energica matrigna, affrontano due viaggi figlio prima delle nozze era un terribile Janácˇek si era sentito attratto dalle opere Il primo atto fu completato con fatica e paralleli attraverso la sofferenza, l’una verso una marchio di disonore. La tragica ironia del della Preissová quando era ancora sconosciuto e accantonato per otto anni prima di procedere sobria riconciliazione, l’altra verso la dramma sta nel fatto che il padre del bambino faceva il direttore di coro e l’insegnante in una oltre. Le prime scene contengono ancora disperazione e la soglia della follia. Se la di Jenu˚fa riesce a sfuggire all’arruolamento, zona povera dell’impero austro-ungarico. Come accenni dell’opera romantica tradizionale. La conclusione dell’opera è coronata dalla crescente rimanendo libero di sposare la donna, ma tanti suoi contemporanei nell’Europa centrale, melodia folcloristica accompagnata battendo i maturità di Jenu˚fa, è la decisione tormentata e questo gli viene impedito da Kostelnicˇka, era affascinato dalle tradizioni locali e le storie piedi dagli abitanti del villaggio e dalle reclute omicida di Kostelnicˇka nel secondo atto che scandalizzata dalla sua propensione della Preissova sulla vita rurale in Moravia che accompagnano Sˇteva, ubriaco, potrebbe rimane con noi anche quando è calata la tela. all’ubriachezza. Era inevitabile che il pubblico avevano fatto presa su un compositore essere facilmente scambiata per una danza Gabriela Preissová ebbe un piccolo ma si identificasse subito con la vicenda. profondamente impegnato a raccogliere e slava di Dvorˇák. Ma già le battute di apertura significativo ruolo nello sviluppo della L’opera teatrale fu tuttavia bollata dalla arrangiare la musica popolare del suo luogo di dell’opera fanno percepire l’originale mondo letteratura ceca. Le sue novelle e i suoi drammi critica come tranche de vie inconsistente, del nascita. Quello che è notevole a proposito di musicale di Janácˇek. Superficialmente imperniati sulla vita di un villaggio della tutto inadatta per un allestimento presso il Jenu˚fa è il modo magistrale in cui una persona l’ostinato dello xilofono descrive il movimento Moravia furono tra le prime opere di realismo Teatro nazionale. Ciò che aveva fatto presa di scarsa esperienza teatrale sia riuscita a incessante della ruota del mulino, ma a un

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livello più profondo ritrae lo stato d’animo di di costante malinconia in tutto l’atto. Invece, la trappola che si chiude su Kostelnicˇka, tessuto ambivalente, con un tenero assolo del Jenu˚fa e le tragedie che l’attendono. I colpi di tanto in tanto, il dolore della triste Janácˇek ritorna al suo espediente musicale primo violino che emerge dalla dissonanza implacabili della percussione si ripetono situazione delle due donne è attraversato da preferito: un tormentoso e costante ostinato orchestrale culminante. L’aria di Jenu˚fa, al suo quattro volte: prima quando Jenu˚fa teme che un’ambigua tenerezza. Quando Kostelnicˇka nell’orchestra. Il monologo della donna risveglio, quando la donna scopre che il la morte della sua piantina di rosmarino sia dice a Jenu˚fa che sarebbe meglio se Dio si quando Jenu˚fa è andata a letto è sottolineato bambino non c’è più, ha un respiro ancora più presagio di sventura, poi quando riflette riprendesse il bambino, un delicato tema del da nervose ripetizioni degli archi, dei corni e vasto e riunisce insieme materiale musicale tristemente sulla sua gravidanza indesiderata violoncello la contraddice. Mentre la donna dell’arpa. La stessa combinazione di strumenti delle scene precedenti, raggiungendo uno dopo la cacciata di Sˇteva. Ritornano per una somministra a Jenu˚fa il sonnifero, un nobile in un ritmo simile ritorna quando Jenu˚fa, spaventoso culmine quando, al suo ritorno, terza volta quando Jenu˚fa teme che Sˇteva motivo sulle arpe e legni evoca il futuro diverso ormai in preda all’effetto del sonnifero, grida Kostelnicˇka bussa alla finestra. Le capacità da l’abbia lasciata per un’altra donna e infine che la donna avrebbe sognato per Jenu˚fa prima nel sonno, e ancora una volta in poco sviluppate da Janácˇek nel dare forma a poco prima che il geloso Laca le sfregi il viso. che la gravidanza indesiderata della fanciulla ternario all’arrivo di Laca, chiamato da enormi paragrafi drammatici portano avanti il Forniscono l’impalcatura musicale sui cui avesse steso una pesante coltre sulle loro vite. Kostelnicka. dramma fino alla conclusione di questo atto e poggia il primo atto. L’azione drammatica In contrasto con l’animazione bucolica del È come se Janácˇek avesse costruito una il terrore colpevole di Kostelnicˇka emerge viene costruita con altrettanta sicurezza. La primo atto, nel secondo sono presenti solo i prigione musicale: l’unica via d’uscita è la chiaramente mentre i timpani riprendono il trama originale della Preissová non quattro protagonisti. C’è anche un quinto porta attraverso la quale Kostelnicˇka si motivo dei suoi colpi alla finestra e li sfigurerebbe in una soap opera, mentre il personaggio che si sente, ma non si vede – il precipita, portando il bambino ancora trasformano in una fragorosa ritirata. libretto di Janácˇek riduce la vicenda all’osso e, bambino addormentato, evocato dai teneri addormentato per annegarlo nella gora del L’intensità emotiva di questo atto richiama in tal modo, rivela il tessuto nervoso dei frammenti melodici di sapore popolare mulino. Il monologo che precede l’infanticidio alla mente le opere pucciniane della maturità quattro personaggi principali. associati a lui, che emergono costantemente è uno dei più notevoli risultati del ed è affascinante pensare che il compositore Quando si alza il sipario sul secondo atto, dalle cupe armonie. La partitura dell’intero compositore, dal suo esordio tormentato, toscano e quello moravo lavorassero scritto otto anni dopo il primo, la magistrale atto fa pensare al nodo del fato che si stringe accompagnato da cristalline armonie degli simultaneamente a melodrammi incentrati su arte teatrale del compositore è ormai evidente. intorno alla gola di Kostelnicˇka. Ma è un archi, alla sua disperata conclusione, dove alle giovani donne abbandonate dai padri dei loro Con le note d’apertura – un brusco accordo cappio che la donna si è creata da sé. Non arpe onnipresenti e ai corni si aggiunge, urlato, bambini. A separare Jenu˚fa dalla Madama fortissimo e un vibrante tremolo degli archi – essendo a conoscenza della condizione della il fortissimo delle trombe. Ma anche qui Butterfly, però, è l’assoluta manza di entriamo nella buia e angusta abitazione di figliastra, ha cacciato Sˇteva per il suo Janácˇek si rifiuta di incamminarsi verso sentimentalità di Janácˇek. Nell’ultimo atto il Kostelnicˇka. I selvaggi staccati degli archi che comportamento volgare e irresponsabile. l’ovvio. Le frasi che accompagnano l’appello a compositore ritorna alle melodie popolari che seguono incidono la melodia come un bisturi. Adesso deve chiedergli in ginocchio di sposare Dio di Kostelnicˇka hanno una nobiltà dominano il primo atto, ma la presenza Un compositore meno sicuro del fatto suo Jenu˚fa, e quando il tentativo fallisce, deve spaventosa e, quando la donna esce di scena, tristemente meditativa della donna ormai sarebbe stato tentato di diffondere un’atmosfera rivolgersi per disperazione a Laca. Per illustrare Janácˇek intreccia terrore e tenerezza in un spezzata che è Kostelnicˇka, sulla scena e nelle

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torturate armonie dell’orchestra, serve sempre accettare tagli e rifacimenti dell’orchestrazione Io legherei Jenu˚fa con il nastro nero della lunga “mugnaio” aveva sposato la vedova Klemenˇ, ad avvelenare l’atmosfera. Il motivetto per smussare il selvaggio impatto dell’originale. malattia, della sofferenza e dei sospiri di mia che aveva già un figlio, Laca Klemenˇ. La disinvolto con cui inizia l’atto è sostenuto da Le cose furono rese ancora più difficili dal figlia Olga e del mio figlioletto Vladimir. coppia poi aveva avuto un figlio proprio, un altro ostinato, come se il fato spingesse i fatto che il direttore dell’opera di Praga, Karel Ormai vicina alla morte, Olga aveva chiesto al Sˇteva, erede del mulino e della fortuna della giovani sposi verso una catastrofe. Con il Kovarovic, era stato criticato dal compositore padre di suonare la partitura di Jenu˚fa. Alla famiglia alla morte dei genitori. Sˇteva è un bel progredire dell’atto il conflitto tra i familiari quando era studente. Alla sua opposizione si fine Janácˇek realizzò degli abbozzi musicali ragazzo biondo ma gli piacciono le donne e motivi popolari e le cupe armonie di Jen?fa aggiungeva anche la sfavorevole opinione che delle ultime parole rotte della figlia. l’alcool. Il fratellastro, Laca Klemenˇ, bruno e rispecchia il contrasto tra i tradizionali costumi Praga, capitale cosmopolita, aveva Sembrerebbe una reazione strana, quasi sensibile, si sente trascurato e ignorato dai colori vivaci degli abitanti del villaggio e il tradizionalmente della provinciale Brno. spietata, ma attraverso la sua opera, la musica dall’intera famiglia Buryja. lutto dell’eroina. Quando il piccolo Jano La partitura modificata richiesta da diede al compositore una distanza obiettiva Anche Tomásˇ, fratello minore del mugnaio, è irrompe per annunziare che sotto il ghiaccio è Kovarovic continuò a essere eseguita in che non era stato capace di raggiungere nella morto. Si era sposato due volte e dalla prima stato scoperto un corpicino assiderato è un Cecoslovacchia per quasi un secolo. Solo nel sua vita. Proprio questa capacità di trasformare moglie aveva avuto una figlia, Jenu˚fa colpo, ma non una sorpresa. 2004, in occasione del centenario dell’opera, un tale dolore in arte immortale fa di Janácˇek Buryjakova. Rimasto vedovo, si era risposato L’obiettività di Janácˇek persiste fino alla Brno ha potuto finalmente riascoltare la musica uno dei giganti del melodramma mondiale. con la sagrestana Kostelnicˇka. Il matrimonio fine. Dopo la confessione di Kostelnicˇka e il come il compositore desiderava, grazie non era stato felice, perché Tomásˇ si era rivelato perdono della figliastra, la musica acquista un all’ispirata difesa del direttore di questa © 2004 Dennis Marks violento e irascibile, spendaccione e ubriacone. calore stoico mentre i due giovani meditano registrazione, sir Charles Mackerras. Solo Traduzione: Emanuela Guastella Matrigna e figliastra sono comunque molto sul loro futuro di coppia e sulle prove che li quando ascoltiamo l’opera senza tagli, senza vicine e si vogliono bene. Jenu˚fa chiama attendono. Tuttavia questa non è una facile legni aggiunti e addolcimenti degli austeri Antefatto Mamicˇko (mammina) la matrigna e catarsi. Non sarebbe possibile per un rapporto contorni di Janácˇek senza corni eroici al posto È la fine dell’Ottocento. Veborany, un Kostelnicˇka, donna timorata di Dio ma costruito su tanta sofferenza. A un secolo di dei severi tromboni della scena finale, possiamo villaggio di montagna in Moravia, è una autoritaria, è molto orgogliosa della figliastra. distanza noi diffidiamo delle disinvolte veramente apprezzare la nuda schiettezza del piccola comunità rurale stretta. Il mulino soluzioni romantiche, ma per i contemporanei suo primo melodramma a pieno titolo. La locale è di proprietà della famiglia Buryja e la COMPACT DISC ONE di Janácˇek la severa conclusione e la musica in composizione di Jenu˚fa coincise con gli anni vicenda è imperniata sui complessi rapporti cui viene espressa furono difficili da accettare. più dolorosi della vita di Janácˇek, che videro il all’interno di questo gruppo. Atto I Sebbene la sua città natale di Brno accogliesse disintegrarsi del suo matrimonio e la perdita Il mulino dei Buryja Jenu˚fa, furono necessari dodici anni e molto della figlia, morta di tifo. Fu il prodotto di una Albero genealogico Un tramonto alla fine di agosto lavoro dietro le quinte prima che venisse lotta personale oltre che artistica, come scrisse I coniugi Buryja avevano avuto due figli: il 1 Nonna Buryja e Laca lavorano. Jenu˚fa allestita a Praga e Janácˇek fu costretto ad il compositore stesso nella sua autobiografia: mugnaio, primogenito ed erede, e Tomásˇ. Il attende ansiosamente il ritorno di Sˇteva che ha

