“Much to admire, but not quite delivered”

Although Damiano Michieletto’s production is revived in 2021, this Katya Kabanova in Glyyndebourne improves the original in great respect. In 2021, after the Covid Lockdowns, it was a signal performance for glyndebourne to assemble production at all, but it had to be carried out with a reduced orchestra. This time we can hear it as Janacek intended. And how wonderful this score, sometimes warm lyrical, sometimes painfully disturbing – often both – sounds in Robin Ticciatis capable hands.

In 2021 it was asked whether the necessities of social distancing were responsible for a noticeable lack of chemistry between Katya’s Katerina Kneizikova and David Butt Philips Boris, their lover. But even with the admirable Nicky Spence, who has now been promoted to her lover by Katya’s husband Tichon, something is missing. Perhaps Michieletto wants to emphasize the elusiveness of her love, and it is a production that also challenges on other levels by telling the heartbreaking story of a young woman who is more symbolic than realistic in a soul -closer marriage. Cage birds, winged angels, lights and shadows patter big.

In the best case, it is undeniably powerful, and Paolo Fantin’s huge empty surfaces of Alessandro Carletti illuminated. The huge bird cage, which is hung from the flies, graphically represents the oppressive limits of society, which Alexander Ostrovsky in his play The Storm, on which Janacek’s libretto is based.

Katya’s vision of peace and freedom that she enjoyed as a child finds a natural expression in the uncooked bird that she longs. This makes the central picture of the final act – a variety of bird cuffs, which indicates the oppressed, unfulfilled life of so many.

Knezikova in the title role is as superlative as always, and Susan Bickley is an adequate tyrannical Kabanicha. The excellent Rachael Wilson and Sam Furness in the roles of Varvara, the colorful daughter of the family, and her lover Kudjas bring the little sunshine, although John Tomlinson in a strong voice exerts the somewhat dubious dress of the merchant Dikoj with Aibekasweil.

The shift in realism and in particular nature to Michieletto’s production only occurs at times successful results in this revival, which is attributed to Eleonora Gravagnola. It is ironic that the program book has a good essay by Nigel Simeone about the natural phenomena that are embedded in the score. But whether it is the dreaming water of the river, the turbulence of the storm or the visions of Katya, which are inspired by the birds that fly freely in the sky above her, we only see them here in a symbolic form. There is good business to admire and enjoy, certainly in a musical point of view, but production, even these days after the covise, still does not quite deliver.

Ends August 23rd