The London Symphony Orchestra’s concert performances of Janáček’s Katya Kabanova with Simon Rattle form an effective sequel to their 2019 production, directed by Peter Sellars, of the composer’s very different Cunning Little Vixen. Admirable though that was, Katya strikes me as being in every way the greater achievement, probingly conducted by Rattle – he is at his best here – and for the most part wonderfully well sung, with a truly great performance from Amanda Majeski in the title role.
Orchestrally, this was exceptional. Rattle’s interpretation blends tension with lyricism. Katya’s reminiscences, tinged with mysticism, of childhood experiences in church sounded ravishing, and a deep sensuality burned in the garden scene, in which she yields to her feelings for Boris. But the contrasting terror and emotional violence were shockingly realised as well, from the lacerating phrases and hammering monotones with which Janáček closes Act 1, to the storm, both physical and psychological, that finally pushes Katya over the edge. Nowhere was the combination of beauty and tragic intensity more overwhelming than in the brief moment of rapture in the final scene that brings the lovers back together only to confront the realisation that they must part.