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ricevuto la chiamata per il servizio di leva. Se appartiene. 7 Quando è uscito, Laca figliastra, ma il bambino è nato sano e adesso con una menzogna, dicendo che il bambino è sarà arruolato non potranno sposarsi per gelosamente punzecchia Jenu˚fa dicendole che la donna pensa che sia necessario chiedere a morto. qualche tempo e la sua gravidanza sarà Sˇteva l’ama solo per il suo bel viso e le guance Sˇteva di sposare Jenu˚fa. Così gli ha mandato scoperta. L’unica persona a conoscenza del suo rosee. Guarda il coltello che usa per lavorare. un messaggio chiedendogli di venire a trovarla COMPACT DISC TWO stato è proprio Sˇteva, il futuro padre. Se la “Pensa come sarebbe facile per me rovinarti quella sera. 11 Al suo arrivo gli rimprovera di gravidanza venisse scoperta Jenu˚fa, secondo i quelle guance”. Tenta di baciarla, litigano e lui non aver mai chiesto notizie del bambino. Lui 1 Rimasta sola Kostelnicˇka in preda principi dell’epoca, rischierebbe la lapidazione “accidentalmente” le sfregia la guancia con il si scusa e si offre di mantenere il bambino, a all’agitazione cerca di decidere il da farsi. Non e la dannazione eterna. coltello. condizione che non venga rivelata la sua può portare lontano il bambino, che Laca, innamorato di Jenu˚fa fin dall’infanzia, paternità. La donna lo supplica di sposare rappresenterà sempre una vergogna e un la osserva con tormento: è geloso dei suoi Atto II Jenu˚fa e riconoscere il bambino, per non disonore. Decide di “inviarlo a Dio”, sentimenti per Sˇteva. La casa di Kostelnicˇka sul fiume. Cinque mesi coprire il suo nome e quello di Jenu˚fa di seppellendolo nel fiume ghiacciato. Il corpo Il pastorello Jano ringrazia Jenu˚fa che gli ha dopo vergogna. Sˇteva scoppia a piangere e risponde sarà portato via al disgelo. In questo modo lei insegnato a leggere. 2 – 3 Il capo del Una sera alla fine di gennaio che Jenu˚fa ultimamente è cambiata, non è più e Jenu˚fa non andranno incontro al disonore. mulino viene a riferire che Sˇteva non è stato 8 – 9 Sono passate venti settimane da dolce e gentile ed è diventata ipersensibile ed Prende il bambino e si precipita fuori nella arruolato dopo tutto. quando Jenu˚fa ha finalmente rivelato la esigente, come Kostelnicˇka. La sua bellezza è notte, chiudendosi dietro la porta. 4 Arriva Sˇteva, ubriaco e accompagnato da propria gravidanza alla matrigna. Per salvare sfigurata dalla cicatrice sulla guancia. Lui non 2 Jenu˚fa si sveglia, con la mente ancora una e dai giovani di leva. 5 Tutti entrambe dal disonore, Kostelnicˇka l’ha l’ama più e adesso è fidanzato con la figlia del leggermente annebbiata dal sonnifero. danzano e cantano con gli operai del mulino, nascosta nella stanza sul retro della casa e ha sindaco, Karolka. Jenu˚fa grida nel sonno e Inizialmente si dispera perché non riesce a ma la baldoria viene interrotta da Kostelnicˇka. raccontato a tutti che Jenu˚fa è andata a cercare Sˇteva si precipita fuori. trovare né la sua Mamicˇko né il suo bambino, La donna considera Sˇteva un marito inadatto lavoro a Vienna. Il bambino è nato otto giorni 12 Laca, che è venuto regolarmente a fare alla fine immagina allegramente che la per l’amata figliastra, potenzialmente prima. La ragazza lo ha chiamato Sˇteva e visita alla donna nel corso dei mesi, vede Sˇteva matrigna abbia portato il bambino al mulino spendaccione e violento come era stato suo Kostelnicˇka l’ha battezzato. uscire e viene a chiedere se Jenu˚fa è tornata da per farlo vedere. Prega per il bambino. marito, zio del giovane. Non sapendo che Kostelnicˇka ricorda ancora a Jenu˚fa la sua Vienna e se sta per sposarsi con Sˇteva. È 3 Kostelnicˇka ritorna: ha le mani gelate e Jenu˚fa è incinta, Kostelnicˇka rimanda le nozze colpa e le dice di pregare Dio perché le porti sempre innamorato e Kostelnicˇka l’ha non riesce ad aprire la porta. Bussa alla di un anno, durante il quale Sˇteva dovrà via il bambino. Jenu˚fa è sconvolta e si sente incoraggiato. La matrigna gli rivela la verità: finestra, butta dentro la chiave e Jenu˚fa la fa smettere di bere. 6 Quando i due giovani male. Kostelnicˇka le offre un sonnifero e Jenu˚fa è nascosta in casa e ha appena dato alla entrare. Kostelnicˇka dice a Jenu˚fa che ha avuto sono rimasti soli insieme, Sˇteva si vanta di Jenu˚fa si ritira per la notte. luce un figlio di Sˇteva. Laca è sconvolto. la febbre per due giorni e che il bambino è avere ai suoi piedi tutte le ragazze, ma Jenu˚fa 10 Per cinque mesi Kostelnicˇka ha pregato Kostelnicˇka non può pretendere che lui morto. Jenu˚fa piange silenziosamente e chiede ribatte in maniera possessiva che lui le per un’interruzione della gravidanza della prenda il figlio di Sˇteva. La donna gli risponde se Sˇteva è venuto. Kostelnicˇka le parla della

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sua visita, del suo disinteresse per Jenu˚fa e per persone che minacciano di linciarla per all’Opéra di Parigi; la contessa Almaviva; Carmina Burana di Orff, Ellen Orford nella il bambino e delle sue prossime nozze con l’infanticidio; Laca la difende e riesce appena a Vitellia all’Opera delle Fiandre; Daphne e premiata registrazione Chandos del Peter Karolka. Consiglia a Jenu˚fa di preferire Laca, trattenere gli altri. Arabella di Strauss ed Elettra (Idomeneo) al Grimes diretta da Richard Hickox, il Gloria di che sa del del bambino e della sua morte e che Tutti ammutoliscono quando Kostelnicˇka festival di Santa Fe; Daphne, Arabella ed Eva Poulenc per Chandos, la Missa Sabrinensis di l’ha perdonata. 4 Laca ritorna e Jenu˚fa distoglie ogni sospetto da Jenu˚fa e confessa il (Die Meistersinger von Nürnberg) per l’Opera Howells diretta da Gennady Rozhdestvensky, e accetta di sposarlo. Kostelnicˇka li benedice, proprio delitto. Karolka capisce che il padre di San Francisco; Pamina per l’Opera il ruolo di Helena in A Midsummer Night’s ma si lascia prendere dall’isteria quando la del piccolo morto è Sˇteva e rifiuta di sposarlo. nazionale della Baviera; Ellen Orford al Dream diretta da sir Colin Davis. finestra viene improvvisamente spalancata dal Laca biasima se stesso. Kostelnicˇka completa la Covent Garden, l’Opera di Vienna, l’Opera vento. confessione ammettendo che adesso si rende dei Paesi Bassi e con la London Symphony Dame Josephine Barstow è un’artista di conto di aver pensato più al proprio onore e al Orchestra; la contessa Almaviva a Lione, altissima levatura. La sua illustre carriera Atto III proprio buon nome che a quello di Jenu˚fa e Monaco, per la Deutsche Staatsoper di Berlino riunisce apprezzate interpretazioni di Salome, La casa di Kostelnicˇka supplica la figliastra di perdonarla. 15 Jenu˚fa e il New National Theatre di Tokyo; Micaela Tosca, le due Lady Macbeth di Verdi e Mattina comprende, perdona e chiede a Dio di per la Lyric Opera di Chicago e la Shostakovich e una vastissima serie di ruoli da 5 – 9 È il giorno delle nozze di Jenu˚fa e confortare la matrigna. Il sindaco accompagna Metropolitan Opera e la Marschallin per Mozart a Janácˇek passando per Beethoven, Kostelnicˇka non ha ancora ripreso il controllo Kostelnicˇka in tribunale. 16 Jenu˚fa chiede a English National Opera Verdi, Puccini e Richard Strauss. Nel 1986 di sé. È stata ammalata e soffre di attacchi di Laca di lasciarla; non è degna di lui. Ma Nell’arco della sua carriera concertistica è svolgeva una tournée dell’allora Unione terrore e di manie. Jenu˚fa e Laca hanno l’uomo risponde che l’ama ancora e non vuole comparsa, tra l’altro, con la Boston Symphony Sovietica con tappe a Tbilisi, Riga e al teatro invitato Sˇteva, la sua fidanzata Karolka e i abbandonarla. La donna accetta con gioia. Orchestra diretta da Roger Norrington e Bolshoi di Mosca. Ha creato il ruolo di genitori di lei, il sindaco con la moglie. André Previn, la San Francisco Symphony protagonista alla prima mondiale di Die Le nozze saranno molto semplici, con © 2004 Barbara Johnstone diretta da Michael Tilson-Thomas, la London schwarze Maske al festival di Salisburgo; a grande disappunto di Karolka e di sua madre. Traduzione: Emanuela Guastella Symphony Orchestra diretta da sir Colin questa manifestazione veniva poi nuovamente 10 Alcuni lavoratori del mulino, non invitati, Davis, André Previn e Riccardo Chailly, invitata da Karajan per Tosca e Un ballo in vengono a cantare e fare gli auguri a Jenu˚fa. Janice Watson ha studiato presso la Guildhall l’Orchestre de Paris con Frans Brüggen, maschera. Si è esibita all’Opéra di Parigi, alla 11 – 13 Mentre Kostelnicˇka sta per benedire School of Music and Drama e si è in l’Academy of St Martin-in-the-Fields con sir Bayerische Staatsoper di Monaco, alla English la coppia, si sentono delle grida. I lavoratori luce per la prima volta vincendo il concorso Neville Marriner, la London Philharmonic National Opera e alla Royal Opera House, della birreria che tagliavano ghiaccio sul fiume intitolato a Kathleen Ferrier. È ospite regolare Orchestra e Bernard Haitink e la Chicago Covent Garden. Negli Stati Uniti ha anche hanno trovato un neonato morto, congelato. della Welsh National Opera e della English Symphony e l’Orchestra del Concertgebouw, cantato alla Metropolitan Opera di New York, Dai vestiti del bambino Jenu˚fa capisce che si National Opera. Ha cantato Musetta alla entrambe dirette da Riccardo Chailly. oltre che a San Francisco, Chicago e Houston. tratta del piccolo Sˇteva. 14 Si radunano Royal Opera House, Covent Garden; Pamina Le sue numerose registrazioni comprendono Nel 1985 è stata nominata “Commander of

