| Janáček, Leoš (1854-1928) | Kátya Kabanová |
| Gran Teatre del Liceu | ||
| Josep Pons | Conductor | |
| David Alden | Director | |
| Charles Edwards | Set Designer | |
| Jon Morrell | Costume Designer | |
| Orquesta Sinfónica del Gran Teatre del Liceu | ||
| Coro del Gran Teatre del Liceu | ||
| Patricia Racette | Soprano | Kátya (Katerina) |
| Nikolai Schukoff | Tenor | Boris |
| Rosie Aldridge | Mezzo-soprano | Kabanicha (Marfa Ignatěvna Kabanová) |
| Francisco Vas | Tenor | Tichon |
| Alexander Teliga | Bass | Dikój |
| Antonio Lozano | Tenor | Kudrjaš |
| Michaela Selinger | Mezzo-soprano | Varvara |
| Josep-Ramon Olivé | Baritone | Kuligin |
| Marisa Martins | Mezzo-soprano | Fekluša |
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.
