Bachtrack logo
Agenda
Critiques
Articles
Actualités
Vidéo
Site
Jeunes artistes
Voyage

Oeuvre: Katia Kabanova

Rechercher des événements de musique classique, opéra et ballet
Fichier de données
CompositeurJanáček, Leoš (1854-1928)
ÉpoqueDébut du 20ème siècle
Type d'œuvreOpéra / Oratorio
Événements à venirEn voir plus...

PragueKátya Kabanová

Loading image...
Janáček: Katia Kabanova
Robert Jindra; Calixto Bieito; Prague National Theatre Opera; Aída Leonor Guardia; Eva Butzkies; Prague National Theatre Chorus; Prague National Theatre Orchestra
Critiques récentesEn voir plus...

Katia Kabanova transcendée par Corinne Winters à l’Opéra de Lyon

Loading image...
La soprano américaine subjugue dans le rôle-titre, au sein d'une nouvelle production (mise en scène par Barbara Wysocka et dirigée par Elena Schwarz) qui sert efficacement l'œuvre intense de Janáček.

Katia Kabanova dans une maquette à échelle humaine à Genève

Loading image...
Dans le chef-d'œuvre de Janáček globalement bien servi par la distribution, la mise en scène de Tatjana Gürbaca fait le pari judicieux d’un jeu psychologique pur, malgré quelques limites.

Magnifiques destins de femmes à l'Opéra d'Avignon

Très belle représentation de Katia Kabanova à l'Opéra d'Avignon marquée par une très belle proposition scénique et une distribution très homogène ! 
Articles récentsEn voir plus...

How to sing infanticide: Karita Mattila on Jenůfa

Loading image...
The Finnish soprano doesn’t like the word evil. Her approach to singing villain roles is to find the humanity in the character – which is always there. 

Bachtrack top ten: Leoš Janáček

Loading image...
Janáček was heavily influenced by folk music and speech inflections of his native Moravia. The vast majority of his greatest works come from his final decade, inspired by his infatuation with Kamila Stösslová.

At the helm of the aircraft carrier: Oliver Mears

Loading image...
Covent Garden's Director of Opera talks about directing opera, moving from a start-up to a behemoth and how The Royal Opera hopes to exit from the pandemic.
Biographie

Leoš Janáček began composing Kátya Kabanová, his 6th opera, in January 1920 and continued to make revisions until the Brno premiere in November 1921. At its first performance in November 1921, he was sixty-seven years old, estranged from his wife, and his children were long dead. He was deeply in love with Kamila Stösslová, a married woman whom he had met during a spa cure in July 1917. His fixation with Kamila Stösslová, or with his romanticised image of this apparently dull bourgeoise, led him to create a striking heroine. Kátya´s beauty, her fragility, her painful isolation in a provincial town, and the depth of her love for someone she scarcely knows (and whom she certainly overestimates) are the heart of Janácek´s opera. This extraordinary, shimmering beauty takes the opera far away from the play on which it is based (as of course it should!).

That play upon which Kátya Kabanová is based, Alexander Ostrovsky´s The Thunderstorm (1859), placed the character Kátya in a much clearer and more particular context. What we cannot tell is how much of that context Janáček´s audience might have understood. Janáček radically compressed the play´s material so that the theme of the play - the brutality of domestic life in the provincial merchant class - became a sort of shadow. Kátya´s main oppressors, her mother-in-law and her side-kick, the merchant Dikoj, are grotesque in the opera, though it is understood that their public personae are estimable.

Two important characters in the play - Kuligin, the Chekhovian scientist/optimist who looks to the future, and Feklusa, the itinerant pilgrim who as a holy woman stands for tradition - are more ciphers in the opera. Most of the characteristics of Kuligin are transferred wholesale to another character, the saucy clerk Vána Kudrjás, who becomes more a blend of characteristics than a rounded character (though a very effective foil to the romantic lead, his friend Boris Grigorievich). One has to assume that Janáček´s selectivity was careful. Clearly he deemed it important to preserve and emphasize the
public nature of Kátya´s confession of infidelity, so strikingly a feature of the Orthodox Church. At the same time, he cut out much information essential to an understanding of the plot: the fact, for example, that unmarried girls like Varvara had license to roam unsupervised, while married women like Kátya were domestic chattel to be kept under lock and key. In the opera, many aspects of the plot are brittle, disturbing, and oddly resonant - for example, the discussion of lightning rods in the ruined building at the top of Act 3.

Such savage editing and compression of the text of the play, which might might seem a failing, is on the other hand a sign of Janáček´s particular genius. Some interactions and relations in the plot are unclear, certainly, and occasionally characters´ utterances are incomplete: we seem to see snapshots, overhear fragments. What Janáček has done is make room for the music to speak. He has also, in his way, made room for the symbols - the river, the storm - to have their great power and their proper ambiguity. Ostrovsky´s storm is clearly the sound of social change in the 1860´s, while Janáček´s is much more personal, much more to do with the tone of `love against one´s will´. Ostrovsky´s river Volga seems to be the mighty, unchanging, thoughtless force of tradition in Tsarist Russia; Janáček´s river is more spiritual, more seductive, yet no less deadly.

March 2009

This article was edited from the director's note written by James Conway, and is reprinted with the kind permission of English Touring Opera. The Czech spelling is "Kát'a Kabanová".