As an opera singer, it’s unusual to be tasked with portraying a child murderer and eliciting empathy from the audience. However, Leoš Janáček was not an ordinary composer, Jenůfa is not a conventional opera, and Karita Mattila is not an ordinary singer. Her performances as Kostelnička have captivated audiences, with her next appearance scheduled at the Prague National Theatre in September.
The Czech title Její pastorkyňa translates to “her stepdaughter,” with Kostelnička being a job title rather than a name, referring to a church sacristan. She is an unlikely murderer of babies, representing a pillar of the Moravian village community in the opera. Her downfall stems from her strict propriety and genuine love for her stepdaughter Jenůfa. She is so determined to prevent the disaster she believes an illegitimate baby would bring to Jenůfa that she sacrifices everything, including her own devout Christian soul.
“It’s a complicated character,” Mattila acknowledges. “The key with this kind of character is to remember that she, like all of Janáček’s characters, is essentially a human being. There are no heroes, only survivors, which is evident in this opera. It’s similar to Katya Kabanová: the men are not heroic figures; they are survivors and often cowards. But overall, they are simply human beings.”
Mattila laments the prevalence of “lazy directors” who treat characters superficially, focusing solely on sensational effects, such as highlighting Kostelnička as merely a “baby killer” or a “horrible woman.” She prefers a more nuanced, less black-and-white interpretation. “I’ve been fortunate to perform this role in well-conceived productions,” she notes, citing Claus Guth’s approach in London as a prime example of a deep and insightful production.
While preparing for the role, Mattila kept up with daily news, noting that stories of parents who had murdered their children frequently appeared. “Are they bad people? Evil? Good? No. I don’t believe that. I’ve never believed in it. What is so rewarding about Janáček’s operas is that these characters are real, flesh-and-blood people. The music captures it all: it’s beautiful, agonising, dramatic, with intense outbursts. The music thoroughly describes her character. It’s a highly rewarding role for someone experienced both on stage and in repertoire.”
Before taking on Kostelnička, Mattila performed the title role in many of the world’s leading opera houses. Her transition to Kostelnička, under the direction of Oliver Tambosi, proved more challenging than anticipated. “The experience from the title role was surprisingly less helpful. Preparing for Kostelnička induced some panic due to its distinct style and phrasing. This contrast highlights Janáček’s genius. The roles complement each other, revealing Jenůfa’s youth and inexperience against Kostelnička’s life experience and current state. I underestimated the amount of work involved.”
Mattila’s most recent portrayal of Kostelnička featured Act 2 of Jenůfa at a gala concert given by Prague National Theatre Opera in July, held at the Savonlinna Opera Festival in her native Finland. She will be returning to Prague’s Národní divadlo next month to perform the role on stage, reuniting with conductor Robert Jindra and tenor Aleš Briscein. However, she will experience a new staging by Jiří Nekvasil.
The 2021 Royal Opera Jenůfa was notable for several reasons, particularly because it went ahead despite previous cancellations due to the Covid pandemic. Mattila praises the collaboration between Claus Guth and conductor Sir Antonio Pappano and cherished her partnership with Asmik Grigorian, whom she describes as “like a younger sister” to her. Additionally, she lauds the costumes designed by Gesine Völlm and handmade in London. “They’re just fabulous. The simplicity of the black costumes feels so natural; it’s almost as if Kostelnička made them herself, with their tiny details.”
Mattila is particularly enthusiastic about her recent collaboration with Christof Loy for this year’s Covent Garden Elektra. She highlights the mutual respect between Loy and conductor Sir Antonio Pappano. “Both Tambosi and Loy are exceptional because they truly value their singers. They have faith in them, trust them, and are incredibly supportive. They’re demanding, but their generosity inspires you to give your best. Pappano and Loy together were like heaven.” In contrast, Mattila expresses frustration with directors who impose rigid concepts that leave little room for singer input.
Despite the disruptions caused by Covid, Mattila’s fans enjoyed the amusing parody Covid fan tutte, created by Esa-Pekka Salonen and Finnish actor/director Jussi Nikkilä. The production, which replaced the cancelled Die Walküre at the Finnish National Opera, was a hit with Mattila, who found it as enjoyable to participate in as it appeared on screen. Two years prior, Nikkilä directed a special evening titled “Koko Karita” or “Total Karita,” featuring Poulenc’s La Voix humaine paired with lighter musical classics. “It was a huge, ambitious production that felt like a sporting achievement. I will never do anything quite like it again, but the audience loved it. I even had the chance to work on background films with two renowned Finnish actors.”
The interview also touches on a more serious note when discussing languages. Mattila mentions the challenge of singing in languages vastly different from her native Finnish, including Czech and Russian. “I’m boycotting all Russian roles. I don’t want to sing in Russian or take on any Russian parts. Given the current state of Russia, I find it too troubling to engage with Russian music or its context. For me, it’s a terrorist state, and I prefer not to discuss it.”
Karita Mattila performs Kostelnička in Jenůfa at Prague National Theatre on 11th and 16th September 2024. Ticket prices are from CZK 550-1990 (around £20-70).
This interview was sponsored by Prague State Opera
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