SEEN AND HEARD INTERNATIONAL

Janacek, Jenůfa: Soloists, Orchestre National Bordeaux Aquitaine. Choeur de l’Opera National de Bordeaux, Conductor: Karen Kamensek. Grand-Théâtre de Bordeaux. 14.5.2010. (JMI)

 

Production by Opera Montecarlo.

Directors: Friedrich Meyer-Oertel (Original) Alain Merkés (Revival).

Sets and Costumes: Heindrun Schmelzer.

Lighting: Hans Haas (Original) Marc Pinaud (Revival).

 

Cast:

Jenůfa: Mireille Delunsch.

Kostelnicka: Hedwig Fassbender.

Laca: Stuart Skelton.

Steva: Gregory Turay.

Grand Mother Burya: Sheila Nadler.

Windmill Foreman: Jean-Manuel Candenot.

Mayor: Jean-Philippe Marlière.

Mayor’s Wife: Marie-Therese Keller.

Karolka: Laure Crumière.

Shepherdess: Olga Fedorova-Podgornaya.

Barena: Eve Christophe-Fontana.

Jano: Aurelie Ligerot.

Aunt: Maryelle Hostein.

 

Production Picture © Frédéric Desmesure

Nowadays each production of an opera by Janacek seems to be a big commercial success, and this Jenůfa at Bordeaux offered no exception to this ‘rule’. What seemed impossible some 40 years ago has today become an unquestioned reality. Leos Janacek was a genuine unknown in this part of the world at that time, while today he is a composer whose operas are programmed regularly in our theatres and are just as regularly accompanied by success. Without a doubt, the great discoveries, in the south of Europe, so far as the modern world of opera is concerned, have been Leos Janacek and Benjamin Britten.

Bordeaux is presenting the production of Jenůfa by Friedrich Meyer-Oertel, which was premiered more than 10 years in Liège, and now comes to Bordeaux from Monte Carlo, where it was presented two years ago. Meyer-Oertel’s work has done his work well, building on a somewhat figurative and minimalist concept. The single stage places no sets before us other than an undulating floor, which can represent a field of cereals. The addition of a roof turns it into the house of Kostelnicka and the stage for the Jenůfa’s wedding. A few additional elements (rosemary, a sewing machine, a cube with potatoes) complete the setting. The production, indeed, is characterized by a remarkable economy, and by an impressive lighting scheme. The direction of the cast on stage is good, especially so far as it concerns the two female protagonists of the opera; the other artists provide rather less in the way of stage skills.

Fundamental to the success of this performance of Jenůfa was the presence of the American Karen Kamensek as conductor. This was the first time I had seen her and I found her work altogether convincing. Her direction was very careful, yet full of life, and she drew an excellent performance from the orchestra, one of the very best I can remember hearing from them. I do not know what Kamensek might have to offer in different repertoire (Kamensek was recently appointed Music Director of the Staatstheater in Hannover for the 2011/12 season), but her contribution to this Jenůfa was superb.

The French soprano Mireille Delunsch is an artist who is not afraid to take great risks in her performances. There have been times when she has made some highly debatable choices, although proving herself to be, fundamentally, a fine performer. This was such an occasion. Delunsch inhabited the character of Jenůfa with enormous intensity, living this suffering and resigned role from her first appearance on stage. I found her Jenůfa a very intimate and intense characterisation, complemented by an impeccable vocal performance.

The German mezzo Hedwig Fassbender offered another outstanding interpretation as Kostelnicka. Her voice is not especially beautiful, but she compensates for any such deficiencies with other no less important qualities. Australian tenor Stuart Skelton made an excellent Laca, with an appealing voice very well suited to the role. As Steva, Gregory Turay was not on the same level, being almost inaudible in the first act, before improving considerably in the second.

In the secondary roles, the veteran Sheila Nadler was a convincing grandmother Burya, the signs of wear in her voice proving apt for the role. Jean-Manuel Candenot was a rather coarse Foreman. There was little of distinctive interest in the performances of Jean-Philippe Marlière as Mayor and Marie-Therese Keller as his wife.

A full house gave a very warm reception to the artists. There were particularly resounding cheers and applause for Hedwig Fassbender, Mireille Delunsch, Karen Kamensek and Stuart Skelton, in that order.

José M Irurzun