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the British Empire” e nel 1995 “Dame of the Peter Wedd ha studiato presso la Guildhall of London Sinfonia, Northern Sinfonia e Opera Factory, Septimus (Theodora) per British Empire”. School of Music and Drama con William Bournemouth Symphony. Peter Wedd è Glyndebourne e Golo nella Genoveva di Altri impegni comprendono il ruolo di McAlpine e poi presso il National Opera comparso al festival del Covent Garden e a Schumann per la Garsington Opera. La sua protagonista nella Salome per l’Opera dei Paesi Studio. È stato solista della compagna alla quello di Edimburgo e all’estero ai festival di collaborazione con i compositori viventi lo ha Bassi e Kostelnicˇka per English National Royal Opera, Covent Garden dal 1999 al Maribor in Slovenia e di Cernier in Svizzera. visto interprete della prima mondiale olandese Opera, Opera North e Opera delle Fiandre; 2001 ed è regolarmente ospite della Welsh La discografia per la serie Opera in English e nel Regno Unito di Wolf Cub Village di Guo Emilia Marty (L’affare Makropoulos) per la National Opera. Nelle vesti di solista della comprende Turandot e The Flying Dutchman. Wenjing, Kantan e Damask Drum di Alexander Welsh National Opera; Amelia (Un ballo in Royal Opera ha cantato Ywain (Gawain and Goehr, Tojiraretta Fune di Make Ishi (prima maschera) per il Festival di Hong Kong; the Green Knight) e Kudrjas (Kat’á Kabanová). Nigel Robson è nato in Scozia (Argyleshire) e mondiale) e The Maids di John Lunn. Tosca per Opera North; Ellen Orford (Peter Alla Welsh National Opera ha interpretato, tra ha studiato con Alexander Young e Gustave Le apparizioni in concerto comprendono Grimes) per la Royal Opera House, Covent l’altro, i ruoli di Don José (Carmen), Tamino Sacher. È considerato uno dei più versatili Venetian Journal di Bruno Maderna, Garden e Palermo, Anna Maurrant (Street (Die Zauberflöte), Don Ottavio (Don tenori lirici della Gran Bretagna e il suo La passione secondo san Giovanni di Bach, Scene) per il Teatro Nacional de Saõ Carlos di Giovanni) e Laca (Jenu˚fa). repertorio operistico e concertistico spazia da Judas Maccabeus, Jephtha di Handel, la Spring Lisbona. Ha cantato regolarmente con Opera Altre apparizioni nel Regno Unito e in Monteverdi alle composizioni più moderne. Symphony di Britten, Renard di Stravinskij, North, interpretando tra l’altro i ruoli di Irlanda hanno compreso Federico (L’Arlesiana) Particolarmente apprezzate sono le sue Das Lied von der Erde di Mahler, il War protagonista in Medea e Aida, Alice Ford e Plutone (Orphée aux enfers) per Opera interpretazioni di Britten. Requiem di Britten, The Dream of Gerontius di (Falstaff ), Marie (Wozzeck) ed Elisabetta I in Holland Park, Kyska (Sˇarkatán) e Julius Gli impegni teatrali hanno compreso Bajazet Elgar, Die schöne Müllerin di Schubert. Gloriana, allestita presso la Royal Opera (I cavalieri di Ekebù) al Wexford Festival, (Tamerlano) a Drottningholm, il ruolo di La discografia di Nigel Robson comprende House, Covent Garden. Ha inoltre Satyavan (Savitri) al Festival di Aldeburgh e protagonista in Peter Grimes per la Nationale Tamerlano, Jephtha e Alexander’s Feast di interpretato il ruolo di Miss Wingrave nella Rodolfo, in un nuovo allestimento della Reisopera in Olanda; Captain Vere (Billy Budd) Handel, Orfeo, L’incoronazione di Poppea e i versione televisiva di Owen Wingrave diretto Bohème alla Royal Albert Hall di Londra, che per la Canadian Opera Company; Laca e Vespri del 1610 di Monteverdi, Songs for da Kent Nagano. ha riscosso grande successo. Peter Wedd ha Captain Vere per la Welsh National Opera; il Dov di Tippett, Idomeneo di Mozart e, per Attualmente la sua discografia cantato Tamino e Eisenstein (Die Fledermaus) ruolo di protagonista ne Il ritorno d’Ulisse in Chandos, The Rape of Lucretia di Britten, comprende due dischi di recital, Marie per la European Chamber Opera e Lysander patria a Lisbona e per Opera North; il ruolo di Troilus and Cressida di Walton e Mass of Life (Wozzeck) per la serie Opera in English di (A Midsummer Night’s Dream) per il Lyric protagonista in Idomeneo alla Bayerische di Delius. Chandos, Street Scene, la Nona Sinfonia di Theatre di Singapore. Staatsoper di Monaco; il Coro maschile (The Beethoven, Gloriana di Britten diretta da Il tenore è molto richiesto nei concerti e ha Rape of Lucretia) al Grand Théâtre di Tours; Elizabeth Vaughan è nata in Galles e ha sir Charles Mackerras, e Lady Billows in collaborato con orchestre tra cui London Pandarus (Troilus and Cressida) per Opera studiato alla Royal Academy of Music dove ha Albert Herring. Philharmonic, Royal Scottish National, City North; la Madwoman (Curlew River) per vinto i premi più importanti, compresa

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l’ambita borsa di studio intitolata a Kathleen Croissy (Dialogues of the Carmelites) per la Covent Garden; L’Allegro di Handel per (Die Zauberflöte), Leporello (Don Giovanni), Ferrier. Ha esordito in teatro con la Welsh English National Opera e la Welsh National English National Opera; Radamisto di Handel Gremin (Eugenio Onieghin), Oroveso (Norma), National Opera dove è stata molto apprezzata Opera, interpretazioni in concerto di Hansel per l’Opéra de Marseille; Theodora di Handel Geronimo (Il matrimonio segreto), Falstaff la sua interpretazione di Abigaille (Nabucco). and Gretel con la City of Birmingham con Les Arts Florissants e William Christie (Falstaff e Le allegre comari di Windsor)e Per la Royal Opera ha interpretato numerosi Symphony Orchestra diretta da Mark Elder, e (Parigi e Salisburgo); Orlando di Handel con il Alberich (Das Rheingold ). ruoli tra cui Cio-Cio San (Madama Butterfly), interpretazioni in concerto di Salome con la Gabrieli Consort; Leporello per Scottish Violetta (La traviata), Leonora (Il trovatore), Philharmonia Orchestra presso la sala dei Opera e Opéra de Quebec; Guglielmo (Così Nata nel Galles meridionale, Charlotte Ellett Abigaille (Nabucco), Donna Elvira (Don concerti di Atene. A livello internazionale la fan tutte) Leporello e Dulcamara (L’elisir ha studiato presso il Royal Northern College Giovanni), Gilda (Rigoletto), Euridice (Orfeo) e sua carriera l’ha portata alla Metropolitan d’amore) per la Welsh National Opera. Music e poi presso il National Opera Studio Teresa (Benvenuto Cellini). Opera di New York, a Vienna, Parigi, La discografia include A Midsummer Night’s con l’appoggio del Wood/Peters Award in Elizabeth Vaughan ha fatto ritorno alla Amburgo, Monaco, Praga, Marsiglia, Atene, Dream di Britten diretta da sir Colin Davis, associazione con Glyndebourne, Peter Moores Welsh National Opera come ospite, Montreal, Firenze, Pisa, Sydney e in Sud Messiah, Theodora e Saul di Handel diretti da Foundation, The Sybil Tutton Award e The interpretando molti ruoli di protagonista in America. Paul McCreesh, le Cantate di Vivaldi e Countess of Munster Award. Prosegue i suoi opere tra cui Manon Lescaut, La forza del La discografia comprende momenti salienti L’Allegro di Handel diretti da Robert King, e studi con Enid Hartle e nel gennaio 2004 ha destino, Madama Butterfly, La traviata, Andrea da Der Rosenkavalier per la serie Opera in canzoni di Dutilleux dirette da Yan Pascal iniziato un programma come Artista associata Chenier e The Doctor of Myddfai di Peter English di Chandos. Tortelier per Chandos. per la Welsh National Opera. Maxwell Davies. Ha lavorato spesso con I ruoli teatrali comprendono Despina English National Opera, Opera North e Neal Davies è nato a Newport, nella regione Alan Fairs ha studiato privatamente con (Così fan tutte) per il Festival di Aix-en- Scottish Opera interpretando, tra l’altro, Aida, gallese del Gwent, e ha studiato presso il Audrey Langford e Robert Dean. È spesso Provence e la Pimlico Opera, Frasquita Fidelio, Madama Butterfly, Tosca, Macbeth, King’s College di Londra e la Royal Academy ospite della Welsh National Opera per cui ha (Carmen) per la Glyndebourne Touring Opera, La traviata, Il trittico e Peter Grimes (Auntie). of Music, di cui è stato nominato Fellow nel interpretato i ruoli di Dulcamara (L’elisir Karolka, Susanna e Barbarina per la Welsh Dal 1990 canta da mezzosoprano e ha 2003. Si è perfezionato presso l’International d’amore), Swallow (Peter Grimes), Basilio National Opera. ottenuto grandissime lodi dalla critica per le Opera Studio di Zurigo con l’appoggio di (Il barbiere di Siviglia), il bonzo (Madama sue interpretazioni, in particolare nel ruolo di dame Gwyneth Jones. È ospite regolare del Butterfly), Dikoj (Katá Kabánova), e Marion McCullough è nata a Bloxwich e ha Herodias (Salome) interpretato per la Scottish Festival di Edimburgo e dei Prom della BBC. ultimamente Bartolo (Le nozze di Figaro). studiato con Constance Shacklock. I ruoli per Opera, la Welsh National Opera (nel Regno La sua attività teatrale ha compreso Platée di Per altre compagnie e festival ha interpretato la Welsh National Opera comprendono Unito e in tournée in Giappone) e inoltre con Rameau diretta da McGegan, Giulio Cesare di numerosi ruoli importanti tra cui Don Alfonso Flosshilde (Das Rheingold ), Alisa (Lucia di l’Opéra Bastille a Parigi e in Corea del Sud. Handel diretto da Ivor Bolton e Figaro ne Le (Così fan tutte), Don Pasquale, Osmin Lammermoor), Annina e Flora (La traviata), e Altri impegni hanno compreso Madame de nozze di Figaro, tutte allestite alla Royal Opera, (Die Entführung aus dem Serail), Sarastro Hänsel (Hänsel und Gretel ).

