Simon Rattle’s concert series featuring the London Symphony Orchestra (LSO) has turned its attention to Leoš Janáček’s lesser-known opera, The Excursions of Mr Brouček. This production, first performed in 1920 and drawing inspiration from the satirical works of Svatopluk Čech, presents a unique challenge, as it revolves around two surreal dreams experienced by the titular character, Brouček, a man preoccupied with beer, sausages, and being perpetually correct.
Unlike Janáček's more celebrated operas, The Excursions of Mr Brouček operates within a whimsical and occasionally perplexing narrative framework. The work’s structure and themes may further add to its complexity, as evidenced by its portrayal of Brouček’s character across two distinct dreams. In the first, he finds himself transported from a moonlit gutter to a fantastical moon settlement inhabited by pretentious, idealistic characters he despises. The second dream takes him to a tumultuous Prague in 1420, where he is unexpectedly thrust into the role of a warrior alongside the Hussites—a stark contrast to his self-absorbed nature.
The LSO’s performances, bolstered by Rattle’s adept conducting, aim to transcend the opera's inherent eccentricities. While the recent release of a recording by the Prague National Theatre might saturate the market, Rattle's interpretations promise to deliver a nuanced and captivating auditory experience. The music, replete with moments of striking beauty, finds its full expression under Rattle’s baton, where it shifts seamlessly between waltzes and mazurkas, while also infusing militaristic motifs with a sense of agility.
Peter Hoare’s portrayal of Brouček is particularly noteworthy, as he navigates the character's absurdity with a measured performance, often punctuated by swigs from a lager bottle. The principal female roles are portrayed by Lucy Crowe, whose soprano shines during the moonlit sequences, complemented by Czech tenor Aleš Briscein, who delivers strong performances in the male roles. The production also features an impressive array of smaller roles, with Gyula Orendt delivering a resonant monologue as Čech, and Stephan Rügamer incorporating dynamic movements to enhance his performance.
The combination of Rattle's leadership and the LSO’s skillful execution contributes to an engaging interpretation of a work that might otherwise seem daunting, especially when experienced outside of a traditional staging context. The inclusion of surtitles aids the audience in traversing the complex historical and thematic landscape, although the surreal elements may continue to pose challenges. Nonetheless, the performance exemplifies the orchestra's capability to illuminate Janáček’s intricate score, maintaining an enjoyable balance between whimsy and depth throughout the concert.
Source: Noah Wire Services