Herself an admired former exponent of the opera’s title role, Karita Mattila has latterly demonstrated a persuasive affinity with the work’s other central role – that of Jenůfa’s ...

Karita Mattila as Kostelnička Buryjovka in ‘Jenůfa’ at the Royal Opera Another newcomer at this revival is Corinne Winters in the title role. Nicely poised between innocence and self ...

The characters have depth and intensity, none more so than Karita Mattila’s well-nigh hysterical Kostelnička (Jenůfa’s foster mother), who has one particularly chilling, brutal scene.

The characters have depth and intensity, none more so than Karita Mattila’s well-nigh hysterical Kostelnička (Jenůfa’s foster mother), who has one particularly chilling, brutal scene.

Karita Mattila’s Kostelnička, as before, rises to the anguished decisions of Act Two (for me, it's a shame we don't get her Act One explanation of the past life which led to her moratorium on a ...

Karita Mattila’s Kostelnička is the real driving force, filling the space with pulsating torment as she blurs the line between affection and cruelty. Nicky Spencer’s Laca finds potent ...

Karita Mattila’s tormented Kostelnicka cuts an imperious figure but also suffers from this sonic issue. Her line and intonation may not be as firm as they once were, but she manages to ...

Karita Mattila as the Kostelnička sang forcefully and movingly but at times was drawn into a brittle, almost cracked sound. Thomas Atkins as Števa Buryja was cocksure in his swaggering stage ...

Jenufa at the Royal Opera House review: symbolic, psychologically probing and more potent than ever - 4/5 This revival was Jakub Hrusa’s first production as Covent Garden’s music director designate – ...