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Claire Hampton è nata nella regione dello protagonista in Carmen, Cherubino (Le nozze musicale passava a sir Charles Mackerras e gli in concerto è molto apprezzata non solo Staffordshire e ha studiato presso il Royal di Figaro), Beatrice (Beatrice and Benedict) per impegni di registrazione dell’orchestra nel repertorio tradizionale come quello Northern College of Music con Teresa Cahill. Welsh National Opera; Dorabella e Cherubino cominciavano ad ampliarsi notevolmente. In verdiano, ma anche nella produzione del Ha ottenuto una borsa di studio della Peter per la Glyndebourne Festival Opera; precedenza erano state registrate diverse opere Ventesimo secolo, in opere come Moores Foundation che le ha consentito di Cherubino, Isolier (Le Comte Ory) per la in versione integrale con Richard Bonynge e A Midsummer Marriage di Tippett e Da una perfezionarsi e proseguire nello studio delle Glyndebourne Touring Opera; il ruolo di Joan Sutherland, Montserrat Caballé e casa di morti di Janácˇek. lingue e della lirica. Ha interpretato i ruoli di protagonista ne La Cenerentola per English alla testa di cast di Il Coro ha registrato numerose opere tra cui Dorinda (Orlando) e Susanna (The Marriage Touring Opera; e Carmen per Raymond prim’ordine. Con Mackerras l’orchestra ha Andrea Chenier, Tristan und Isolde e Parsifal, of Figaro) per la Floral Opera e fa parte del Gubbay alla Royal Albert Hall. registrato Osud di Janácvek (CHAN 3019). I Masnadieri, Norma, Hamlet, Ernani, Anna Coro della Welsh National Opera. Carlo Rizzi è Direttore musicale dal 1992. Nel Bolena e Adriana Lecouvreur, Tosca, Rigoletto, Sarah Pope è nata a Leicester e ha frequentato 1995 l’Orchestra della Welsh National Opera Faust e Un ballo in maschera oltre a The Rosie Hay è nata a Stoke-on-Trent e ha la Guildhall School of Music e il Royal si è aggiudicata il premio della Royal Mikado, The Pirates of Penzance, The Yeomen of studiato presso il City of Leeds College of Northern College of Music. È entrata alla Philharmonic Society Music, nella categoria the Guard, Trial by Jury, Gloriana di Britten e Music. È entrata nel Coro della Welsh Welsh National Opera nel 1992 e ha Large Ensemble. Osud di Janácek con Mackerras. Tra i brani da National Opera nel 1992 e ha cantato diversi interpretato diversi ruoli secondari per la concerto registrati sono Sea Drift di Delius, ruoli secondari per la compagnia. Ha inoltre compagnia. Ha creato il ruolo di Kabanicha Il Coro della Welsh National Opera è nato The Vigil of Venus di George Lloyd e Hiawatha interpretato il ruolo di Cio-Cio-San per Opera nella commissione WNO MAX. nel 1968 come organizzazione professionale e di Coleridge-Taylor. All’estero il coro ha svolto Lyrica, Stowe Opera e Welsh National Opera, ha lavorato con il famoso Voluntary Chorus alcune tournée a Parigi, Tokyo, New York, e Hanna Glawari (La vedova allegra) per il L’Orchestra della Welsh National Opera, della compagnia fino al 1973, finché Milano, Wiesbaden, Lisbona, Oporto, Berlino Theatre Royal di York. fondata nel 1970, è considerata una delle quest’ultimo venne sciolto. Il Voluntary e Lipsia. migliori orchestre britanniche, molto Chorus era composto di cantanti dilettanti che Imelda Drumm è nata in Irlanda e ha studiato apprezzata per il un vasto repertorio operistico si erano riuniti nel 1943, creando il nucleo di Sir Charles Mackerras ha studiato presso il canto con Anne Marie O’Sullivan e Veronica e anche per i concerti e le registrazioni. quella che sarebbe divenuta la Welsh National Conservatorio di Sydney e si è trasferito in Dunne. Ha completato gli studi di canto Dal 1973 al 1986, sotto la guida del suo Opera. Alla fine degli anni Sessanta era ormai Inghilterra nel 1947. Ha ottenuto una borsa di presso il National Opera Studio con direttore musicale Richard Armstrong, chiaro che la WNO stava per diventare una studio del British Council per proseguire gli l’appoggio della Glyndebourne Opera. l’orchestra ha sviluppato un vasto repertorio compagnia di professionisti e il Voluntary studi presso l’Accademia Musicale di Praga. I suoi ruoli comprendono Kate Pinkerton operistico. A questo periodo risale la prima Chorus fu sostituito dal Coro della Welsh Nel 1947 nasceva il suo appassionato interesse (Madama Butterfly), Hänsel (Hänsel und collaborazione di Reginald Goodall con National Opera. La reputazione del Coro è per Janácˇek, dopo aver ascoltato la Kat’á Gretel ), Dorabella (Così fan tutte), il ruolo di l’orchestra. Nel 1987 la carica di Direttore cresciuta rapidamente e la sua attività teatrale e Kabanová diretta dal grande Václav Talich.

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In qualità di vicedirettore d’orchestra a Psalmus Hungaricus di Kodály e il Concerto Sadler’s Wells nel 1951 Mackerras proponeva la per violoncello di Dvorˇák. Per la serie Opera

prima esecuzione di Kat’á Kabanová nel mondo in English ha registrato Osud, La traviata, Barda Clive anglofono. Il seguito avrebbe presentato L’affare Werther, Julius Caesar e Mary Stuart. Makropoulos e Da una casa di morti a Sadler’s Sir Charles Mackerras ha svolto inoltre Wells; avrebbe poi continuato a dirigere le ricerche approfondite sulla musica del XVIII opere di Janácˇek in allestimenti di grande secolo, soprattutto quella di Handel and successo, oltre a un repertorio più tradizionale Mozart. Ha registrato opere di Mozart e alla sua nomina a Direttore musicale della Gilbert e Sullivan oltre a una serie completa English National Opera (1970–77) e in delle sinfonie di Mozart, Beethoven e Brahms, seguito della Welsh National Opera numerosi oratori di Handel e sinfonie di (1987–1992). È stato un pioniere della Mahler ed Elgar. Attualmente è Principal diffusione della musica di Janácˇek nelle capitali Guest Conductor della Philharmonia europee, negli USA e in Australia. Una delle Orchestra, Conductor Laureate della Scottish sue opere predilette è Jenu˚fa. Chamber Orchestra e Conductor Emeritus Sir Charles Mackerras ha al suo attivo una della Welsh National Opera e della San lunga collaborazione con la Filarmonica ceca, Francisco Opera. con cui ha registrato la maggior parte delle Sir Charles Mackerras ha ricevuto diverse opere orchestrali di Janácˇek oltre a Kat’á onorificenze, tra cui il CBE nel 1974, seguito Kabanová e Rusalka di Dvorˇák. La sua vasta dalla nomina a baronetto nel 1979, la discografia comprende un premiato ciclo di Medaglia di Merito della Repubblica Ceca nel opere di Janácˇek con i Wiener Philharmoniker 1996 e il titolo di Companion of the Order of all’inizio degli anni Ottanta. Le registrazioni Australia nel 1997. Nel 2003 all’elenco delle per Chandos comprendono la versione onorificenze reali britanniche si è aggiunto il originale della Messa glagolitica di Janácˇek, Companion of Honour.

Janice Watson as Jenu˚fa

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Welsh National Opera’s production of Jenu˚fa

Welsh National Opera’s production of Jenu˚fa

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COMPACT DISC ONE Grandmother Buryja Grandmother Buryja When I go to the town again, I’ll bring you a Jenu˚fa, you’re always leaving your work and Oh yes, he behaves as though I don’t matter. book to read, and you can teach yourself then! Act I running off! Truly, he does not consider me mistress here, I shall teach you how to write as well, you’ll be End of August. Late afternoon. A lonely mill in the Must I sit here and do all this work myself? let alone one of the family. glad of that when you’re older. mountains. On the right, in front of the house, the You know quite well my poor old eyes see very Laca (to Grandmother Buryja) And now off to work with you, overhanging roof is supported by wooden posts. badly. And now you expect Jenu˚fa to work hard, or we’ll have Grandmother scolding us again! Some baskets; some felled timber. In the worrying if Sˇteva’s been conscripted. background, a stream. Laca (ironically, sarcastic) Jano (distant, from the mill ) Yes, Grandmama, yes, there are many things Jenu˚fa (to herself ) Hey, hey, hey, hey! Scene One your eyes do not see; How well he knows what I hide in my heart! I know how to read, Jenu˚fa, a pot of rosemary in her hand, stands on a you have always treated me With those painful and penetrating eyes he sees Jenu˚fa has taught me to read! just like any common labourer who must work knoll by the stream and looks into the distance into my heart, into my soul! Grandmother Buryja (more mildly) to eat. shading her eyes with her hand. Grandmother I shall not even bother to speak to him, That is what you enjoy! I’m not yours, that I know well, Buryja sits under the overhanging roof selecting wretched man. Yes, my girl, that is what you enjoy! not your flesh and blood. potatoes from a basket, cutting their eyes out and (to Grandmother Buryja) Barena you’ve taught to read and write already! You have gone out of your way to make me feel it; throwing them into a bag. Left, on a tree trunk, sits Grandmama, don’t get all upset! You’ve a man’s common sense like your foster- after my parents had died, I wanted affection, dark-haired Laca whittling away with a knife at a I’ll make up for all the work I’ve missed. mother, But you cuddled little Sˇteva on your knee, whipstock. I was afraid my rosemary plant would wither up there’s no doubt at all you should have been a and stroked his fair hair, and die: teacher. Jenu˚fa and said it was ‘golden just like the sun!’ so I went off to water it. 1 ˇ Soon it will be evening and Steva has not come I was ignored by you, even though I was also an If my plant should wither, Jenu˚fa (sighing) back; orphan. If my share you’d give back to me… Grandma, you know that Ah! Yes; horrible dreams have haunted me all through the old saying but Granny dear, Jenu˚fa (Kneeling, she turns away from the night, that happiness and joy would also wither. my common sense has long since flowed away stream.) and dawn brought no rest but only new like water in the mill stream. torments… Laca, always speaking to poor Grandma so Jano (calling from the mill ) rudely! Jenu˚fka, hey, Jenu˚fka, hey! O Virgin Mary, Scene Two if you do not hear my prayer, I can read now, now I know how to read. Laca The Foreman in a suit, not overalls, whitened if as a soldier my lover is sent away, ( pleading) Give back to me my twelve-hundred crowns, with flour, comes along and stops by Laca. so that we cannot be married, Won’t you write for me, then I’d go away, go wherever I wanted! shame and dishonour will drive me to damnation! just a few more pages? The Foreman O Virgin Mary, Jenu˚fa Jenu˚fa 2 What are you doing, Laca? please have mercy on me! And you expect us to love you! , patience, Jano! That’s a fine whipstock you have there.

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Laca ( Jenu˚fa goes into the house by the porch; after a You’re so aggressive. The Foreman With such a blunt knife it will take me hours to while she comes out again, settles herself by the Just as if you want to make us hate you. He’s not taken! get it finished. basket and busies herself with the potatoes.) Come now, Since he was a baby he’s been lucky. Sharpen it for me! don’t deny it, you’re not really so hard-hearted. Laca (to the Foreman who gazes after Jenu˚fa as she Laca And I’ve often noticed Foreman (taking a whetstone from his pocket and goes off ) And they dare to call this justice! that when Jenu˚fa’s here, you are different. sharpening the knife) She’ll make a charming sister-in-law, (The Kostelnicˇka enters.) Give it here! she’ll be so kind and so good to me!… Laca Kostelnicˇka (Laca flicks Jenu˚fa’s kerchief from her head with The Foreman Stupid talk! Sˇteva’s not been taken? the end of the whipstock.) Yes, yes, she’s a nice looking girl; That’s all nonsense. Just remember, she could turn your head completely; Laca Jenu˚fa (without turning round ) remember she is not his bride yet, she’s as graceful as a flower, And they dare to call this justice! Stop that Laca! and with those big dove-grey eyes of hers, for if today he has been conscripted, You always try to plague and torment me… Jenu˚fa she tears the soul out of you. there will be no wedding. Welcome, welcome, mamicko! Laca She’s a nice looking girl, The Foreman If it had been Sˇteva who’d done that, she could turn your head completely. He’s not taken! (Kostelnicˇka enters the mill.) Yes, but would you have minded? But you don’t need me to tell you all this, I met the messenger just now. Only nine The Foreman for you know yourself the power those eyes have! ˇ Jenu˚fa altogether were recruited, and Steva not! Here, take it; ˇ this knife of yours, I’m afraid, Steva would never do it. Laca (scornfully) Jenu˚fa ( jumping up for joy) I… I… You might well have noticed just how just won’t sharpen. Laca He’s not taken! much I love her. (Kissing Grandmother Buryja) Yes, but would you would have minded? Scene Three Just now she was grieving over her rosemary, God be praised, he’s not taken, oh dearest The Foreman says goodbye and goes in. Jenu˚fa that was because she didn’t know I’d put worms Grandma! Sˇteva would never do it. all around the plant, Grandmother Buryja (about to go in after the so that it, just like her wedding, would be Laca Kostelnicˇka) Laca destroyed, He’s not taken? 3 Come now, Jenu˚fa, we must go and join your Only because you are always snuggling so close like this wedding she and Sˇteva plan, And they dare to call this justice! mother. together! which they’re both preparing for. He’s as strong as ten men! Jenu˚fa Jenu˚fa The Foreman Grandmother Buryja Grandma, I beg of you – don’t make me go in That’s not your business, Look here, Laca, He’s not taken! with mother! that does not concern you. that’s what I find so strange, He’s been lucky since he was a baby. Don’t make me, Grandma!

