Beneath the ice: a triumphant revival of Jenůfa at English National Opera

In one of the periodic storms that capture the operatic reaches of the Twittersphere, a discussion emerged as to whether Jenůfa was a suitable work to introduce to an opera novice as their first performance. Advocates argued for its dramatic intensity and the beauty of Janáček’s score, criticising a marketing misfire that, albeit inadvertently, ran the risk of deterring prospective audience members from attending the revival of David Alden’s production at English National Opera.

To those put off, I would heartily encourage them to reverse their position and immediately seek tickets, for this production sees ENO do some of their finest work. There has been criticism of ENO’s casting in recent times: of small voices given to ill-fitting roles, of a mismatch between stage and pit, and a lack of theatrical force. There are no such concerns here: the cast is packed with big voices that more than meet the robust playing in the pit. As for drama, Alden’s bleak and austere vision – superbly framed through Charles Edwards’ vast and drab set and Adam Silverman’s lighting – manages to create a bizarre blend of emptiness and claustrophobia. Little details (the distance between Jenůfa and the Kostelnička as they sit at the opening of Act 2, Grandmother Buryjovka’s pathetic attempts to participate in the revelry of Act 1, the Kostelnička’s fixation on her hands after she murders her stepdaughter’s baby) all line up together to give a production that sears itself on the eyes and the soul. Brutal, unsparing stuff, but with a vein of humanity running from start to finish that prevents the production from tipping over into total bleakness.

Where does one start with a set of principals that deliver performances of such a high calibre? Susan Bullock is one of the finest British sopranos of our day and a natural creature of the stage, ideal for the Kostelnička. Everything, from her gait to the tightness of her jaw seemed considered and yet entirely organic. Noticeable too was the quality of her diction: with such clarity, not once were surtitles needed. Forceful in the higher register and as sturdy as a coffin in the voice’s lower reaches, this was a tour de force of a performance. Despite the power of Act 3 and the aftermath of the murder in Act 2, it was her Act 2 confrontation with Števa that most stayed with me, where Bullock stripped the voice of its harsh authority, showing instead a warmth and pleading that went straight to the heart. A proud woman, forced to her knees.

Singing Jenůfa, Jennifer Davis’ bold distinct soprano filled the Coliseum in an utterly credible performance, but the technique was there to file the voice down in delicate pianissimo that was completely audible. Hers is a voice that glows just as much as her portrayal of the character; her Jenůfa is a beacon in a very murky moral ecosystem. Diction flickered occasionally, generally at moments of intensity, but this was forgivable for the passion conveyed in her performance. Making his UK debut, Richard Trey Smagur’s burly Laca lurched across the stage, lurking and longing, a man in overalls in comparison to Števa’s leather-jacketed playboy. Smagur’s rich, iridescent tenor was tireless in its upper reaches, never faltering and packed with yearning. Diction was clean and crisp, with a real sense of the text. His rival, Števa, was sung by John Findon with a swagger in the voice and a thrust in his step. Findon’s easy tenor and sleazy manner was an ideal contrast to Smagur’s awkward outcast.

Fiona Kim’s handwringing Grandmother Buryjovka caught the eye and provided perhaps the only moment of comedy in the evening. The ENO Chorus provided their customary heft and energy, while in the pit, Keri-Lynn Wilson led the orchestra in a thrilling reading of the score, sinuous early on, then with bags of energy as the piece developed. It was an interpretation that balanced beauty with drama.

Against a backdrop of misfortune, some self-inflicted, this revival showed ENO at its best: high quality talent, bracing drama and an English language performance which actually sounded like English. More of this please.