This Jenůfa, if not managing to crown, most certainly compliments sixteen (and now Artistic Director Roland Geyer’s ultimate) seasons in positioning the Theater an der Wien on a par with the the Austrian capital’s Volksoper and Staatsoper as the city’s third full-scale opera house.

Lotte de Beer (Volksoper Artistic Director as of September) returns to this venue as guest director - together with her team, Christof Hetzer (sets), Jorine van Beek (costumes) and with lighting and video design by Alex Brok and Paul Sturminger respectively - for the Brunn 1908 version of Janáček’s masterpiece.

A central structure in grey provides two levels which yield in box form to individualized lighting as required - well-aiding the concept of a chronological flash-back through Kostelnička’s eyes from her ultimate abode (a small prison cell) - while guaranteeing impact and vitality as the plot unravels.  The idea essentially involves Kostelnička’s omnipresence throughout the action - with certain moments crossing the time-line, however, remaining somewhat unresolved and rather nebulous. The religious message with its oddly-installed  “inquisition” processions involving a pregnant girl being flailed for her sin also appeared abstruse - indeed, “ham”, and underscored the overall sense of a reading a little too effusive at times. 

The ensemble scenes were neatly managed (choreography, Gail Skrela) and the traditional-style costumes opulent and well-chosen. But the strength of this production lies in its well-defined protagonists and the intensity of their interaction - indeed, possibly overall eclipsing the vocal aspect of the interpretations.

In comparison with other memorable Jenůfa productions, the female leads here fuse somewhat, with all three generations merging (certainly an interesting option) - but as a result, losing their sense of stark and isolated individuality. 

Following her success in the house as Zaza (in 2020), Svetlana Aksenova undertook the title role with poise and grace (physically rather resembling Vivien Leigh in the film Gone With The Wind). Vocally, the reading was well-shaped and adequate for the size of house - but lacked the ideal “sweep” and ease for Janáček’s high-lying dramatic moments.   

Less the stringent step-mother foil here, Nina Stemme’s Kostelnička, is a tough but personable intriguer - appropriately matronly, and with a rich palette in emotional and vocal timbre to underscore a fine sense of line and timing. 

Of the two tenor leads, Pavel Černoch rather dominated with a sympathetic Laca who convincingly-progressed from a petulant jealous rival to an unrelentingly-devoted partner. A winning reading, and one impressive in vocal facility and endurance. 

Nicely-contrasted, Pavel Breslik’s bad-boy Števa embodied just the right measure of cockiness and insolent indifference - alongside a vocal timbre ideally suited to the Fach.    

Following her success in this company’s recent Peter Grimes, Hanna Schwarz returned, with her inimitable stage presence and focus - and a particular stamp of resigned equanimity - as Stařenka.  

The remaining supports were generally solid, with Valentina Petrava (Karolka) and Giovanna Rosati (Jano) truly making their mark, and with the Arnold Schoenberg Chor buoyantly-energetic in their contributions.  

Conductor, Marc Albrecht maintained excellent dynamic balance between stage and pit - drawing a fine kaleidoscope of emotion and effect from the ORF Radio-Symphonieorchester Wien, while avoiding any risk of sentimentality.