Staatsoper Unter den Linden (Berlin State Opera) 12 October 2019 - Katja Kabanowa | GoComGo.com

Katja Kabanowa

Staatsoper Unter den Linden (Berlin State Opera), Berlin, Germany
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7:30 PM
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Important Info
Type: Opera
City: Berlin, Germany
Starts at: 19:30
Acts: 3
Duration:
Sung in: Czech
Titles in: English,German

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Overview

An unhappily married woman tries to break free from the prison of conventions and tragically perishes; a cold-hearted mother-in-law is more concerned with upholding tradition than with the happiness and well-being of her son and his wife; and a nephew has to endure his merchant uncle’s berating. These are the powerful tensions that frame Janáček’s opera, within which the breathtakingly restricted action takes place.

"This play has much poignant, Slavic gentleness and depth of feeling," said the Moravian composer when he started work on his sixth stage work in 1920, an opera based on Alexander Ostrovsky’s play "The Thunderstorm". Once more, with great meticulousness and care, Janáček studied the tone with which people from different backgrounds and of unequal social status express themselves and communicate. And in this case, not only the subject matter seemed important to him but, above all, how people spoke. In "Katja Kabanová", Janáček took his "speech-melody" method to a new artistic level. The special mood created by the characters and their personal and social surroundings continually resonate in a condensed form, making it all the more oppressive. And in the end, even the wide Volga River sings, and a terrifying thunderstorm unleashes itself with all its might. Nature becomes the mirror of the human psyche.

History
Premiere of this production: 23 November 1921, National Theatre, Brno

Káťa Kabanová (also known in various spellings including Katia, Katja, Katya, and Kabanowa) is an opera in three acts, with music by Leoš Janáček to a libretto by Vincenc Červinka, based on The Storm, a play by Alexander Ostrovsky. The opera was also largely inspired by Janáček's love for Kamila Stösslová. This is often considered his first "mature" opera, despite the fact that he was 67 when it was premiered. Káťa Kabanová is a clear response to Janáček's feelings for Kamila, and the work is dedicated to her.

Synopsis

ACT ONE
In the small town Kalinov on the banks of the Volga, Kudrjáš marvels at the beauty of the river. The maid Glaša fails to share his enthusiasm. The merchant Dikój insults his nephew Boris yet again, a young Moscow student. Kudrjáš learns that Boris has to pay his uncle the greatest respect in order to insure that he and his sister will receive their inheritance from their grandmother upon reaching maturity. Boris laments his lost youth. On top of that, he is in love with a married woman who has an angelic smile whenever she prays in church. Her name is Katya Kabanová. Kudrjáš warns Boris against this love. Katya, her husband Tichon, her mother-in-law (Kabanicha), and Varvara (Kabanicha’s foster daughter) are departing from mass with their servants Glaša, Grunja, and the bigoted Fekluša. Kabanicha orders her son to leave the city immediately to travel to the market in Kazan. As an obedient son, Tichon agrees. Kabanicha accuses Tichon of no longer loving his mother ever since his marriage to Katya. Katya is mocked by her mother-in-law when she declares the love that she feels not only for her son but also for Kabanicha herself, who is like a mother to her. Kabanicha cannot understand Katya, who does not feel bound to conventions. A serious quarrel breaks out among all three. Varvara accuses Tichon of having a weak character, for he does not protect his wife from the accusations of his mother and only thinks about drink. Katya and Varvara hold a conversation. Katya dreams of her youth, when she lived without a care and free as a bird. Varvara is worried about Katya, for she knows that she is threatened with drifting into sin. Katya admits to her that she loves another man. She is fearful and no longer in control of herself. Tichon appears on the scene, ready to depart. Katya desperately holds on to him, begging him not to leave or to take her with him. She cannot bear the idea of being alone. Tichon is angry about the behavior of his wife, otherwise so in control. Katya tells him that calamity is impending. She asks him to make her promise to not speak with any strangers during his absence, to see nobody, and not even to dare to think of anyone else. Tichon does not understand her wish. Kabanicha exhorts him to leave. Without responding, he accepts the demands of his mother, who forces him to control Katya’s behavior during his absence. In an authoritarian tone, Kabanicha gives her instructions, which are dutifully followed by her son, whom she then orders to depart.

