De la maison des morts

I'm acquainted with Leos Janáek's operas 'Jenufa' and 'The Little Vixen'. However, this is my first encounter with his 100 minute work based on Dostoevsky's 'Memoir From The House Of The Dead'.

The handful of people who read my reviews may complain that I only write raves. That's an accusation I gladly accept. From an early age I learned to be discerning - courtesy of my parents - and I have an instinct, a nose, for what could be good and what not. If I sound audacious, be that as it may. I won't waste time, space or energy on anything infra dig.

'From The House Of The Dead' is an experience. This production, conducted by the enigmatic Pierre Boulez and directed by Patrice Chéreau, is mind-blowing. Janácek's music is in itself ambrosia for the soul. Set in a Siberian prison it deals with the past and present of it's characters. It's a difficult opera to stage, mainly because it requires 17 male soloists and an enormous chorus. Only four women appear for a brief moment to stage a concert - which is never performed - and only one woman sings about four bars.

Prison life ipso facto implicates strong homoerotic undercurrents. Both Dostoevsky and Janácek are/were regarded as either latent homosexual or living it under highly secretive circumstances. In the two so-called pantomime scenes Thierry Thieû Niang's choreography (not dancing but highly stylised movements) the sexual tension is tangible. Moreover the (innocent) nobleman Gorjancikov asks young Alyeya: "Do you have a sister?" And continues: "She must be very beautiful if she looks like you." Henceforth the relationship is tender and mutually protective.

However, neither the libretto or the director focuses only on this aspect. A prison is fraught with danger. Anger. Aggression. And prisoners are stripped of all dignity. Incidentally, the one scene where they're stripped down to their naked bodies is not erotic at all. It's heart wrenching.

Leos Janácek's opera contains no pretty arias. It's durchkomponiert with some superb orchestral interludes which the director visually utilises. Conductor, orchestra, chorus and soloists, director, choreographer and designers make this an unforgettable unit.

Yes, I'm swooning. 10/10

Opera has been a huge passion of mine for goodness knows how long. From the House of the Dead is one of Janacek's least performed works, and one does wonder why I think. It is not his best opera that said, Jenufa and The Cunning Little Vixen(the latter I think is his most accessible) are superior for me, but it is one that does deserve to be performed more than it does. I knew I was in for a treat before watching, Patrice Chereau since his 1980 Bayreuth Ring Cycle and 1994 Wozzeck I have always found interesting as a stage director, Pierre Boulez has always come across to me as enigmatic and I have liked Olaf Bar and John Mark Ainsley in previous productions. This production delivered on every single level. Some may find the production is rather drab and minimalistic and may not like this approach all that much, I personally loved it and thought that it fitted the haunting atmosphere of the opera perfectly. The staging is compelling and full of meaning, the eagle symbolism could have been obvious and heavy-handed but instead thankfully came across as telling. Musically the production is superb, with the orchestral playing powerful and full of pathos and Pierre Boulez's conducting is as enigmatic and perfect in tempo as ever. The singing I also can't fault, Olaf Bar makes for a very convincing nobleman and John Mark Ainsley embodies his role in every regard, it really is an exceptional performance. All in all, a really phenomenal production. 10/10 Bethany Cox