Katya Kabanova – Leoš Janáček | Opera

The opera Katya Kabanova, based on A. N. Ostrovsky’s drama The Storm, deeply impresses every perceptive viewer due to its immense emotionality and Janáček’s extraordinary empathy.

Although many in his homeland still consider Leoš Janáček a difficult modernist, all over the world he has long been esteemed as a truly singular classical genius. His opera Katya Kabanova, based on A. N. Ostrovsky’s drama The Storm, deeply impresses every perceptive viewer due to its immense emotionality, attesting to Janáček’s extraordinary empathy. The title heroine, with her dreamy, amorous and heart-wrenching states of mind, is placed in stark contrast with the savage behaviour of those around her. The desperate Katya ultimately finds the solution to her inner conflict between desire and social obligation in the water of the river Volga. The National Theatre in Prague first performed Janáček’s opera a year after its world premiere in Brno in November 1921.

More than a decade since our most recent adaptation, we prepared a new Katya Kabanova production staged by the Spanish director Calixto Bieito, famous for his unorthodox interpretations of classic operas, who has already explored Janáček’s operatic world in his remarkable accounts of Jenůfa in Stuttgart and From the House of the Dead in Nuremberg.

Suitable for audience from 12 years.

Synopsis

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

Time: The 1860s

Act 1

Váňa Kudrjáš 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 Grigorjevič, where Dikoj is berating Boris. Dikoj learns that Kabanicha, the Kabanov family matriarch, is not at home. Dikoj leaves, and Boris explains to Váňa Kudrjáš why he tolerates the abuse: his parents are dead, and to be able to collect his inheritance, he must respect his uncle no matter what his uncle says to him. Boris also tells Váňa Kudrjáš that he is secretly in love with Káťa, the young wife of Tichon. Káťa appears and Kabanicha reproaches her son Tichon – Kaťa'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 Váňa, 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.

Váňa Kudrjás is waiting for Varvara in the garden. Boris then unexpectedly appears, after receiving a message to go there. Varvara arrives, and she and Váňa 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 they too leave for a walk. Váňa and Varvara return, as she explains her precautions should Kabanicha suddenly appear. Káťa and Boris are heard in wordless, ecstatic duet as Váňa and Varvara say that it is time to return home.

Act 3

Ten days later

Váňa Kudrjáš 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. Váňa 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 Váňa 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.