#Royal opera house jenufa plus#
#Royal opera house jenufa series#
#Royal opera house jenufa tv#

Števa has made Jenůfa pregnant, though he is a rather feckless drunk who expects to inherit a mill on the death of his grandmother. We are supposed to see a tightly knit community concealing their all-too-human failings under a veneer of moral rectitude.

#Royal opera house jenufa tv#

Janáček’s 1904 opera involves the tangled relationships that are frequently commonplace now in routine TV dramas. It is the Royal Opera’s first new Jenůfa since Bernard Haitink conducted Olivier Tambosi’s staging in 2001 with Mattila in the title role on that occasion. While few of the originally planned cast remain it is notable that the central pairing of Asmik Grigorian (Jenůfa) and Karita Mattila do return, whilst Henrik Nánási has replaced Vladimir Jurowski. Claus Guth’s new production planned for March 2020 was cancelled due to the first lockdown and finally gets to the Covent Garden stage after 18 months and it is his first Janáček opera. (JPr) Saimir Pirgu (Števa) and Karita Mattila (Kostelnička) (c) Tristram Kentonĭown memory lane for my first (and only until now) Jenůfa which was a David Pountney production in Glasgow in October 1989 with British singers(!) in all the leading roles: Anne Williams-King (Jenůfa), Graham Clark (Števa) and the much-missed Pauline Tinsley and Alberto Remedios as Kostelnička and Laca. Livestreamed (directed by Rhodri Huw) from the Royal Opera House, Covent Garden, and available now on OperaVision. templemusic.United Kingdom J anáček, Jenůfa : Soloists, Chorus and Orchestra of the Royal Opera House / Henrik Nánási (conductor). And the repertoire is all-baroque (Handel, Purcell, Rameau), assembled in the manner of some imagined state occasion. You don’t often encounter a soprano, saxophone and organ playing together but you do on Tuesday 28 when Temple Music Society gets going again after its Covid shutdown. Different programmes 4pm and 6.30pm at the hall’s agreeably unswanky Holborn premises.

#Royal opera house jenufa series#

I t’s good to see Conway Hall’s time-honoured Sunday concert series back in business on Sunday 26, with not one but two events given by the Berkeley Ensemble: a group named after the composer Lennox Berkeley and playing his music here alongside other British works.The cast looks fabulous, with Lithuanian soprano of the moment Asmik Grigorian in the title role Karita Mattila (once a noted Jenufa herself) ageing gracefully into the formidable stepmother who does a terrible thing and British tenor Nicky Spence (currently at the top of his game) as the decent man who does another terrible thing, driven by rejected love. The staging here is by Claus Guth, a master. But in a good way, with a score so utterly magnificent that it somehow sustains you. A story about small-town claustrophobia, oppressive families and infanticide all bearing down on the young woman at its tragic heart, Jenůfa can be a traumatising piece that leaves you feeling battered by the end. It’s also a good week for gut-wrenching opera, and few things wrench harder than Janáček’s Jenůfa which opens Tuesday 28 in a new production at the Royal Opera House.

#Royal opera house jenufa plus#

And with a strong cast, plus Edward Gardner making his debut as principal conductor of the LPO, this promises to be a show that merits surrender. But it contains some of the most ecstatically beautiful music ever written for the opera stage: transcendent, magical and life-affirming.

It’s a rambling score based on an inscrutable fantasy of Tippett’s own devising, overloaded with Jungian metaphor and sometimes a bit silly.

This is a good week for exploring mythic opera, because Saturday 25 brings to the Festival Hall a concert performance of Michael Tippett’s Midsummer Marriage.

And it will be interesting to discover why Orpheus got so famous while Paris didn’t. Written in 1770, it’s one of the composer’s so-called “reform” works that, like his better-known Orpheus and Eurydice, were a sort of manifesto for how opera could be more effective. And an obscure one comes to light this Friday 24 at St John’s Smith Square when Bampton Classical Opera give the first ever London staging of Gluck’s rarely seen Paris and Helen.

But on the plus side, she also launched a fair number of operas about her misfortunes. And it got worse when she grew up to become what Christopher Marlow called “the face that launched a thousand ships,” kickstarting the Trojan War. Photo: YOU could fairly say that Helen of Troy had an equivocal start in life, as the daughter of a swan (Zeus in disguise) who had seduced her mother. Asmik Grigorian sings Jenůfa at the Royal Opera House.