Acting in ‘Jenufa’ brings emotional high
By Juliet Schoen / Staff Writer
The Oscars are given for all kinds of acting roles, from star to supporting player. If there were an award for best actress in an opera, it should surely go to Eva Urbanova for her portrayal of Kostelnicka in Janacek’s opera, “Jenufa,” now playing at the Music Center at the Dorothy Chandler Pavilion. The honor would be hotly contested by the eponymous heroine, played by Karita Matilla.
Both women are marvelous singers, with voices that are powerful, mellifluous and effortless. In this opera, a special intensity makes the acting of vital importance. Urbanova plays the stepmother of Jenufa, who is pregnant at a time when children born outside of wedlock were not as popular as they are today. In the village of simple people, it was imperative that Jenufa marry the father of her child, the irresponsible Steva. If her secret were discovered, disgrace would fall upon her and her stepmother.
The villagers are told by Kostelnicka that Jenufa is in Vienna, but she is really being kept hidden indoors until the baby is born. Steva refuses to marry her, and Kostelnicka decides she must save her family’s honor by drowning the baby. The murder is discovered and Kostelnicka confesses her guilt. Laca, the brother of Steva, loves Jenufa and will marry her in spite of everything.
This is a tale of guilt, redemption and true love. The acting must be perfect and it is. Urbanova transforms a stony, autocratic woman into a gibbering, tormented soul. Matilla, a remarkable soprano, must show her skills as a young girl who must weather the storm of social ostracism.
Jorma Silvasti is impressive as Steva, delightful as a wobbly drunk in the first act and then as guilt-ridden father in the last. His stepbrother, Laca, is played with great sympathy by Kim Begley, who proves his devotion to Jenufa. Elizabeth Bishop does her best in the thankless role of the near-blind Grandmother. Other important roles are well executed by Lori Ann Fuller, Jason Stearns, Rena Harms, James Creswell, Margaret Thompson and Lauren McNeese.
Janacek’s music draws on his native Czechoslovakia for its themes, using folk music and the lilt of the language to good advantage. The Los Angeles Orchestra captured the Janacek music, led by the wonderful James Conlon who keeps proving himself an exemplary conductor of opera.
The sets are quite bewildering as envisioned by Frank Philipp Schlossmann. One wonders why a huge rock is the centerpiece of the stepmother’s home. The directing by Olivier Tambosi is rather rigid, but the acting makes up for any deficiencies.
“Jenufa” is an opera with an old-fashioned story about the stigma of an illegitimate baby. However, the music is modern and exciting. Sentimentalists and romantics, be sure to bring Kleenex.
“Jenufra” plays Oct. 4 and 10 at 7:30 p.m. a the Music Center.