ACT TWO
Kabanicha, Katya, Varvara and their servants have gathered at the table. Kabanicha accuses Katya of not suffering enough under the absence of her husband, whom she claims to love so much: she could at least pretend to miss him. Varvara decides to take a walk. She has taken the key to the garden gate from her foster mother. She explains to Katya that she could have Boris meet her there. Katya sees calamity looming on the horizon, and struggles with herself. When she hears the voice of Kabanicha, she startles, takes the key and quickly hides it. This act reminds her how strongly she desires to see Boris once again. Dikój and Kabanicha meet again. He wants her to take care of him, for she is the only one that can comfort his weak heart. Kudrjáš waits for Varvara. He is nervous, for it is the first time that she is late for a rendezvous. Boris appears and explains to him that a young girl asked him to wait here. Kudrjáš reminds him of his warning to not fall foolishly in love with the married woman. Both men are disturbed by the presence of the other, when Varvara announces herself with the sign known only to Kudrjáš. She turns to Boris and urges him to be patient, before departing with Kudrjáš. Boris sees through the meeting of the two lovers. He, now excited, wonders what awaits him. Katya appears. Boris immediately admits to her his love, but Katya rejects him, fearful of the sin she is about to commit, which nevertheless seems unavoidable. She tries to resist, but the longing is stronger. She kisses him, and the two embrace passionately. They separate when Varvara promises them that Kudrjáš should call her when she should come back. Kudrjáš tells Varvara of the danger of organizing this rendezvous. What if Kabanicha notices the deception? Varvara recognizes her mistake and asks Kudrjáš to call the two back. Katya and Boris return, and Katya leaves on her own.

ACT THREE
Several days later, Kudrjaš and Kuligin comment on the storm and their vision of hell, which they now seem to witness. Dikój appears, fearful of the storm. Convinced that the storm is a divine punishment, he argues with Kudrjaš, who is convinced that there is a scientific explanation. Varvara admits to Boris that Tichon has returned and that Katya is no longer herself. She is worried that Katya will admit the affair to her husband. Katya is aware that the storm announces the coming of her death, and feels the need to confess her guilt. When she names the lover, Boris leaves. Tichon is distraught, while the still cruel Kabanicha taunts him by saying that he could have foreseen this development. Tichon is in despair. He doesn’t know how to react, for he still loves Katya. Varvara und Kudrjaš see only one possibility of escaping Kabanicha’s influence: flight. Katya is totally confused, and no longer entirely of this world. In desperation, she calls to Boris, who appears to her one more time. Her words make not sense. She begs that he take her with him, but immediately retracts. Boris has to leave; he is no longer in love with the woman with the angelic smile. Left alone, Katya goes down to the river, and the birds and flowers that are to cover her grave. She goes to her death, completing a deed that she long foresaw as without alternative. Tichon accuses Kabanicha of being responsible for Katya’s death. Kabanicha offers the others thanks for their sympathy.

Place: The Russian town of Kalinov on the shores of the Volga River
Time: The 1860s

Act 1
Vána Kudrjás admires the view of the Volga River, which amuses the more literal-minded housekeeper of the adjoining Kabanov estate. Two men approach, Dikoj and his nephew, Boris Grigorjevic, where Dikoj is berating Boris. Dikoj learns that Kabanicha, the Kabanov family matriarch, is not at home. Dikoj leaves, and Boris explains to Vána Kudrjás why he tolerates the abuse: his parents are dead, and to be able collect his inheritance, he must respect his uncle no matter what his uncle says to him. Boris also tells Vána Kudrjás that he is secretly in love with Káťa, the young wife of Tichon. Káťa appears and Kabanicha reproaches her son Tichon – Kata's husband – for his inattentiveness. Tichon and Káťa try to calm her down, but Kabanicha will have none of it, telling Tichon that he spoils Káťa. Tichon complains to Varvara, the family's foster daughter, who rebukes him for retreating into drinking more than defending Káťa.

