{"id":86661,"date":"2016-11-09T02:25:48","date_gmt":"2016-11-09T01:25:48","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=86661"},"modified":"2016-12-18T01:30:23","modified_gmt":"2016-12-18T00:30:23","slug":"new-york-metropolitan-opera-jenufa","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/new-york-metropolitan-opera-jenufa\/","title":{"rendered":"New York, Metropolitan Opera: “Jenufa”"},"content":{"rendered":"

New York, Metropolitan Opera, 2015\/2016<\/em>
\n\u201cJENUFA\u201d<\/strong>
\nOpera in three acts. Libretto by the composer Leo\u0161 Jan\u00e1\u010dek<\/strong>, after the play Jej\u00ed\u00a0pastorky\u0148a (Her Stepdaughter) by <\/em>Gabriela Preissov\u00e1.
\nJen\u016ffa<\/em> OKSANA DYKA
\nGrandmother Buryja<\/em> HANNA SCHWARZ
\nLaca Kleme\u0148<\/em> DANIEL BRENNA
\nJano <\/em>YING FANG
\nForeman<\/em> BRADLEY GARVIN
\nKostelni\u010dka Buryja<\/em> KARITA MATTILA
\n\u0160teva Buryja<\/em> JOSEPH KAISER
\nBarena<\/em> DISELLA LARUSDOTTIR
\nOld Shepherdess<\/em> MARIA ZIFCHAK
\nMayor<\/em> RICHARD BERNSTEIN
\nMayor’s Wife<\/em> ELIZABETH BISHOP
\nKarolka<\/em> CLARISSA LYONS
\nAunt<\/em> SARA COUDEN
\nMetropolitan Opera Orchestra & Chorus
\nConductor David Robertson<\/strong>
\nProduction Olivier Tambosi <\/strong>
\nSet and Costume Designer Frank Philipp Schl\u00f6ssmann <\/strong>
\nLighting Designer Max Keller <\/strong>
\nNew York, November 3, 2016
\nLeo\u0161 Jan\u00e1\u010dek<\/em> (1854-1928) is an important figure of Czech musical nationalism. However, when \u201cJenufa\u201d debuted at the Metropolitan Opera in 1924, it was not well received. The critics were only impressed by Jan\u00e1\u010dek<\/em>‘s use of “authentic” folk music. In reality, the melodies were of his own invention.\u00a0 Since then, his work has gained in popularity, but, in the United States, he is still not widely known. This is unfortunate, as Jan\u00e1\u010dek<\/em>‘s operas display a dramatic sensitivity, and a musical theatricality to rival other great composers like Puccini. \u201cJenufa\u201d is essentially Czech verismo. The opera centers on the Kostelni\u010dka, the matriarch of a prominent family in rural Moravia. When her teenage stepdaughter Jenufa becomes pregnant out of wedlock, Kostelni\u010dka is driven to kill the newborn in order the save the family\u2019s honor.\u00a0 Therefore, the opera is similar to other famous works of the Italian verismo movement like \u201cCavalleria Rusticana\u201d which aim to remove the illusion of simplicity from everyday life.
\nDavid Robertson<\/strong> gave a sensitive reading of Jan\u00e1\u010dek\u2019<\/em>s score.\u00a0<\/em> He was alert to the swift changes in mood that make this drama so compelling.\u00a0 Karita Mattila<\/strong> as Kostelni\u010dka returns to an opera that she owned as the title character.\u00a0 She\u2019s known for her intense portrayals of such nuanced characters as Salome and Donna Anna.\u00a0 Here she did not disappoint, her Kostelni\u010dka was a sympathetic, tragic figure.\u00a0 You may not agree with her decision to kill her grandchild, but you understood why she needed too. Mattila has not been at The Met in recent seasons and it was good to see that her voice hasn\u2019t lost any of its body. In the title role, Oksana Dyka<\/strong>, gave an uneven performance.\u00a0 She brought a level of physicality to her acting that was enjoyable to watch and when called for it, she could sustain a high note that soared over the orchestra, but in general her voice sounded strident which might not be in keeping with a na\u00efve pregnant teenager. In the role of Laca, Jenufa\u2019s ever patient suitor, Daniel Brenna<\/strong> made good use of his profound tenor.\u00a0 He spent the evening channeling John Vicars, which was thrilling. It was a great night for the smaller roles as well.\u00a0 Ying Fang<\/strong>, graduate of the Lindermann Young Artist Development Program, as Juno the shepherd who Jenufa taught to read has great promise.\u00a0 As the mayor, Richard Bernstein<\/strong> sang strongly and Clarissa Lyons who played his daughter, was sweet and sufficiently naive.\u00a0 Hanna Schwarz<\/strong> as Grandmother Buryja had great presence and depth of voice.\u00a0 Olivier Tambosi<\/strong>\u2019s production is sparse enough to bring the music and drama into focus.\u00a0 For the most part Frank Philipp Schl\u00f6ssmann<\/strong>\u2019s sets and costumes deliver on the perimeters set out by the libretto, although the big cradle-shaped rock in the middle of the Kostelni\u010dka\u2019s house in Act II might too symbolistic.\u00a0 Photo Ken Howard<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

New York, Metropolitan Opera, 2015\/2016 \u201cJENUFA\u201d Opera in three acts. Libretto by the composer Leo\u0161 Jan\u00e1\u010dek, after the […]<\/p>\n","protected":false},"author":6132,"featured_media":86663,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[5610,14047,17337,17338,5062,5060,1106,640,812,1181,1289,17339,17340,15058],"class_list":["post-86661","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-daniel-brenna","tag-david-robertson","tag-foregin-readers","tag-frank-philipp-schlossmann","tag-hanna-schwarz","tag-jenufa","tag-karita-mattila","tag-leos-janacek","tag-metropolitan-opera","tag-new-york","tag-oksana-dyka","tag-olivier-tambosi","tag-richard-bernstein","tag-ying-fang"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/86661","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/users\/6132"}],"replies":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/comments?post=86661"}],"version-history":[{"count":0,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/86661\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/86663"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=86661"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=86661"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=86661"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}