|Bavarian State Opera|
|Martin Zehetgruber||Set Designer|
|Heidi Hackl||Costume Designer|
|Günther Groissböck||Bass||Vodník, the water goblin|
|Helena Zubanovich||Mezzo-soprano||Ježibaba, the Witch|
|Nadia Krasteva||Mezzo-soprano||Foreign Princess|
|Tara Erraught||Mezzo-soprano||Kitchen Boy|
|Sean Michael Plumb||Baritone||The Hunter|
|Evgeniya Sotnikova||Soprano||First Wood Sprite|
|Rachael Wilson||Mezzo-soprano||Second Wood Sprite|
|Okka von der Damerau||Mezzo-soprano||Third Wood Sprite|
|Chor der Bayerischen Staatsoper|
Rusalka feels trapped in a world from which there is no escape. She is ready to put her immortality on the line in return for a human soul, so she can gain the love of a handsome prince. But she must pay for it with her voice. Muted and liberated from her dark world, she is forced to watch as the prince rejects her in favor of a foreign princess – dooming them both. She cannot live, she cannot die, yet nevertheless at the end, she helps the prince find his death with a “rescuing” kiss.
In their opera Rusalka, which premièred in 1901, Antonin Dvořák and his librettist Jaroslav Kvapil mixed the Slavic myth of the undead vengeful woman from the water with such storybook characters as Friedrich de la Motte Fouqué’s Undine and Hans Christian Andersen’s Little Mermaid. The fascinating musical worlds, the lyrical and highly dramatic moments came together to make Rusalka one of the most successful Czech operas ever written.