Káťa Kabanová

In Kátya Kabanová, Leoš Janáček remainsfaithful to his precise, concise style. It is one of his grimmest titles, yet few works portray more successfully a woman's determination to be free.  The microcosm that centres on the destiny of Katya (“Sometimes I dream I'm a bird”), who is cruelly mistreated by her mother-in-law Marfa ("Kabanicha"), itself reflects a macrocosm, that of the human condition, lucidly portrayed by Janáček in this his most pessimistic opera.

David Alden offers us a striking spectacle.His artistic approach to this 20th century classic is based on a naturalistic exploration of the visual hallmarks of Soviet totalitarianism. The production delves deep into a dysfunctional, pathologically obsessed society, bent on exerting control over other human beings.

American soprano Patricia Racette's versatility and varied repertory have made her one of today's great singers. She gives a benchmark interpretation of the title role in this masterly work.