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Following up on the critical success of Jenufa three years ago, Bernard Uzan scheduled another of Janacek's tragedies for his penultimate season as artistic director of Opera de Montreal. Kata Kabanova (seen Nov. 9) is sure to remain one of his greatest legacies when he leaves the company next year, for it was a nearly perfect production in every respect.
Andre Barbe's sweeping, inverted parabola, made entirely of wood, formed the anchor to both the story and the sets. Abstract and modernistic, it served to convey multiple metaphors to the realistic backdrops that changed with each of the six scenes, each swathed in gorgeous colors from Guy Simard's lighting designs: browns and golds for the interior of the Kabanov house; blue, mauve and orange for the Act II Liebesnacht; austere greys and silvery blue for the final tragedy.
Oksana Krovytska invested the title role with an extraordinary range of nuances, dynamics and ...