Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor’s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.It is more than two years since the Royal Opera announced the appointment of Jakub Hrůša as its next music director, succeeding Antonio Pappano after his record-breaking 22 years in the post. Whenever conductors are changing jobs, it is advisable to settle in for a long wait.Even now, Hrůša is not due to officially take up the post until September and this is the first production he has conducted with the company since the announcement was made. If anticipation at his arrival had seemed to be going off the boil, this revival of Jenůfa should turn the temperature right back up.For an older generation of opera-goers Charles Mackerras was the authoritative conductor of Janáček, not least because he championed the Czech composer’s operas when they were not widely known. If Hrůša, who is Czech himself, puts Janáček at the heart of his plans, he could surely become as dominant an interpreter in his own time. His way with Janáček is different, not translucent like Mackerras, but stronger and powerfully driven by the drama. He is a prime reason why this revival of Jenůfa was more intensely involving than when the Olivier-winning production was new in 2021.As then, Claus Guth’s direction is economical, using symbols to concentrate on the main issue that lies at the heart of the drama. The stage is encircled by a row of women, all clothed in black and sewing at identikit tables, representing an unyielding wall of social conformity. Later they respond to the dilemmas of the two outsiders, turning their backs on the Kostelnička (the village sextoness and Jenůfa’s stepmother) as she contemplates the murder of Jenůfa’s illegitimate child, and climbing the wall in sympathy at Jenůfa’s isolation from the community. Always visually striking, Guth’s production portrays a pressure-cooker world of emotion.Another newcomer at this revival is Corinne Winters in the title role. Nicely poised between innocence and self-assurance, she shows how Jenůfa has been undone by the weaknesses of others, but still has the strength of character to offer forgiveness. Her singing is notably well-focused, at once sympathetic and sufficiently strong.In an interesting take, Guth says that he sees the Kostelnička as “ambivalent” in her actions. Karita Mattila was in the first cast too, but, if anything, has returned even more emotionally draining now than before. Giving everything she has to the role, she movingly pours love over Jenůfa, pleads heart-rendingly with Števa to marry Jenůfa and, after the murder of the child, seems to be hurtling to the limits of sanity. Few singers of the role embrace such a wide range of feelings and she can be forgiven some touches of melodrama.Thomas Atkins is the new Števa, vocally confident, playing the weak mill-owner as immature and shallow. Nicky Spence is a tower of vocal strength as Laca, though less unstable a character than some (think of Jon Vickers in the role in the 1970s, frightening in his volatility). Hanna Schwarz is an impressively dignified Grandmother Buryjovka and there are fine cameos from Jonathan Lemalu and Marie McLaughlin as the mayor and his wife, and four of the Royal Opera’s Jette Parker Artists.★★★★★To February 1, rbo.org.ukFind out about our latest stories first — follow FT Weekend on Instagram and X, and sign up to receive the FT Weekend newsletter every Saturday morning
