Pride of place in this review of the NZ Opera production of Janacek’s Katya Kabanova should go to Wyn Davies and the Auckland Philharmonia Orchestra. The latter played magnificently, with no weaknesses. It seems unfair to single out the brass but they were secure and very sensitive to the score at both forte and piano. Wyn Davies conducted to display Janacek’s lyricism (there may still be doubters around over that aspect of his music) but didn’t stint on the drama.

NZ Opera fielded a musical cast that gave us some fine singing. Dina Kuznetsova was a lyrical (that word again) Katya, moving in her recollection of childhood from Act 1, and moving in a very different way in her despairing singing before her suicide at the end of the opera. There was no sign of pressure being put on her voice in what is a demanding part. Angus Wood made a strong-voiced, if slightly wooden, Boris. It was difficult to intuit their feelings for each other from their acting, though the singing was eloquent. In that way they were a contrast with the secondary couple Varvara (Hayley Sugars) and Kudrjas (James Benjamin Rodgers). This was especially apparent in the beautiful garden scene where through voice and acting, Varvara and Kudrjas really connected; there did not seem to be a similar connection between Katya and Boris.

The fairly horrible Kabanov side of the opera was well represented by Margaret Medlyn as Kabanicha, looking a touch Joan Collins-y in her suits and cocktail dresses; Andrew Glover as a sonorous and youthful Tichon; and Conal Coad gave us, as usual, a characterful turn as Dikoj. Again though, I felt a lack of engagement. I didn’t feel the full horror of Katya stuck with an alcoholic husband and a termagant mother-in-law.

The physical production was very beautiful, and aptly updated to the 1940s or 1950s rural United States. Hyper-realistic back projections reminded this viewer of Douglas Sirk films, and were alternated with more expressionistic back drops, used to great effect in the various river and waterfall shots as Katya contemplates drowning herself, or where images of stars and galaxies reflected her longing for love and affection. Costumes were splendid and varied, assisting the NZ Opera Freemasons Chorus, to present the townspeople as individuals, all differentiated. So thanks to Patrick Nolan and Jacqueline Coats as Director and Assistant Director respectively, Genevieve Blanchett as Production Designer, and Mark Howett as Lighting and Digital Designer for the integrated and compelling vision.

Despite my slight caveats around some of the character connections, this is another winner for NZ Opera. Janacek isn’t always easy to get right, and especially musically, this is very right indeed. If the words “20th century opera” strike fear into your heart, take a deep breath and give Katya Kabanova a go. You will be rewarded with a new and unique operatic voice.