In the house, Káťa tells Varvara of her happy childhood, and dreams of having a man who truly loves her. Tichon enters to say good-bye, as he is journeying to Kazan on business, for Kabanicha. Káťa asks to accompany him or for him not to go, but he insists. Káťa then asks him to make her swear an oath to speak to no strangers during his absence, which puzzles Tichon. Kabanicha announces that Tichon must go, but not before instructing Káťa how to behave in his absence. Tichon dutifully says that Káťa must treat Kabanicha like her own mother and always act properly. He bows to Kabanicha and kisses her and Kát'a before he departs.

Act 2
The women are working on embroidery. Kabanicha criticizes Káťa for not appearing more sorrowful at Tichon's absence. After Kabanicha leaves, Varvara shows Káťa the key to the far part of the garden. Varvara intends to meet Vána, her lover, there. She hints at the same suggestion for Káťa, and puts the key in her hand. Káťa is hesitant, but then surrenders to fate and will meet Boris. She steps outside as evening comes on. Kabanicha reappears with Dikoj, who is drunk and complaining that people take advantage of his softhearted nature. However, Kabanicha chastises him.

Vána Kudrjás is waiting for Varvara in the garden. Boris then unexpectedly appears, after receiving a message to go there. Varvara arrives, and she and Vána go for a walk by the river. Káťa then appears, and Boris declares his love for her. She is at first worried about social ruin, but finally she reciprocates, confessing her secret feelings for him. They embrace and themselves leave for a walk. Vána and Varvara return, as she explains her precautions in case Kabanicha suddenly appears. Káťa and Boris are heard in wordless, ecstatic duet as Vána and Varvara say that it is time to return home.

Act 3
Ten days later
Vána Kudrjás and Kuligin are strolling near the river when an approaching storm causes them to take shelter in a ruined building. Other people join them, including Dikoj. Vána tries to calm Dikoj with scientific explanations about a new invention, the lightning rod. However, this only angers Dikoj, who insists that lightning is not caused by electricity but is the punishment from God. The rain dies down, and people start to leave the shelter. Vána meets Boris and Varvara. Varvara says that Tichon has returned, and Káťa is very agitated. Kabanicha arrives with Tichon and Káťa. The storm returns, and people assume initially that this is what upsets Káťa. However, she confesses to Tichon in front of everyone her assignation with Boris during her husband's absence. Then she runs out into the storm.

Evening approaches after the storm has ended. Tichon and a search party are looking for Káťa. At first among the party, Varvara and Vána then decide to leave the village for Moscow and start a new life. They leave, and as the searchers continue, Káťa appears. She knows that her confession has dishonoured her and humiliated Boris. She feels tormented and wants to meet Boris one more time. Boris appears and sees her, and the two embrace. Boris says that his uncle is sending him away to another town, but asks her what will become of her. As her sanity deteriorates, she first begs him to be allowed to accompany him, then insists that she could not and bids him farewell; he leaves in sorrow. After thinking of how nature will continue to flourish over her grave, Káťa throws herself into the river. Kuligin sees this from the far bank and calls for help. Tichon appears, followed by Kabanicha. Tichon tries to help Káťa but is restrained by Kabanicha; he blames her for Káťa's suicide. Dikoj appears with Káťa's body and lays her on the ground. Tichon cries over the body as, without any emotion, Kabanicha thanks the bystanders—or, as often done, the audience—for their help.

