Byerische Staatsoper, Munich, 30 March 20225
Leoš Janáček: Káťa Kabanová
Leoš Janáček’s opera Káťa Kabanová is a psychological drama wrapped in visual elegance and musical excellence. While it may not appeal to purists, it offers a powerful, emotionally resonant experience that speaks directly to contemporary anxieties about repression, identity and isolation.
Krzysztof Warlikowski’s 2025 production of Káťa Kabanová at the Bavarian State Opera is a bold and visually striking reimagining of Janáček’s emotionally charged opera. True to Warlikowski’s style, the production departs from traditional realism and relies on psychological symbolism and contemporary settings to expose the emotional and social tensions at the heart of the work.
The production takes place in a large, sterile ballroom – a far cry from the small-town Russian setting typically associated with the opera. Designed by long-time collaborator Małgorzata Szczęśniak, the space evokes a sense of cold detachment and emotional emptiness. Couples dancing in the background to soft tango music provide an eerie, dreamlike contrast to the main drama, perhaps representing Káťa’s longing for connection and harmony in a repressive world. Video projections and reflective surfaces are used throughout the production, creating layers of emotional and psychological texture. These elements serve as externalisations of Káťa’s inner turmoil – her dreams, fears and eventual descent into despair.
Warlikowski’s interpretation shifts the focus from social realism to personal trauma and existential isolation. The emotional cruelty of Káťa’s environment – her rigid husband, tyrannical mother-in-law and loveless surroundings – is conveyed not through overt abuse, but through a chilling lack of warmth or intimacy. It’s a world where emotions are suppressed and connection is elusive.
Despite the minimalist dramatic interventions, the emotional arc of the story is maintained and even heightened. Káťa’s final moments – her tragic suicide – are illustrated with visual poetry and raw emotional weight, marking one of the most powerful sequences in the production.
Musically, the production is anchored by a powerful performance from Corinne Winters in the title role. Her soprano is both rich and nuanced, capturing Káťa’s fragility and suppressed passion. Her Munich debut was marked by both vocal beauty and emotional authenticity. Violeta Urmana as the domineering Kabanicha delivers a chilling performance – icy, poised and emotionally impenetrable. Pavel Černoch as Boris brings warmth and longing to his role, effectively complementing Winters’ emotional volatility.
Conductor Marc Albrecht leads the Bavarian State Orchestra with precision and sensitivity, allowing Janáček’s taut, expressive score to shine without overpowering the drama on stage.