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Grandmother Buryja musicians. Jenu˚fa goes to meet him.) Oh! Sˇteva you’re drunk again! it. Child, you’re acting so strangely! Recruits, Millworkers and Servants Sˇteva Yes, she saw that golden dome was falling down Hurrah there! I, I! and in her lap she caught it! Scene Four You say I’m drunk? Recruits Sˇteva The song of the recruits and the band playing is This from you, They’re all for marrying, Come now, Jenu˚fa! heard off stage. Jenu˚fa? Rather than soldiering, Ah, you know my name is Sˇtefan All the Men Recruits But I shall not be wed. 4 Buryja? Yes, she saw that golden dome was falling down They’re all for marrying, I’ll join the army instead! That I’m owner of this mill? and in her lap she caught it! Rather than soldiering! If I were rich I would buy myself out of it, That is the reason all the girls like me! But I shall not be wed! But I’ve no money to pay, ˇ (indicating the posy) (Steva clasps Jenu˚fa round the waist.) I’ll join the army instead! So I’m a soldier today. If I were rich I could buy myself out of it, See this posy that I have here? That’s from one of Sˇteva But I’ve no money to pay, Laca and Chorus them! So, we will dance at our wedding day! So I’m a soldier today. If they were rich they’d buy themselves out, (to the musicians) Yes, they would buy themselves out. Why have you stopped your playing? (The Kostelnicˇka stops the musicians with a gesture Sˇteva You underfed leechers you! of the hand.) And so a-soldiering I must go! (Sˇteva, ginger blond, with a lock of hair combed (He throws money with both hands, which the And then there’ll be no more courting! over his forehead – drunk – unsteady on his legs, Kostelnicˇka musicians pick up.) waves his flower-bedecked hat.) So, this is the way your whole life would be, Jenu˚fa (looking around the recruits and Here, take it! and you, Jenu˚fa, ˇ recognising Steva Play the song that Jenu˚fa likes: you would have to live on what was left after this ˇ Steva) And so a-soldiering I must go, ‘Far away there in the town of Novych ´ spendthrift had wasted his money! ˇ Steva! Then there’ll be no more courting! Zámku˚…’ This whole family is the same! Sˇtevuska! Recruits Steva, Recruits, Millworkers and Servants Ah, he was so strong and manly, Recruits There’ll be no more courting! Far away there in the town of Novych ´ Zámku˚ golden-haired and handsome; Then there’ll be no more courting! I longed for him to be mine Jenu˚fa stood a high tower built of fine and handsome Hi there! Hi there! Hi there! even before he was first married, Sˇteva! fellows. and even more when his wife died. (Recruits enter from the left.) Sˇtevusˇka! Sˇteva! High above all was a handsome young boy standing and his fair hair like a golden dome My mother warned me against him, The Foreman was shining. said that he’d always been a hopeless spendthrift! Sˇteva has brought the music with him! Scene Five But the boy’s sweetheart had seen this fine dome I paid no heed to what she said. You can all see now that he’s not been taken! Jenu˚fa (reproachfully) falling, So I never told her how life was with him (Sˇteva appears with the recruits and four 5 My dear heart, my Sˇteva, Sˇtevusˇka! She was there waiting and in her lap she caught even when week after week

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he came back drunk; She is so hard-hearted. Go away, go away, etc. about my guilty secret. until in the end he was never sober at all! Kostelnicˇka The Foreman I dread the punishment that might fall on me; He got into debt, squandered every penny we had. You must go away tomorrow… Go away, go away! all night long I lie awake. Then when I tried to reason with him But remember, my beloved, Grandmother Buryja Grandmother Buryja he beat me brutally, God has only helped us over your conscription, But he’s not really as bad as you think, Go and sleep now, Sˇtevusˇko, many a night I had to hide in the fields so that we might soon be married. and even her late husband, my dear son, Go! to escape from him! Even without that I shall be reproached quite he was not all that bad. You’re young now, I have a feeling deep within me enough by my mother! led on by your companions; that this Sˇteva of Veborany Laca (ironically aside) She has always been so proud of me, you know, and you forgot yourself! is not yet worthy to be married She keeps on spoiling him. you have heard her. to my foster-daughter. Kostelnicˇka Recruits I just don’t know Led astray by your companions? what I’d do if we did not get married in time! Jenu˚fa Then there will be no more gossip that you only I just don’t know Oh, Mamicˇko, don’t be angry. seek your fortune here. Grandmother Buryja what would happen to me! Kostelnicˇka Laca And you, Jenu˚fa, don’t cry! Sˇteva I have said nothing to you until now because Kostelnicˇka, you have dropped your scarf here, Love must always endeavour Do shut up! I know you love him. and I would like also to kiss your hand. over misfortune to triumph. Now look here, Tell him this: All the Men The Foreman then everyone Now look here, Aunt Kostelnicˇka always scolds me I will not give my permission for you two to How can she be so hard-hearted? Love must always endeavour, all for your sake, marry yet, Kostelnicˇka over misfortune to triumph. and it’s only because I love you; not till Sˇteva’s done a year’s trial, I hope you all enjoy yourselves here! ˇ just now you could have seen it, during which he gives up drinking. (All leave, except Jenu˚fa and Steva.) Grandmother Buryja how all the girls are eager to smile at me. All the Men Now then, all you fiddlers, Scene Six Jenu˚fa (irritated) How can she be so hard-hearted? go away, go away! Jenu˚fa (quietly, to Sˇteva) Yes, but now you should take no notice, Leave our lads alone now! Kostelnicˇka 6 Sˇteva, Sˇteva, I know you got drunk today I am the one whom you belong to. Go away, go away! If you should disobey, Jenu˚fa, because you were so happy. If you left me ˇ if you let yourself be influenced by Steva, All But I beg you, Sˇtevusˇka, I’d have to kill myself! God will surely strike you. Go away, go away! don’t make my mother cross; (seizing him by the shoulder) Grandmother Buryja Now then all you fiddlers, you know my trouble, God! How can you behave like this? Oh stop, my daughter! Go away, go away! I’m so afraid my heart trembles within me, God in heaven! (Sˇteva, shaken, leans his head against the pillar.) Leave our lads alone now, lest my mother and all the neighbours find out Weak and childish,

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how can you be so stupid? faded, when Kostelnicˇka scolded! nothing. they were fooling, he was only trying to kiss her. (shaking him) Jenu˚fa (Trying to embrace her.) He had his knife in his hand like this Even so, he remains a hundred times better than and by accident, he scratched her cheek, Sˇteva (trying to calm Jenu˚fa) Jenu˚fa (defending herself ) you. somehow scratched her. You don’t really think that I’d leave you? Laca, I shall hit you! (The Foreman runs indoors after Jenu˚fa.) For your cheeks are like two rosy apples, Laca Laca Thanks to heaven that it didn’t go in her eye! Jenu˚fa; Even now! What have you against me? you are far the fairest of all creatures, (Feverish with passion, he picks up the posy that Grandmother Buryja yes, you’re far the fairest! was thrown away.) Jenu˚fa (crying out) Only sorrow, Jenu˚fa, here is the posy which he dropped just Jesus Maria! that is all you boys have ever brought me! Jenu˚fa now. (As she defends herself, and as he is leaning down The Foreman (returning) Ah! If you left me I’d kill myself! One which was given by a girl, to Grandmother, come to Jenu˚fa! If you left me, I’d have to kill myself! by one of those girls he says, always smile at him! her, he passes his knife across her cheek.) She is fainting; Grandmother Buryja Look now! Laca – you have slashed me! someone send for Kostelnicˇka, Come, stop this bickering! I’ll pin it here on your dress for you… she must come here! (She presses her scarf to her cheek. Barena raises her Your head will be much clearer in the morning! (The grandmother hastens indoors. Laca pulls Jenu˚fa (drawing herself up proudly) hands in horror.) Go, Sˇteva, go and lie down now! Give it to me! himself together and rushes off.) Laca (on his knees, holding Jenu˚fa in his arms) She can help her! Sˇteva This little posy, What have I done to you? (The foreman calls after him.) OJenu˚fa! which my sweetheart was given to honour him, Jenu˚fka! Laca, don’t run away, You are far the fairest of all creatures! I’ll wear it proudly. (Jenu˚fa runs off into the building.) you did to her it on purpose! (going off ) Laca (aside) I have loved you all my life, Of all creatures… You’ll wear it proudly! All my life I’ve loved you! Act II (Grandmother Buryja and Sˇteva go off. Jenu˚fa sits (aloud ) Slovakian peasant living room, five months later. Grandmother Buryja (hurrying out) down once again by the basket with bowed head, And even though he sees nothing else in you, The walls covered with holy pictures and statuettes. What’s this? and begins to work.) but those cheeks of yours like rosy apples. By the door, a holy water stoup; elsewhere a stove, a (with a glance at the knife in his hand ) Whatever’s happened? feather bed made up for the day, a trunk, a shelf Think how this knife, how it could spoil those Scene Seven The Foreman (hurrying out) with , cutlery etc., a clothes chest; some chairs. looks of yours. Laca gets up. He has thrown away the whip, but What’s this? By the window, a picture of the Virgin Mary. (Barena comes out to work. Laca approaches Jenu˚fa still has the knife in his hand. Whatever’s happened? feverishly excited, holding the posy and the knife in Scene One Laca his right hand.) Barena (urgently) 8 Jenu˚fa is in ordinary peasant clothes, with an 7 How all this boasting of Sˇteva has suddenly But you’re not going to get those flowers for It was an accident, obvious scar on her pallid cheek; she sits at the table

