Jenůfa
Jenůfa
Jenůfa
Jenůfa is pregnant but her stepmother wants a different life for her – and will pursue it at any cost.
Jakub Hruša conducts Claus Guth’s Olivier award-winning production of Janáček’s Jenůfa. A gripping opera of shame, betrayal and redemption.
Jakub Hruša conducts Claus Guth’s Olivier award-winning production of Janáček’s Jenůfa. A gripping opera of shame, betrayal and redemption.
Royal Ballet and Opera Principal Julia Rausing Trust
Susan and John Singer, John McGinn and Cary Davis, Royal Ballet and Opera Patrons and
The American Friends of Covent Garden
GOOD INTENTIONS TURN TO UNFORGIVABLE DEEDS
Jenůfa is keeping secret from everyone that she is pregnant by Števa, whom she loves despite his drinking and womanising. Jenůfa’s stepmother, the Kostelnička, had a violent, alcoholic husband and tells Števa he won’t be allowed to marry Jenůfa unless he stays sober for a year. Števa’s overbearing behaviour towards Jenůfa angers Laca, who loves Jenůfa and is jealous. When Jenůfa defends Števa, Laca becomes enraged. They struggle and he slashes her face with a knife.
Months later, the Kostelnička and Jenůfa conspire to keep the birth of Jenůfa’s illegitimate baby secret. Števa knows he has a son, but refuses to marry Jenůfa now her face is disfigured. Laca offers to save Jenůfa’s reputation and marry her, but is reluctant to take on Števa’s child. The Kostelnička tells both Laca and Jenůfa that the baby died while Jenůfa slept. But on Jenůfa’s wedding day the terrible truth is revealed.
Background
Corinne Winters (Jenůfa) and Karita Mattila (the Kostelnička) lead in Janáček’s evocative opera with a score that is infused with traditional folk melodies of the composer’s native Moravia. Music Director Designate Jakub Hruša conducts Claus Guth’s staging which is an ‘edgy, evocative’ (Telegraph) take on this poignant domestic drama.
The music of Jenůfa
Janáček’s folk-inspired music movingly captures Jenůfa’s progression from hope to despair to eventual radiant happiness, while her stepmother, the Kostelnička, is one of opera’s most complex maternal figures. Writer Nigel Simeone describes the unique structure of Janáček's stirring music as such: ‘Every character has his or her own musical language, and Janáček sets down a pattern that will serve him for all of his mature operas. A theme, often as short as four notes, dominates each scene [of the opera] but then gives way to another, equally memorable'.
What is a Kostelnička?
Jenůfa's stepmother is referred throughout Janáček’s opera as ‘the Kostelnička’, a title given to a village church-warden or elder. Initially presenting as a strong matriarch who is fiercely protective of Jenůfa, the Kostelnička has one of the more dramatic – and dark – character transformations across opera. As Jenůfa's future is turned increasingly precarious by her illegitimate child, the Kostelnička’s maternal instinct morphs into obsessive determination... In a small, stifling community, how far must a mother go to protect her child?
Cast and Creatives
Creatives
Access
There is lift access and step-free routes to over 100 seats in the Stalls Circle, Balcony and Amphitheatre. There are 10 steps or fewer to some seats in the Stalls Circle, Balcony, Amphitheatre and the Donald Gordon Grand Tier. All seats in the Orchestra stalls are accessed by 9 steps or more. A handheld bell is rung by Front of House staff to signal guests to take their seats before a performance. The bell is loud and can be startling. The bell is rung approximately ten minutes before the show starts and at each interval.
We have an assistive listening system available to use. This opera is sung in Czech with English surtitles. Captions and translations in English will be displayed on screens above the stage and around the auditorium.
An Audio Described guide for Jenůfa is available on The Royal Ballet and Opera SoundCloud.
This production features flashing lights, some moderate violence and reference to infanticide. It is not suitable for children under 12.
The opera last about 2 hours, 55 minutes with two intervals.
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