Can you introduce yourself, and talk about your current musical role and responsibilities?
My name is Kateřina Kněžíková, and I am a soloist of the National Theatre in Prague. I sing soprano roles such as La Contessa, Fiordiligi, Donna Elvira, and Micaela, but I currently feel most comfortable in Czech repertoire. My favourite roles are Rusalka, Jenůfa, Kátya Kabanová, and Sharp-Ears in The Cunning Little Vixen. My passion is song repertoire across the centuries, from Mozart to 20th-century works. I very much enjoy and often engage in concert repertoire.
My latest premiere, in the 23/24 season, was a new production of Rusalka under the musical direction of Tomáš Netopil, with staging by the duo Skutr (Martin Kukučka and Lukáš Trpišovský). My latest role, which I had the honour of singing at the Prague Spring Festival and at Smetana’s Litomyšl Festival, was Libuše by Bedřich Smetana, an iconic figure in Czech history. The project was conducted by Jakub Hrůša.
For those who haven’t come across it before, can you give a brief introduction to Antonín Dvořák’s Rusalka?
Rusalka is a fairy-tale story of a water nymph who falls in love with a Prince. She wishes to become human to be with him, but her transformation comes with significant sacrifices and tragic consequences. The opera is known for its lush orchestration, lyrical beauty, and of course, the famous aria Song to the Moon. In today’s opera world, we can expect various interpretations and shifts in the themes of Rusalka, but this is its pure and crystalline form of the story.
Rusalka is one of ten operas Dvořák composed, but the only one that is commonly performed today. What is special and distinctive about it?
Rusalka stands out due to its enchanting combination of Slavic folklore and profound emotional depth. The character of Rusalka is simply amazing. Over the course of three acts, her personality undergoes a massive transformation from a gentle girl longing for love to a woman who, despite human cruelty, rises from the ashes, does not become bitter, and looks at the world and human soul with love. Her final words are chilling, and it is admirable how she managed to move forward thanks to her experiences and life knowledge, even though the next “journey” will not be easy for her.
What impression did the opera make on you when you first heard it?
When I heard Rusalka for the first time, I was amazed by its beauty and emotional intensity. The music had an almost magical quality for me. Dvořák’s ability to weave such vivid storytelling through music left a deep impression. I first debuted on stage as the First Wood Nymph and often went to the wings to listen to my more experienced colleagues. I soaked up every note and told myself that I would love to sing and live every part of Rusalka one day. At that time, I was singing much more lyrical parts, but later my voice matured into these roles, for which I am grateful, and I enjoy it to the fullest.
What is it like to perform? Are there notable difficulties in singing the main role?
Performing Rusalka is both a challenging and rewarding experience. The role demands a wide vocal range and the ability to convey deep emotional nuances. For example, the famous Song to the Moon requires exceptional breath control and tranquillity. In contrast, the aria in the second act is written quite low with strong orchestration, and it is necessary not to overstress and to work with the lower register of the voice. When I started singing this part six years ago, I didn’t have much experience. Over time, I learned to manage my energy better. It is truly a long and emotionally demanding opera. Balancing the vocal demands with the dramatic portrayal is one of the most challenging aspects of this role. But I am enjoying it so much.
Is there a recording or a memory of a performance that is particularly special?
The best Rusalka for me will always be Gabriela Beňačková. Her interpretation of the Czech repertoire, especially Rusalka, Jenůfa, and Kátya, is, in my opinion, the pinnacle of operatic art. Her voice carries what is known as the “Slavic tear”, which leaves a deep emotional impact on listeners. On stage, she was always natural, beautiful, and managed to fill the sung word with the right amount of expression and experience. When I first heard the aria from the recording in her rendition, it was like being transported to an entirely different dimension.
Do you have a favourite passage in the opera?
Over time, this passage has changed. At first, it was the Song to the Moon, later the part from the third act, “Torn from life, into deep solitude”. Of course, the beautiful music is at the end of the third act, when Rusalka reappears to the Prince in a completely different light. And Rusalka’s final sentence is iconic: “Human soul, may God have mercy on you.”
However, over the years that I have been singing Rusalka, the moment when Rusalka decides to become human, without knowing what awaits her, has become very close to me. The naïve sentence she says to the witch, “take everything I have, but make me human”, or “with a pure soul, a pure human soul, my love will break all spells.” It encapsulates everything.
Why should one come to hear a performance of Dvořák’s Rusalka?
The libretto of Rusalka perfectly intertwines with Dvořák’s music, making this work a perfect piece full of deep emotions. If someone wants to go to the opera for the first time and is unsure of what to choose, Rusalka is an ideal choice, promising that the audience will leave the opera uplifted, touched by the beauty of the music and the magic of the theatre.
Kateřina Kněžíková performs Rusalka at Prague National Theatre from 21st September.
This article was sponsored by the Year of Czech Music.
