Can you introduce yourself, and talk about your current musical role and responsibilities?
My name is Kateřina Kněžíková, and I am a soloist at the National Theatre in Prague. I specialise in soprano roles, including La Contessa, Fiordiligi, Donna Elvira, and Micaela. Currently, I find myself most at ease with Czech repertoire, with a particular fondness for roles such as Rusalka, Jenůfa, Kátya Kabanová, and Sharp-Ears in The Cunning Little Vixen. I have a deep passion for song repertoire spanning from Mozart to 20th-century compositions and often engage in concert performances.
My latest premiere for the 23/24 season was a new production of Rusalka, conducted by Tomáš Netopil and staged by the directing duo Skutr (Martin Kukučka and Lukáš Trpišovský). Additionally, I had the honour of performing the role of Libuše by Bedřich Smetana at both the Prague Spring Festival and the Smetana’s Litomyšl Festival, with the project conducted by Jakub Hrůša.
For those who haven’t come across it before, can you give a brief introduction to Antonín Dvořák’s Rusalka?
Rusalka is a fairy-tale opera about a water nymph who falls in love with a Prince and desires to become human to be with him. Her transformation involves significant sacrifices and tragic outcomes. Known for its lush orchestration and lyrical beauty, the opera features the famous aria “Song to the Moon.” While modern productions may offer various interpretations and thematic shifts, this production presents the story in its pure and crystalline form.
Rusalka is one of ten operas Dvořák composed, but the only one that is commonly performed today. What is special and distinctive about it?
Rusalka is distinguished by its enchanting blend of Slavic folklore and profound emotional depth. The character of Rusalka is extraordinary; throughout the three acts, she evolves from a gentle girl yearning for love into a woman who, despite experiencing human cruelty, rises above it without bitterness. She views the world and the human soul with compassion. Her final words are hauntingly poignant, and it is remarkable how she progresses through her experiences and newfound wisdom, despite the challenges that lie ahead.
What impression did the opera make on you when you first heard it?
When I first heard Rusalka, I was struck by its beauty and emotional intensity. The music felt almost magical, and Dvořák’s ability to convey vivid storytelling through his compositions left a profound impression on me. My debut role was as the First Wood Nymph, and I often listened from the wings to my more experienced colleagues. I absorbed every note, dreaming of the day I could sing and embody every aspect of Rusalka. At that time, I was performing more lyrical roles, but as my voice matured, I embraced these challenging parts with gratitude and joy.
What is it like to perform? Are there notable difficulties in singing the main role?
Performing Rusalka is both challenging and rewarding. The role requires a wide vocal range and the capacity to express deep emotional nuances. For instance, the renowned “Song to the Moon” demands exceptional breath control and calmness, while the aria in the second act, written in a lower register with strong orchestration, requires careful management to avoid overstraining the voice. When I began singing this role six years ago, I lacked experience, but over time, I’ve learned to manage my energy more effectively. The opera is long and emotionally demanding, and balancing its vocal and dramatic elements remains one of its greatest challenges. Yet, I relish every moment of it.
Is there a recording or a memory of a performance that is particularly special?
For me, the definitive Rusalka will always be Gabriela Beňačková. Her interpretations of the Czech repertoire, especially Rusalka, Jenůfa, and Kátya, represent the pinnacle of operatic artistry. Her voice embodies what is often described as the “Slavic tear,” leaving a profound emotional impact on listeners. On stage, she was naturally expressive and beautiful, infusing the sung word with a remarkable depth of emotion and experience. Hearing her rendition of the aria for the first time felt like being transported to a different realm.
Do you have a favourite passage in the opera?
Over time, my connection with Rusalka has evolved. Initially, I was captivated by the “Song to the Moon,” but later, the poignant aria from the third act, “Torn from life, into deep solitude,” became significant. The music at the end of the third act, when Rusalka reappears to the Prince in a transformed state, is also profoundly beautiful. Rusalka’s final line, “Human soul, may God have mercy on you,” is iconic.
As the years have passed, the moment when Rusalka decides to become human, despite the unknown challenges ahead, has grown particularly meaningful to me. Her naive plea to the witch, “Take everything I have, but make me human,” and her belief that “with a pure soul, a pure human soul, my love will break all spells,” encapsulates the essence of her journey and the profound sacrifice she makes.
Why should one come to hear a performance of Dvořák’s Rusalka?
Attending a performance of Dvořák’s Rusalka offers a unique and compelling experience. The libretto seamlessly integrates with Dvořák’s music, creating a work brimming with deep emotions. For those new to opera or unsure of what to see, Rusalka is an excellent choice. It promises to leave the audience uplifted and moved by the beauty of the music and the enchantment of the theatrical experience.
Kateřina Kněžíková performs Rusalka at Prague National Theatre from 21st September.
This article was sponsored by the Year of Czech Music.
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