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sewing with bent head. Kostelnicˇka goes to the door Kostelnicˇka Jenu˚fa So I’m forced to sacrifice Jenu˚fa to that wretched leading to the bedroom and opens it. How you always spoil the baby! Mamicˇko, I’ll go and rest now! Sˇteva; Kostelnicˇka It would be far better if you went down on your (Kostelnicˇka takes a small pot from the stove and as well as that I have to plead with him. 9 If I leave the door ajar a little, knees and prayed, hands it to Jenu˚fa.) (a noise at the door) then it will make your room warmer. prayed that God might take it from you. There he is! Kostelnicˇka Tell me why you are always praying at the window Jenu˚fa (returning to the table to work) Yes, but you should swallow more of this first, like a soul in torment? (She locks the bedroom door and opens the main Ah, no! you will find it helps you sleep much better. door. Sˇteva enters.) Jenu˚fa He is still asleep! Your bed is ready, I cannot help it; He sleeps so sweetly, and I have lit the candle for you! Scene Three I have no peace of mind now! so quietly. Jenu˚fa Sˇteva (anxious) Kostelnicˇka (sighing) Kostelnicˇka So good night, Mamicˇko! 11 Aunt Kostelnicˇka, in the note you sent me Better if you went down on your knees and I believe you… (Jenu˚fa drinks and goes slowly into the bedroom.) you spoke of some great misfortune if I did not I too have no peace of mind. prayed, come! prayed that God might take it from you. You were so upset that day when I brought you Scene Two Tell me why you wanted me. back home. Jenu˚fa Kostelnicˇka (shutting the door after Jenu˚fa) (Kostelnicˇka points to the bedroom door. Sˇteva and I felt that you were not quite telling me All these eight days that he’s been alive, 10 Yes, in all these twenty weeks that I’ve kept the hesitates.) everything. never, never has he once cried! And later when you told me, when you shutters tightly closed, ˇ Kostelnicˇka confessed your guilt to me… Kostelnicˇka your worthy lover Steva has not shown his face Come inside… Then I thought that such disgrace would kill But he’ll soon be howling, here. Why hesitate? me, he will drive us mad. Today, though, I have sent to tell him he must I could not bear the shame. Ah! His very existence makes me sick! come! Sˇteva Fearfully I kept you hidden in your dishonour, I was so proud, ah, how proud I was of you. Then we shall settle it. I am uneasy… until the day when the boy first saw the light, God in Heaven! And the baby, it is pale like Sˇteva, Something is wrong with Jenu˚fa? and all the time his father, and so like his father, it disgusts me! (Laying her work aside, Jenu˚fa gets up.) Kostelnicˇka the worthy Sˇteva, did not care at all! (desperate) Jenu˚fa How I have prayed and fasted, She has recovered, and the baby is well too. (Jenu˚fa hurries to the bedroom door and looks in.) Ah, I feel so faint, Mamicˇko! prayed that the child might not be born – Sˇteva but my prayers have all been useless, Jenu˚fa What, it’s born already? Kostelnicˇka it’s been born a week now, Hush now! I think I heard little Sˇteva crying. Ah, how proud I was of you! and still it shows no sign of dying. Kostelnicˇka (with deep reproach)

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And you did not even bother to come here, Kostelnicˇka (She stands up and takes him by the hand.) I’m going to marry Karolka! did not even ask. Ah, poor little mite! You’re weeping? So it’s finished, really finished! Sˇteva Sˇteva Come to them Sˇteva, in your arms take your Kostelnicˇka Even so, I’ve thought about it often. I will support it gladly, own baby, Sˇteva! I was really very sorry. but no-one must be told that I’m the father! comfort Jenu˚fa! But then I recalled how you mocked at me, Jenu˚fa (from her bedroom in her sleep) persecuted me just like always. Kostelnicˇka Sˇteva (slipping his hand away) Mamicˇko, see a stone will crush me! And I thought how Jenu˚fa’s beauty had been But it’s far worse, far worse for Jenu˚fa! Aunt, your words would melt a heart of stone, ˇ ruined, (With a spasmodic movement she grips his hand but I cannot marry her! (Steva visibly shudders and runs out of the room.) It would bring us suffering, both of us. I couldn’t help myself. and pulls him to the door of the bedroom.) Kostelnicˇka You must come and look at her too… Kostelnicˇka Can she be awake? Kostelnicˇka At Jenu˚fa! What has this poor creature done to Well, come and see her! Why on you both? No, she was just talking in her sleep! you, Sˇteva must have heard… Sˇteva that you’ve brought her this shame and Sˇteva Once more she’s sleeping. I am frightened. dishonour? Because she made me frightened, (She shuts the door again quickly. With suppressed Has she come back then? But surely you will help her now? for she used to be so sweet and gentle, fury) Just look now, so full of joy. He ran off, wretched fellow! Kostelnicˇka he is your son, your baby. But suddenly she began to alter before my Nor did he once go near the baby, Jenu˚fa’s sleeping. And he is so like you! eyes, and it’s his own flesh and blood! ˇ (She opens the bedroom door.) Come now, Steva! she became like you with your dreadful (with utmost excitement) Come now and look at him! intensity. Oh, I feel that I could kill this miserable ˇ Steva Must I fall upon my knees and beg you to look. Then when I saw her after the enlistment, baby, When did she return then? (falling on her knees) when I saw her cheek so badly cut, and throw it at his feet – Sˇteva, won’t you take them both and marry all my love for her disappeared, Kostelnicˇka ‘There! There it is, Jenu˚fa? and you, Aunty, She was hidden in there. You have it on your conscience!’ (Sˇteva covers his face with his hands.) (don’t be cross when I speak quite frankly) There now, come and look at your baby. (beginning to think in a calmer way) Please do not desert my foster-daughter, you make me frightened; Like you, he’s called Sˇteva; What must I do!? my daughter, my only joy… for you seem to me to be so strange, dreadful, I myself have christened him. (The house door opens. Laca enters unobserved.) Even if with you she should be unhappy, like some horrible sorceress, Who will save her now? Sˇteva You must not leave her with this shame upon following me and plaguing me, Oh, poor little mite. her name and on mine too… always trying to persecute me! Laca You’re weeping? Anyway, I’m now engaged again, Look it’s me, Aunty!

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You know how I like to come and talk to you Aunt, is this the truth you tell me? I’ll go now, (She slips quickly into the bedroom and returns when I’m feeling lonely. You’re only testing me! I’ll only be a moment, one moment. with the child, which she has wrapped in the shawl.) Scene Four Kostelnicˇka COMPACT DISC TWO Sin-begotten… just like his miserable father, God is my witness, Sˇteva. Laca Everything I have told you is but the simple Scene Five 12 But I saw a man come in here just now. truth. It was Sˇteva, I am certain. Kostelnicˇka Scene Six 1 What did he want? Laca One moment… The Kostelnicˇka locks the door and hurries away. Does it mean perhaps Jenu˚fa’s here? Oh, Aunty, In that moment must I lose hope of salvation Jenu˚fa comes into the room. such a burden weighs upon me just like a stone, Of eternity? Kostelnicˇka like a heavy stone… What if I took the baby somewhere far away? Jenu˚fa Yes, she’s back. 2 And now do you expect me to take Sˇteva’s baby? No… Mamicˇko, my head is aching. Laca For he would only be a burden. Oh, my head is heavy like a stone! And so she’ll marry him now. (Kostelnicˇka crosses the room, holding her head in An everlasting shame and dishonour! Help me now! her hands.) I could do it, only I could save her… But where are you, Mamicˇko! Kostelnicˇka The Lord God, (looking slowly round her) No… She did not speak to him at all. Kostelnicˇka Laca, you must belive me, He knows how it would be if the baby stayed This is mother’s room. Laca Sˇteva’s child did not survive… here… (rubbing her forehead ) Then will you give her to me? it died! (She takes a woollen shawl from a hook and wraps And I must remain in there hidden in my little For you’ve encouraged me to hope that one day, it round herself.) bedroom, it might turn out that way. Laca So to the Lord God I’ll give the child… (anxiously) Oh, I will never leave her, And does Sˇteva know that? It will be simple and quicker! So that no one sees me here. Mother will reproach me bitterly, not for all the world. Kostelnicˇka Then when the Spring melts the ice away, there’ll be no trace of him. Her words like daggers pierce my heart. Kostelnicˇka He knows. But I wash my hands of him. God will surely take him, Now it’s evening, I have kept her all this time, I pray now for vengeance on him throughout his He is too young to have sinned yet. I can have the shutters open! Laca you must know the whole story. miserable existence. (in the highest excitement, her senses disordered ) All is dark, It will really test your love for her. (with increased feverishness) How they would mock me, and the moon sheds its light upon all poor Jenu˚fa, poor unfortunate girl, never went to the Now go! how they would mock Jenu˚fa! creatures… city at all. And try to find out the date of his wedding. (She doubles herself up like a hag and points her and thousands and thousands of stars… I have kept her all this time, hidden in there. Find all about it. finger.) and Sˇteva still has not come, Just a week ago she had a baby by Sˇteva! Now go! Just look at her, and now he will not come. Laca Laca Kostelnicˇka! If he could once see his baby,

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just see those deep blue eyes of his… But now I must pray for Sˇtevusˇka, and and leans her head on her lap.) And where is my Sˇtevusˇka? kneeling here at the Blessed Virgin’s feet. trembling) Jenu˚fa Where have you put him? (She takes the picture from the wall, puts it on the Jenu˚fa, He died then, (She runs into the bedroom and comes back again.) table and kneels down.) why aren’t you asleep still? my darling baby boy, Where have you put him? Hail Mary, Holy Queen, Open the window! (sobbing) (She searches among the bedding.) Hail, Thou mother of mercy, (Jenu˚fa gently opens the window.) Mamicˇko, how my heart is aching, Where is my Sˇtevusˇka? Hail, sweetest holy queen, though I know you always said to me Ah, I can hear him, Our hope in our sadness! Jenu˚fa that this would be the best thing for him, I can hear him crying. Hail Mary! Have you brought Sˇtevusˇka? for God could give him so much more, Do not hurt him, good people; Hail Mary, to Thee! more than I could offer him! I, and I alone am guilty: We cry on earth, Kostelnicˇka (at the window, in a state of shock) So my child died, I and Sˇteva. poor banished suffering children, Here’s the key, quickly now, open the door for me. now he’s an angel in heaven. Where have you put my baby? to Thee we send our sighs, crying and sorrowing How my hands are trembling, But without him I feel so broken. He will fall there, he’ll fall! in our sorrowing vale of tears. frozen… frozen… He will catch cold there! Oh, turn then to us your most merciful eyes (Jenu˚fa shuts the window, but not completely – goes Kostelnicˇka He will freeze to death! Jesus Christ, blessed fruit of Thy womb, to the door and unlocks it.) You should give thanks to Heaven! Do not abandon him! and after our ever-wandering exile, Now you are free again. (crying out ) have mercy on us, Jenu˚fa Where is Sˇtevusˇka? Jenu˚fa (decisively, firm) Ah! Wait! O Thou sweetest Virgin Maria! ˇ I will protect him! (There is a noise at the door. Feverishly) Have you left him behind at the mill? What of Steva? (She runs to the door, which is locked, and presses And Sˇtevusˇka protect for me, (joyfully) Mamicˇko, you gave me your promise that you ˇ against it with her hands. Quietly) and do not desert him, And now perhaps, yes, Steva himself will would send for him. Where am I? (knocking at the door) come and bring him Mamicˇko, for We must tell him what has happened. he’s such a lovely baby. Surely this is my mother’s room… and do not desert him, Kostelnicˇka And the door is locked… O most merciful mother! Kostelnicˇka May his name be accursed. (joyfully) Girl, these are delusions, He came here while you were in there sleeping, Now I know, Mother has gone to the mill with Scene Seven God in Heaven help you! saw the baby. him! Jenu˚fa jumps up. Listen to me, something dreadful has happened. I went down on my knees before him, That’s it… Jenu˚fa You’ve had a fever for two whole days but he offered money and nothing else, Gone to show them all Sˇteva’s baby, said you made him frightened, 3 Who is there? and your poor baby’s dead now, yes it’s dead now! Sˇteva’s baby! said that your face was scarred and ugly, (worried ) Kostelnicˇka (from outside, distraught, panting (Jenu˚fa sinks down on her knees before Kostelnicˇka said that I too frightened him,

