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Leoš Janáček, From the House of the Dead

I: Prelude

I: "Privedou dnes pána!" [They're bringing a nobleman here today!]

I: "Jak te nazy vaji?" [What is your name?]

I: "Neuvidi oko jiz kraju" [My eyes will never see the land where I was born]

I: "Aljeja, podavej nitku!" [Aleya, more thread!]

II: "Mily, mily Aljeja!" [My dear Aleya!]

II: "Alexandr Petrovič, bude praznik" [Alexandr Petrovič, we've got the evening off]

II: "Presel den, druhy, treti" [A day went by, then two, then three]

II: "Dnes bude muj posledni den!" [This is the last day of my life!]

II: Pantomima o Pekne mlynárce [Pantomime about the miller's beautiful wife]

II: "Pekne hrali, co?" [They acted well, didn't they?]

III: "Isaj, prorok bozi!" [Jesus, prophet of God]

III: "Má detátka milá" [My dear little ones]

III: "A já byl, bratricku, az do svatby zpit!" [I was drunk right up to the wedding!]

III: "S Filkou jste se opet sprátelili?" [Then you made friends with Filka again?]

III: "Petrovici! Já isem te urazil" [Petrovič! I hurt you]

Janáček's From the House of the Dead

Frank Castorf (stage director), Simone Young (conductor) – With Peter Rose (Alexander Petrovich Goryanchikov), Evgeniya Sotnikova (Aleya), Aleš Briscein (Luka Kuzmich)...

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Cast

Frank Castorf — Stage director

Aleksandar Denic — Set designer

Adriana Braga-Peretzki — Costumes designer

Rainer Casper — Lighting

Peter Rose — Alexander Petrovich Goryanchikov

Evgeniya Sotnikova — Aleya

Aleš Briscein — Luka Kuzmich

Program notes

Stage director Frank Castorf “might have been born to direct From the House of the Dead” (Opera Today). His gritty, visually striking adaptation brings bold modern and postmodern touches to Janáček’s masterwork without ever overshadowing the intense forward momentum of the music, conducted to dramatic perfection by Simone Young and sung by an all-star cast in Munich.

Janáček adapted Dostoevsky for this powerfully compelling opera set in a Siberian prison camp, full of starkly contrasting moods and motifs, unusual in its episodic structure. The last opera Janáček ever composed, its third act was on his desk when he died in 1928; attempts by his students to “complete” his orchestration have largely fallen away over the decades in favor of the original version. Despite the grimness of the setting and the brutality of several characters, the composer’s compassion shines through in tender moments, movingly illustrating his motto for the work: “in every creature, a spark of God.”

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