Jenůfa, Royal Opera House

Claus Guth’s production of Jenůfa returns to Covent Garden in a revival that is visually spare, emotionally charged, and musically exceptional. With Czech conductor Jakub Hrůša making his first appearance as Music Director–designate, this evening belonged as much to the pit as to the stage, and the result was a gripping performance that placed Janáček’s tragic village tale in a bleak, abstract world of psychological distress and muted hope.

Set in a cold, oppressive environment of whitewashed walls and metal frames, Guth’s staging strips away all traces of folkish rural life. The symbolic presence of a raven and the constant framing of Jenůfa’s confinement, first by her family and later by society, suggest a world governed by shame, silence, and harsh judgment. While some may find this concept over-aestheticised and emotionally distancing, there are moments where its minimalism strikes gold, particularly the final scene, when Jenůfa and Laca step beyond the confines of their cage into the unknown.

Musically, the evening is a triumph. Hrůša conducts with an authority born of deep familiarity with Janáček’s idiom. Every detail in the score is drawn out with care and urgency, from the unsettling percussion of the mill to the warm, yearning strings of Act III. The orchestra, clearly galvanised by the occasion, responds with astonishing clarity and sensitivity, allowing Janáček’s jagged rhythms and poignant lyricism to bloom.

Corinne Winters is a compelling Jenůfa, giving a performance of nuance and emotional depth. Though her voice occasionally lacks power in the larger space and doesn’t quite reach the varied timbral palette of past interpreters, she more than compensates with vocal sincerity and a fiercely committed dramatic presence. Her Act II prayer was especially moving: quiet, restrained, and heartbreakingly human.

As the Kostelnička, Karita Mattila offers a striking portrayal of a woman torn apart by fear and misplaced conviction. Her voice may have lost some sheen, but the intensity she brings to the role is raw and devastating, particularly in the harrowing scene where she resolves to commit the ultimate act of sacrifice.

Nicky Spence is vocally assured as Laca, navigating the character’s complex journey from jealousy to redemption with care. His third-act tenderness is deeply affecting. Thomas Atkins brings swagger and vocal ease to the role of Števa, while Hanna Schwarz’s Grandmother, at 81, is a quietly commanding presence.

If Guth’s vision sometimes keeps the emotions at arm’s length, the musical integrity and strong ensemble work pull us back in.

Image credit: Royal Opera House.