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like a sorceress, a sorceress! I often sat in there and heard you talking, Laca (taking her in his arms and kissing her on the Kostelnicˇka heard how you always spoke of me with my dear cheek) Don’t you hear outside there that wild crying? Jenu˚fa mother. Yes, Jenu˚fka, yes, (shrieks) Lord God forgive him! You know how I’ve been broken. Jenu˚fka. Hold me! Kostelnicˇka Laca Jenu˚fa (gently, lightly) (Laca sympatheticaly puts his arm around her Now he says he’s going to marry Karolka! Soon you’ll be well again, Then I will gladly share with you all the shoulders.) Do not break your heart over this miserable and learn to bear your loss! good and all the ill that may befall us! Do not leave me! drunken spendthrift! Laca, stay! You should think rather of Laca! Jenu˚fa Laca There you have a love you could depend on! I had never thought my life would be like this, If only you will take me! (She looks fearfully round her.) never be like this, Kostelnicˇka (pulling herself up with an effort and Scene Eight Laca but now I feel that this must be the end! going over to them) Aunty, what’s wrong with you? Kostelnicˇka Now, you see, 4 He’s coming now!… Laca (sadly) I have arranged it well; Kostelnicˇka (to Jenu˚fa hurriedly) You mean that you will not take me Everything’s all right now. Shut that window! Jenu˚fka, take me Jenu˚fka? He knows all about it, So receive my blessing ( Jenu˚fa goes to close the window.) I have told him everything from a heart that is heavy. Kostelnicˇka and he’s forgiven you. May the Lord God guide you safely Jenu˚fa Yes, she’ll take you, Laca, through all misfortune, How bitter and cruel the wind! Laca she will take you! May He bless you with good health, Aunty, Aunty, She’s already come back to her senses, Kostelnicˇka with contentment and property… no one was in at the Mayor’s house. (sinking into an armchair) The icy hand of death, tearing at my heart! As for Sˇteva, (He sees Jenu˚fa, and offers his hand.) and she must be happy once again. he who is the cause of this misfortune, Jenu˚fka! Act III curses on him! God be with you, Jenu˚fa Spring time, early morning, March. The Should he wish to marry, Jenu˚fka! Mamicˇko speaks sometimes so childishly! Kostelnicˇka’s room as in Act Two. On the table, should he ever find a girl to take him Won’t you take my hand now? How could you take me now? which is covered with a white cloth, stands the better she go mad before she crosses his threshold! Oh, Laca think it over! potted rosemary and a plate with a few rosemary Jenu˚fa May he be damned as I am! I must thank you, Laca, I have neither wealth nor honour, sprigs tied up with a ribbon; a bottle of wine, for all your kindess, and as for love, however hard I try – (A draught forces the window open.) glasses, a plate of small round cakes. that is lost for ever. and for the generous way in which you behaved Laca Do you want me like that? Scene One while I was kept in hiding, Aunty, what’s wrong with you? Jenu˚fa, in her best clothes, sits on a chair with a

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prayer book and a handkerchief in her hand. Laca Scene Two I can remember how fit and strong you were, What has given Jenu˚fa such a strange idea, stands near Jenu˚fa. Grandmother Buryja sits in an Mayor (offering his hand to Kostelnicˇka) so alive and active! that her dress is so plain and sombre on her armchair by the table. The Kostelnicˇka walks up (raises his glass to her) wedding morning? 6 God be with you! and down in feverish restlessness – she looks very Here’s an end to your troubles, Were you afraid, frightened of us? Kostelnicˇka pale and exhausted. Jenu˚fa seems more cheerful God grant you’ll be well again! Us? Frightened to us? What, Jenu˚fa? than in Act Two, but very serious. Kostelnicˇka You invited us to come. All the finest gentry dress plainly and simply Today I’ve been preparing for Jenu˚fa’s wedding Maid when they go to the altar. Maid with a worthy man; 5 Don’t you feel nervous, Jenu˚fka? Why should my foster-daughter disregard She is very ill now. that is no cause for weeping, tradition on her wedding day? Jenu˚fa Welcome! Welcome! but I feel myself failing. (clasps her head in her hands) Mayor’s Wife No, no! Mayor Ah, this unending torment! Gentry folk have their own habits and fashions, Laca Karolka’s waiting for Sˇteva, Sleep cannot relieve the torture! but we believe in country customs, Why should she be so nervous? they’ll be here together. I just lie awake the whole night, all the time I’m I’d never dream of being wed without my bridal She knows I’ll never harm her again. Laca thinking, worrying. and ribbons. Maid You are welcome! Never, not for all the money in the world. Jenu˚fa Well, that’s what usually happens; Jenu˚fa Never! girls are sad when they lose their freedom. Mamicˇko, Welcome! Kostelnicˇka God knows I was very stupid, with the help of God above you will recover! Come along and look at the trousseau I’ve made spent the whole time crying. Maid (aside, at the table) Kostelnicˇka for her! Why, I just can’t imagine, What is best for me to do now? But I don’t want that. for I had married a good and honest man! Should I give them flowers first or offer them a Oh no! Maid glass of wine? Even so, Jenu˚fa will make a good and loving wife Kostelnicˇka (frightened, shocked ) I don’t want that… I have only come to help out. Long life for me would only be horror, for Laca. Who’s that making a noise out there? Kostelnicˇka is not quite herself yet after her only horror… Kostelnicˇka Who is there? illness! But what then? I have worked on all of it, Maid (opening the door to the new arrivals) (She pours out the drinks and distributes the sprigs ( pulling herself together) every single stitch… Welcome! of rosemary.) This is your wedding day, You will never see such a trousseau anywhere! (to Kostelnicˇka) Jenu˚fa, Mayor (Everyone goes into the bedroom except Jenu˚fa and Do not be afraid, and that makes me happy. for it is only the Mayor and his wife. Clearly she’s fading, Laca.) one can see that! Mayor’s Wife

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Scene Three Jenu˚fa Watching you today will make me sad, and You should hear the warnings I’ve had about you! Laca, I feel so sorry, envious too, Jenu˚fa Sˇteva 7 you’ve been completely loyal since it will be my turn soon to walk to the altar. There now, Laca, Ah! If you changed your mind, you, not Sˇteva. It’s really a shame though, just as I foresaw, I would have to kill myself! that it’s such a simple wedding; everybody was commenting Laca neither music nor a party! Jenu˚fa on the way I’m dressed for my wedding. I know that Sˇteva you preferred, Now then, Sˇteva, your best wishes. See now, Sˇteva, Laca (taking a little posy from his jacket pocket) if you could only not think of him! Sˇteva now you know what real love is! Jenu˚fka, My heart was full of hatred for Sˇteva, I can’t speak half as well as Karolka! May it never hurt you, I at least have brought you some flowers… and I would have liked nothing better than to never turn to pain. They’re from Belovec, ruin him. Jenu˚fa from the old gardener. But then you insisted that I should make it up Well, never mind, (The Mayor, Kostelnicˇka and the others come in Jenu˚fa with him. just come and shake hands with your brother! once more.) Thank you so much, Laca! Now I’ve overcome all hatred in my heart, Each of you has something good to recommend Yes all, for you are with me, him. Scene Five Laca therefore I thought it would be fitting if I You, Sˇteva, you’re handsome; Won’t you take them now? invited Sˇteva to come here for our wedding; and Laca, you are so tender-hearted! Mayor 9 Jenu˚fka! so he will come here as a brother with Karolka. There’s no denying that all that was really a sight Karolka worth seeing. Jenu˚fa (fastening the posy to her dress) Scene Four Oh, how I wish you wouldn’t keep telling Ah, Laca! Kostelnicˇka (frightened, shocked ) him that he’s handsome; for he’s conceited ˇ Truly you have not deserved such a bride. Laca enough already! Steva is here! 8 Aha! Here they are. Has he come again to bring more trouble? Laca Jenu˚fa ˇ (to Laca) Oh, my dearest, say no more about it. (Karolka and Steva enter.) Surely he’s outgrown all that by now? Even though you beg me, Only when Kostelnicˇka told me, Karolka I cannot bear to see him! Laca in that first moment God be with you one and all. How long must you wait till your wedding? Mayor I thought that I could never bear it! Sˇteva seemed to take so long in getting ready, It’s just as well I lit a cigar in there; But then afterwards I could not help forgiving that I thought his legs must have been rooted to Sˇteva all that rummaging you! the floor! Just two weeks from today. would have made me furious! Ah, but I have harmed you so in too many ways. My best wishes. Karolka ( joking) My whole life I’ll spend trying to make it up to May you both be very happy, may the good Lord Laca (to Kostelnicˇka) Aha, only if I feel like it! you. bless you both. But she has agreed to it! I still have time to change my mind.

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Mayor’s Wife You are far too young to marry, Please, Laca, don’t think badly of me! Jano Well, she has a lovely trousseau, You must put such thoughts away. (The bride and groom kiss the hand of Don’t you know what’s happened then? you might well be proud of it! Hey! Grandmother Buryja.) Sˇteva Hey, mother, mother, little mother mine! What has happened? Scene Six Mayor Don’t forget that you were young once, Barena and the girls enter with a posy tied with Now you, Kostelnicˇka, you should Jano So let me be married today. coloured ribbons. know the way to bless them as the Men from the brewery found it Hey! Barena priest would bless them. under the ice, a frozen baby! Mayor 10 God be with you one and all! (The bride and groom kneel before Kostelnicˇka; she Chorus Well, you sang that very nicely, charming. raises her hand. There is a noise outside. Oh horror! Oh horror! Oh horror! Peasant Girls Barena (giving Jenu˚fa a posy of flowers) Kostelnicˇka draws back in horror. Two voices are We were not invited, but you Jano And then we’ve brought you these, Jenu˚fa! distinguished from outside.) need not fear that we shall keep As they held it, you long. God be with you one and all! Jenu˚fa Chorus it seemed like a live baby lying there, Thank you, thank you all, I cannot Poor baby! wrapped up tightly, Barena tell you how deeply it has touched me! Oh, what a monstrous thing, wearing a little red cap on its head. We all knew that there would be murdering a baby! Oh, it was awful! no celebration, yet we had to Laca What ungodly wretch could have Out there everyone is weeping! come here all the same, just to The Preacher said that we must be killed a baby? sing our song to Jenu˚fa and to at church at nine o’clock exactly. Scene Eight give her our best wishes! Kostelnicˇka Mayor What baby? Jano Peasant Girls and Barena Well, we must hurry, but first the 12 Come quickly now! We all wish you this: May you blessing, so that we can go! Scene Seven have as many hours of joy as ( Jano runs out, followed by the Mayor, his wife, (Laca and Jenu˚fa kneel down before Grandmother there are stars in heaven! Kostelnicˇka the Buryja.) And now we’ll sing for you! 11 What baby’s that they’re shouting about? maid, Laca, Jenu˚fa and Karolka. Only Steva Laca Jano (rushing in) remains standing as if petrified. Kostelnicˇka stays Hey, mother, mother, little mother mine! With respect I beg you, give your blessing. Where’s the Mayor? by You must give me fine new clothes now, the bed; near her, Grandmother Buryja.) For I shall be married today, Grandmother Buryja You must come! So now I bless you, in the name Kostelnicˇka Hey! Mayor of the Father, the Son, and the Jenu˚fa, What’s happened? What is it? Hey, daughter, daughter, little daughter mine! Holy Spirit. don’t go out there!

