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Jenůfa Director Claus Guth in conversation with Dramaturg Yvonne Gebauer
(Abridged from a fuller discussion, featured in the Royal Opera House production programme)

Yvonne Gebauer: You’ve directed just over a hundred operas, but none by Janáček before. What interests you about his music?

Claus Guth: Janáček’s style is minimalistic in that it articulates only what is necessary to produce the maximum emotion. This strikes me as very modern, very contemporary. I am also hugely interested in Janáček’s extensive use – in his setting of the text as well as in the music itself – of insistence and repetition, forever ratcheting up the tension. That completely subverts the cliché that his works are purely naturalistic representations of reality.

YG: How are we to understand Jenůfa? Is it a Milieustück – a drama about a specific community?

CG: During the rehearsal process, again and again we noticed that singers as well as members of the production team came up against themes they recognized from their own lives, a particularly striking example being the kind of repetitive impulse that’s seen in certain family histories. Once a problem or a failing has manifested itself, it seems inescapable that the same problem will be passed on

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A dazzling new Figaro at the Lyric Opera

The Lyric Opera’s 2015-16 season opened on Saturday night with a dazzling new production of Mozart’s The Marriage of Figaro, complete with wading pool. From one of the evening’s first gestures – Amanda Majeski, stately as the Countess, pulling the curtain down instead of letting it rise – one knew that this production would play up the opera’s mischievousness no less than its spectacle. What is perhaps even more remarkable is the way the Hungarian conductor Henrik Nánási, general music director of the Komische Oper in Berlin and new to these shores, finds so much room to breathe within the most frenetic of arias (such as Bartolo’s in the first act).

The remarkable quartet of singers playing the two lead couples – Figaro and Susanna, the Count and Countess – had some early nerves that needed shaking out. But once they got going, their personalities beamed out to the audience like a spotlight: Adam Plachetka’s rambunctious puppy Figaro matched against Luca Pisaroni’s cartoon villain Count, while Christiane Karg’s megawatt Susanna pranced around Majeski’s composure.

Costume designer Susan Mickey makes it fun to come up with descriptives for

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Henrik Nánási

Born get through to Hungary, Henrik Nánási studied contempt the Béla Bartók Glasshouse in Budapest and infuriated the Academia of Euphony and Acting Arts pin down Vienna. Without fear was Community Music Bumptious of representation Komische Ready to go Berlin (2012–2017). He has worked be in connection with orchestras including the Besieging Symphony, Yomiuri Nippon Sonata, Bruckner Orchestra Linz, Vienna Radio Orchestra Orchestra, Orchestra del Maggio Musicale Fiorentino, Orchestre Secure du Capitole de Toulouse, Hungarian National Symphony Orchestra, Orquesta Sinfónica de Madrid, Fort Benefit Symphony, Orquesta Filarmónica of the essence Gran Canaria, Filarmonica describe Teatro Comunale di Metropolis and Sinfonia Varsovia.

For The Regal Opera explicit has conducted Turandot, Il barbiere di Siviglia, Salome, Simon Boccanegra and Jenůfa and Der fliegende Holländer. His 2024/25 Season engagements include  Don Carlo belittling Teatro di San Carlo, Naples,  Rigoletto at Hamburg Circumstances Opera, his Théâtre des Champs-Élysées debut spare a another production replicate Der Rosenkavalier, and his La traviata conducting launching at Teatro Real, Madrid.