Tcherniakov’s starkly modern reading of Rusalka opens the Teatro San Carlo season

The 2024–25 season at Teatro San Carlo began with a striking production of Antonín Dvořák's Rusalka staged by Dmitri Tcherniakov in his directorial debut at the renowned Neapolitan theatre. Tcherniakov’s reimagining of the Slavic fairy tale promised to confront themes of sexual abuse, obsession and dependency through a modern psychoanalytic lens (as is almost expected from today’s trendsetting opera directors) and to deliver, in his own words, an “electric shock”, the results being as divisive as they are thought-provoking.

The production abandons the ethereal charm of the original fairy tale in favour of a starkly modern reading. It focuses on a sequence of animated cartoons on a digital curtain that spans the entire stage. The story unfolds as though seen through shifting windows of varying sizes and shapes, opened in the curtain, where the singers perform as if they were characters in a living graphic novel. Costumes by Elena Zaytseva, dynamic lighting by Gleb Filshtinsky and animations by Alexej Poluboyarinov and Maria Kalatozishvili contribute to a visually bold, but thematically uneven presentation.

In Tcherniakov's reinterpretation, the aquatic nymphs of Jaroslav Kvapil’s libretto become synchronised swimmers, while Vodník, the Water Sprite, is reimagined as a sinister, abusive coach, chillingly portrayed by Gabor Bretz. The Prince, cast as a modern playboy, makes his entrance in a Ferrari drawn in the comics, with which he hits Rusalka, and falls in love with her.

While these updates aim to address contemporary issues such as power dynamics and psychological trauma, they come at a cost. By narrowing the focus to obsessive love, betrayal and sexual abuse, the production sacrifices much of the opera’s symbolic richness. The evocative ambiguity and timeless magic of Dvořák’s original vision are replaced by a more didactic framework, limiting the story’s universal resonance to a here-and-now everyday chronicle,

The polarising staging did not hinder the resounding success of the performances. Asmik Grigorian delivered a luminous and emotionally profound portrayal of Rusalka, combining technical brilliance with heartfelt vulnerability. Her rendition of the Song to the Moon was a highlight, showcasing her ability to captivate with both voice and magnetic presence.

Adam Smith’s Prince was dramatically compelling, though his vocal performance occasionally faltered. Anita Rachvelishvili brought a commanding stage presence and a mezzo-soprano of extraordinary richness to Jezibaba, while Ekaterina Gubanova infused the Foreign Princess with sharpness and seductive cynicism, adding depth to the character. The three Wood Nymphs – Julietta Aleksanyan, Iulia Maria Dan, and Valentina Pluzhnikova – performed with ease and precision, while Andrey Zhilikhovsky lent his voice to the Hunter. 

Peter Hoare’s Gamekeeper and Maria Riccarda Wesseling’s Kitchen Maid are imagined as Rusalka’s submissive father and assertive mother, thus introducing an intriguing familial element; though their roles felt peripheral to the central drama, their vocal and acting rendition was good. 

Dan Ettinger’s leadership of the Teatro San Carlo Orchestra was exemplary. His interpretation highlighted the impressionistic textures of Dvořák’s score, seamlessly balancing symphonic grandeur with moments of lyrical intimacy. The orchestra responded with vitality, overcoming minor lapses, while the chorus, under Fabrizio Cassi’s direction, earned well-deserved accolades.

Tcherniakov’s bold visual style – the garish masquerade ball in Act 2 was  gripping – occasionally dilutes the story’s emotional impact. While his production succeeds in addressing timely themes, it sacrifices part of the opera’s poetic essence, resulting in a stage concept intellectually stimulating, but with the emotional, dramatic energy quite totally delegated to the music. For better or worse, this Rusalka is destined to be remembered – a daring experiment that sets a provocative tone for the Teatro San Carlo’s new season (the last one for Sovrintendente Stéphane Lissner), leaving its audience undeniably engaged.