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Hold me, help me! Laca Now you won’t even let him rest! O God in heaven, you know that it Jenu˚fa! Jenu˚fa! Why must you drag him out in the ice and snow, was too much to bear; Grandmother Buryja ˇ ˇ What is this, Try to pull yourself together! Steva, Steva! that if the child had stayed alive, my daughter? What dreadful things you are saying! Quick you must run after them! two lives would have been utterly wasted. People are listening! It is your baby! Jenu˚fa never went to Vienna; Kostelnicˇka Oh, try to pull yourself together! I kept her hidden here. The Mayor Hold me, help me First I drugged her, Jenu˚fa Well, I think I’ve found the answer by myself. then I took the child, Grandmother Buryja Let me go! There is no one higher than me here, down to the river, Daughter, That is Sˇtevusˇka, my baby. (wiping the sweat from his brow) and through a hole cut in the ice, you are ill again. Mine, mine! yet, I wish that I were somewhere else! pushed it in! (Sˇteva runs off, but in the doorway bumps into (The Mayor enters, in his hand, baby clothes and a Chorus Chorus Karolka, who seizes him by the hand.) little red cap. Behind him, the other people.) Death to the murderess! etc. Jesus Maria! Kostelnicˇka Laca Our own Kostelnicˇka! etc. They’ve all come for me. Scene Ten Just let one of you land a hand upon her! Kostelnicˇka Jenu˚fa With his life he’ll pay for it! It was at night, Scene Nine 14 Ha, there now, you see his baby clothes! Ah! I will kill you all! not a sound came from the baby… There’s his cap too! Karolka Kostelnicˇka (pulling herself together with an effort) not the slightest struggle… I myself have made it from my own ribbons. 13 Sˇteva, this is terrible… Now listen to me! I felt as if my hands had been set on fire, Now the wedding’s ruined… Mayor’s Wife You know nothing about it! and from that moment, I have known that I’m a Oh, if I were the bride, Did you hear that? It was I who did it, mine the punishment! murderess. I’d be crying. They know all about it! Chorus Afterwards I told Jenu˚fa that it had died without Kostelnicˇka! regaining consciousness! Jenu˚fa (outside) Jenu˚fa O God! O God! You people, Kostelnicˇka Jenu˚fa That is my baby, my baby! what a way to bury him, Yes, it was I who killed Jenu˚fa’s baby! O mother, under the ice… I, I alone! Sˇteva neither coffin nor a wreath! I was thinking of her future, Kostelnicˇka All that noise out there makes me tremble, Village Woman her future happiness. Have mercy on my daughter. and now I feel afraid. Jesus Maria! I felt ashamed and guilty that my foster- Do not blame her… ( Jenu˚fa tries to free herself from Laca’s grasp, but he Can she herself have killed the baby? daughter’s life was completely ruined! Jenu˚fa (with fury) drags her inside.) Away from me! Jenu˚fa (sinking to her knees)

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ˇ Kostelnicˇka (Steva covers his face with his hands and hurries Laca 16 They have gone! …she is quite innocent… out. Grandmother Buryja, completely shattered, is Jenu˚fka, Now you go! for I, led out by the maid.) surely you have lost your senses! Surely you see now I’m the one who’s guilty! Kostelnicˇka that my wretched life cannot ever be linked with Karolka (to Sˇteva, who, quite shattered, leans Scene Eleven If only you’ll forgive me, yours. against the window) now I see I’ve thought more of myself than I So go now Sˇteva, is all this on your conscience? Jenu˚fa (to the Kostelnicˇka) have thought of you, child, Ah, remember this; that you were always, 15 (flinging her arms around her mother’s neck) Do not kneel, dear mother! you can say no longer: always for me the best and the finest man of all! Mamicˇko, There’s been enough humiliation and torture ‘Mamicˇko, ah Mamicˇko.’ Though you meant to hurt me when you I feel so faint, I can hardly breathe! already! You could not inherit my character or my blood, cut my cheek, I forgave you long ago! Take me out of here! (She raises Kostelnicˇka up.) But now, I come to you for strength… You sinned only out of love, The Mayor’s Wife Kostelnicˇka to suffer, for the Saviour will look down on me! just as I sinned. Karolka, darling! Why, oh why do you raise me up? Jenu˚fa Laca (with horror) God give you comfort! So, now you are going away, Laca seeking a better life and you won’t take me with Look, they will take me away! Kostelnicˇka God in heaven, God in heaven! you, Jenu˚fka? I have been the cause of this; (shrieks) Come, now, take me away! Ah! I cut your cheek and disfigured you, Jenu˚fa Jenu˚fa (She rushes towards the bedroom with the intention that was why Sˇteva left you, God give you comfort! You know they’ll call me to the trial, of killing herself.) from that moment everything turned into such just think how contemptuously everyone will No, no! (The Mayor supports Kostelnicˇka and leads her misfortune! look at me! I must not! away, the rest of the people pushing out after them. Karolka If I did they would turn on you, Jenu˚fa and Laca remain.) Laca ˇ I will never marry Steva. Jenu˚fa! Jenu˚fka, I would rather jump in the river! Jenu˚fa Scene Twelve I would bear far more than that for you! Take me home! Take me home! Ah, my dearest Mamicˇko, Jenu˚fa What does the world matter, Maid Oh, I see now. if only we are together! He’ll never find a girl who will marry him. Ah, no, we should not curse her Jenu˚fa That is his punishment – Do not condemn her, O Laca, (Karolka rushes out, followed by her mother.) give her time to make atonement! Dearest Laca! he will not even get a gipsy girl to take him! Ah, the Lord will look down on her! Oh, come! Oh, come!

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On session: On session: Sir Charles Mackerras Janice Watson CHAN 3106 BOOK.qxd 20/9/06 10:51 am Page 126

On session: On session: Nigel Robson Dame Josephine Barstow CHAN 3106 BOOK.qxd 20/9/06 10:51 am Page 128

On session: On session: Neal Davies Elizabeth Vaughan CHAN 3106 BOOK.qxd 20/9/06 10:51 am Page 130

On session: On session: Brian Couzens (Producer), Sir Charles Mackerras and Ralph Couzens (Sound engineer) Peter Wedd CHAN 3106BOOK.qxd20/9/0610:51amPage132

CHAN 3017(2) CHAN 3042(2) Sir CharlesMackerras conductsOpera inEnglish onChandos

CHAN 3073 CHAN 3072

CHAN 3029 CHAN 3042(2) Sir CharlesMackerras conductsOpera inEnglish onChandos

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The complete Opera in English series: CHAN 3081(2) Mozart: The Abduction from the Seraglio CHAN 3011(2) Donizetti: Don Pasquale CHAN 3057(3) Mozart: Don Giovanni CHAN 3027(2) Donizetti: The Elixir of Love CHAN 3103(2) Mozart: Idomeneo CHAN 3083(2) Donizetti: Lucia of Lammermoor CHAN 3022 Strauss: Der Rosenkavalier (The Knight Brno version of Jenu˚fa of 1908, republished in 1996 in the edition of John Tyrrell and CHAN 3017(2) Donizetti: Mary Stuart of the Rose, highlights) Sir Charles Mackerras CHAN 3073 sings scenes from Mary Stuart CHAN 3054(3) Wagner: The Rhinegold CHAN 3003 Leoncavallo: (The Touring CHAN 3038(4) Wagner: The Valkyrie Artistic consultant to the Peter Moores Foundation: Patric Schmid Company) CHAN 3045(4) Wagner: Siegfried Vocal and language consultant: Ludmilla Andrew CHAN 3004 Mascagni: Cavalleria rusricana (Rustic CHAN 3060(5) Wagner: Twilight of the Gods Staging co-ordinator: Charles Kilpatrick Chivalry) CHAN 3065(16) Wagner: Complete Ring Cycle CHAN 3005(2) Pagliacci & CHAN 3101(2) Janácˇek: Translation research by Henrietta Bredin CHAN 3008(2) Puccini: La bohème CHAN 3029(2) Janácˇek: Osud (Fate) Music librarian: Jacqui Compton CHAN 3070(2) Puccini: Madam Butterfly CHAN 3007 Mussorgsky: Boris Godunov (highlights) Repetiteur: Michael Pollock CHAN 3000(2) Puccini: Tosca CHAN 3042(2) Tchaikovsky: Eugene Onegin CHAN 3066 sings Tosca Session photographs by Clive Barda CHAN 3086(2) Puccini: Turandot Great Operatic CHAN 3025(2) Rossini: The Barber of Seville CHAN 3096 Elizabeth Futral CHAN 3097(2) Rossini: The Thieving Magpie CHAN 3035 Recording producer Brian Couzens CHAN 3074(2) Verdi: Aida CHAN 3099 Yvonne Kenny 2 Sound engineer Ralph Couzens CHAN 3052(2) Verdi: Ernani CHAN 3049 Assistant engineer and editor Michael Common CHAN 3079(2) Verdi: Falstaff CHAN 3010 Diana Montague Operas administrator Sue Shortridge CHAN 3068(2) Verdi: CHAN 3093 Diana Montague 2 Recording venue Brangwyn Hall, Swansea; 20–26 July 2003 CHAN 3030(2) Verdi: Rigoletto CHAN 3006 Bruce Ford Front cover Photograph of Janice Watson as Jenu˚fa by Clive Barda CHAN 3023(2) Verdi: La traviata CHAN 3100 Bruce Ford 2 CHAN 3036(2) Verdi: Il trovatore (The Troubadour) CHAN 3088 Bruce Ford sings Viennese Back cover Photograph of Sir Charles Mackerras by Clive Barda CHAN 3067 A Verdi Celebration CHAN 3013 Dennis O’Neill Design Sean Coleman CHAN 3091(2) Bizet: Carmen CHAN 3105 Dennis O’Neill 2 Booklet typeset by Dave Partridge CHAN 3014(3) Gounod: Faust CHAN 3085 Booklet editor Kara Reed CHAN 3089(2) Gounod: Faust (abridged) CHAN 3077 Copyright CHAN 3033(2) Massenet: Werther CHAN 3032 p 2004 Chandos Records Ltd CHAN 3094(2) Berg: Wozzeck CHAN 3044 c CHAN 3019(2) Handel: Julius Caesar CHAN 3076 John Tomlinson 2 2004 Chandos Records Ltd CHAN 3072 Janet Baker sings scenes from Julius Caesar CHAN 3078 Baroque Celebration Chandos Records Ltd, Colchester, Essex CO2 8HQ, UK Printed in the EU

134 135 SOLOISTS/WELSH NATIONAL OPERA/ MACKERRAS CHAN 3106(2) bass tenor tenor soprano soprano soprano baritone Printed in the EU CHAN 3106(2) mezzo-soprano mezzo-soprano 65:21 55:51 Alan Fairs Recorded in 24-bit/96kHz Recorded LC 7038 DDD TT 121:12 Peter Wedd Peter Nigel Robson Nigel Neal Davies Neal COMPACT DISC ONE COMPACT DISC TWO Janice Watson Janice Charlotte Ellett 2-disc set ˇa Elizabeth Vaughan Elizabeth Dame Josephine Barstow Josephine Dame Marion McCullough Marion Její pastorkyn Její DIGITAL ˚fa’s stepmother...... ˚fa’s (Brno version) (Brno England • CHANDOS Essex • 2004 Chandos Records Ltd c , retired mill owner, retired ...... (1854–1928) Colchester , her daughter-in-law, Jenu , her daughter-in-law, • teva’s older half-brother...... teva’s ˇ S ˇek ˇka ...... , Grandmother Buryja’s grandson, present owner of the mill...... , owner grandson, present Buryja’s Grandmother ˇ, at the mill...... , their daughter...... of the village ...... , Grandmother Buryja’s granddaughter...... Buryja’s , Grandmother ˇ Janác ˚fa, her Stepdaughter ˚fa 2004 Chandos Records Ltd teva Buryja teva ˇ Mayor’s wife Mayor’s Karolka Mayor Foreman Laca Klemen S p Chorus of Welsh National Opera National Welsh Chorus of Opera National Welsh of Orchestra Charles Mackerras Sir Opera in three acts in three Opera play Preissová’s after Gabriela the composer by Libretto Leos Kraus and Otakar Downes Edward by version English Buryja Grandmother The Kostelnic Jenu Jenu Chandos Records Ltd Ltd Chandos Records

JANÁCˇ EK: JENU˚ FA, HER STEPDAUGHTER CHANDOS CHAN 3106 INLAY BACK.qxd 20/9/06 10:46 am Page 1 20/9/06 10:46 INLAY BACK.qxd CHAN 3106