Once upon a time, Rusalka was a tale of moonlit lakes and longing — a mermaid’s dream of love and life on land. But in Martin Kušej’s version, the fairytale is drowned. No waves, no willows, no wistful woods — just a bare basement, a stained sofa, and a father figure far more terrifying than any witch. There’s no magic here. Just a creeping feeling of horror that’s far too real.
Hold your horses because this isn’t just some spooky vibe. Nope, it’s based on some seriously dark real-life story. The whole production is inspired by the Josef Fritzl case, where a man kept his daughter locked in a basement for 24 years! During which time she was repeatedly abused and had several children with him. Once you know that, the staging makes a lot more sense.
The basement? That’s pretty much Rusalka’s whole world — at least at the start. Vodník? Not exactly the father you’d dream of — only in nightmares. Ježibaba? Less spooky forest witch, more unstable stepmum with a questionable drinking habit.
And the prince? He strolls in from the outside world like he’s wandered into the wrong opera. He never quite seems to get what’s going on — or what Rusalka’s been through. Charming? Meh. Emotionally available? Not even close. You get the feeling he’d ghost her after the second date. Which he also kinda does.
In Act Two, we’re supposed to get a wedding — but the prince is totally impatient and couldn’t care less. He shows up with a white dress and shoes in hand, while Rusalka tries to move closer. But she can barely walk… Is it because she’s never really walked much in her life? The high heels she somehow managed to climb into? Or maybe years of trauma have left her body too broken?
Either way, she barely makes it a few centimetres before he dashes off… straight into the arms of another woman. And what comes next is much to Rusalka’s, (and probably a lot of the audience’s) surprise. Let’s just say it’s not exactly Disney-approved…
So, no bridal waltz. Not for those two, anyway. Instead, in march a whole crowd of brides, each dragging a dead deer as if they’re escorting their groom down the aisle. Looks like the local hunter’s been working overtime.
It all starts out nice enough with a little twirl and sway, but before you know it, the guests are tearing into those carcasses like it’s the last supper — or some wild wedding buffet. Oh deer…
I Think We All Need Some Fresh Air
The very first scene, down in the basement with Rusalka and her seven kids, actually kinda clicks — what they sing and what they do don’t exactly fight each other. But as the opera rolls on, things get weirder and way more head-scratching. Like the deer scene, or the final moment when Vodník swaggers in with handcuffs — what on earth is happening here? And why does Vodník suddenly freak out like that?
This production burrows into your thoughts like a persistent mosquito on a summer night — annoying at first, but impossible to forget once it bites.
What’s Up with Dvořák’s Notes?
The music was in the hands of English maestro Edward Gardner. His conducting cut through the air like a laser—sharp, raw and dramatic. Every cue had a clear target, no detours chasing shiny distractions, and he picked his highlights with sniper-like precision.
It’s the first time this opera’s playing this season (since its big debut in 2010), and you could kinda tell in the orchestra. Not saying they were off—nope, they held their own—but I’m betting it’ll get smoother and snappier as they find their groove.
The Banger
If there’s one moment in the opera that makes you stop and go “Whoa, this is something special,” it must be Rusalka’s song to the moon. It kicks off with the harp plucking a few chords before the strings sneak in, spreading smooth vibes all over the place. A horn joins next with a soft, whispering note. Oboes float up next before the clarinets take the spotlight for a sec. Then the soprano tiptoes in.
But here’s the thing: this comes fairly early in Act One — and Russian singer Svetlana Aksenova didn’t quite seem to have slipped into her comfy slippers in this role just yet. There were a few “oops” moments with pitch, and her rubato felt a bit like trying to salsa while the band’s doing the cha-cha — charming, but not exactly in sync. She’s got a nice voice, no doubt, but I was left wondering what she was really trying to say between the notes.
Maybe she’s not even sure who she is anymore? After being trapped and treated terribly, it’s no wonder she’s a bit lost. The villain behind it all was sung by Christof Fischesser — a name that literally means “fish eater” in German. So, casting him as the Wassermann (the water guy) was pretty much perfect.
One role I never quite figured out in this production was Ježibaba. Usually, she’s the spooky swamp witch type — mysterious, magical, maybe a little menacing. But here she felt more like a slightly confused lady who might’ve mixed up her spellbook with a cocktail menu. Still, Christine Rice delivered a strong vocal performance, with a rich mezzo tone that seemed to suit her voice really well.
And shoutout to the smaller roles! The water nymphs (Mirjam Mesak, Arnheidur Eiríksdóttir and Natalie Lewis), the foreign princess (Elena Guseva), and the kitchen boy (Ekaterine Buachidze) came in, did their thing, and left you thinking: “Hmm, I wouldn’t mind hearing a bit more of that.” No disappearing into the background here!
So yeah, this isn’t your typical fairy tale with rainbows and unicorns. It’s more like the spooky story your weird uncle tells at family dinners — uncomfortable, a little messed up, but oddly fascinating. The basement might be dark and dingy, but it sure knows how to grab your attention.
… happily ever after? Not quite.
Fun Fact:
Rusalka isn’t Dvořák’s only opera — it’s actually his ninth (!), and the second-to-last piece he ever wrote. His final farewell? Another opera’s glow, as Armida stole the final bow.
Trailer:
Cast:
- Conductоr: Edward Gardner
- Directоr: Martin Kušej
- Stаge Designer: Martin Zehetgruber
- Сostume Designer: Heidi Hackl
- Light Designer: Reinhard Traub
- Dramaturg: Olaf A. Schmitt
- Сhoir: Franz Obermair
- The Prince: Pavol Breslik
- Foreign princess: Elena Guseva
- Rusalka: Svetlana Aksenova
- Vodnik: Christof Fischesser
- Ježibaba: Christine Rice
- Gamekeeper: Kevin Conners
- Kitchen boy: Ekaterine Buachidze
- First wood nymph: Mirjam Mesak
- Second wood nymph: Arnheidur Eiríksdóttir
- Third wood nymph: Natalie Lewis
- Hunter: Vitor Bispo
Bayerisches Staatsorchester
Bayerischer Staatsopernchor
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