Venue Info

Staatsoper Unter den Linden (Berlin State Opera) - Berlin
Location   Unter den Linden 7

The Staatsoper Unter den Linden is one of the oldest and largest musical theaters in Germany. Founded in 1742 as the Royal Court Opera (German: Königliche Hofoper) under Frederick II. Located in Berlin, on the main street Unter den Linden.

King Frederick II of Prussia shortly after his accession to the throne commissioned the original building on the site. Construction work began in July 1741 with what was designed by Georg Wenzeslaus von Knobelsdorff to be the first part of a "Forum Fredericianum" on present-day Bebelplatz. Although not entirely completed, the Court Opera (Hofoper) was inaugurated with a performance of Carl Heinrich Graun's Cesare e Cleopatra on December 7, 1742. This event marked the beginning of the successful, 250-year co-operation between the Staatsoper and the Staatskapelle Berlin, the state orchestra, whose roots trace back to the 16th century.

In 1821, the Berlin Opera—hosted at the Schauspielhaus Berlin—gave the premiere of Weber's Der Freischütz. In 1842, Wilhelm Taubert instituted the tradition of regular symphonic concerts. In the same year, Giacomo Meyerbeer succeeded Gaspare Spontini as General Music Director. Felix Mendelssohn also conducted symphonic concerts for a year.

On August 18, 1843 the Linden Opera was destroyed by fire. The reconstruction of the building was supervised by architect Carl Ferdinand Langhans, and the Königliches Opernhaus (Royal Opera House) was inaugurated the following autumn by a performance of Meyerbeer's Ein Feldlager in Schlesien. In 1849, Otto Nicolai's Die lustigen Weiber von Windsor was premiered at the Royal Opera House, conducted by the composer.

1945: The Lindenoper was once again destroyed on February 3. The concerts were relocated to the Admiralspalast and the Schauspielhaus. On 18 February, Karajan conducted his last symphonic concert with the Staatskapelle in the Beethoven hall.

The second rebuilding took a long time. From 1945, the opera company played in the former Admiralspalast (today's Metropoltheater). From 1949, the company served as the state opera of East Germany. It moved back to its original home after the rebuilding in freely adapted baroque forms was finally completed in 1955. The newly rebuilt opera house was opened, again, with Wagner's Die Meistersinger von Nürnberg. The capacity is now about 1,300. After the Berlin Wall was built in 1961, the Opera was somewhat isolated, but still maintained a comprehensive repertoire that featured the classic and romantic period together with contemporary ballet and operas.

After reunification, the Linden Opera rejoined the operatic world. Important works that had already performed in the past were rediscovered and discussed anew within the framework of a "Berlin Dramaturgy". Baroque Opera in particular was at the center of attention, with Graun's Cleopatra e Cesare, Keiser's Croesus, Florian Leopold Gassmann's L'opera seria and Scarlatti's Griselda. These works were performed by Belgian conductor René Jacobs together with the Akademie für Alte Musik Berlin and the Freiburger Barockorchester on period instruments. In the 1990s, the opera was officially renamed Staatsoper Unter den Linden.

In 1992, the Argentine-Israeli conductor Daniel Barenboim was appointed Music Director. In 2000, the orchestra (according to its official website) elected Barenboim "conductor for life." During the 2002 Festtage, he led a Wagner cycle in ten parts, a production created in collaboration with director Harry Kupfer.

Since 2009, the Berlin State Opera has been undergoing considerable renovation work led by German architect HG Merz. The roof of the opera building was raised and the proscenium prolonged to improve the acoustics. Other renovation and extension works include the director's building, the below-ground connection building and the depot building. The latter will house the new rehearsal center.

The house was reopened in 2017 with premieres of Humperdinck's Hänsel und Gretel and Monteverdi's L'incoronazione di Poppea on one weekend.

Important Info
Type: Opera
City: Berlin, Germany
Starts at: 19:30
Acts: 3
Duration:
Sung in: Czech
Titles in: English,German
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