Katya Kabanova (Victorian Opera) at Palais Theatre - 100 minutes, with no interval

Her mother-in-law made her life hell.

That is the starting point for one of Victorian Opera’s most masterful and innovative works.

I speak of Katya Kabanova (Desiree Frahn). Katya is a woman trapped. Subjugated, she dreams of freedom.

Photos by Jeff Busby

Katya lives in a provincial town by the River Volga. Her mother-in-law, Kabanicha (Antoinette Halloran), is the tyrannical widow of a rich merchant.

Kabanicha can’t stomach that her son (Katya’s wife), Tichon (Michael Petruccelli), prioritises Katya ahead of her.

Kabanicha’s name calling and derision is incessant. Tichon is too weak to stand up to his mother.

But Katya isn’t the only one confined.

So, too, Boris (Andrew Goodwin), who is beholden to his vile uncle, Dikoj (Adrian Tamburini), who frequently disparages him.

But Boris holds a secret that he shares with his friend Kudrjas (Douglas Kelly).

Boris is secretly in love with Katya, whom he met in church.

Kudrjas warns Boris about the potential damaging consequences of acting upon that.

Still, Katya’s foster sister (and Kudrjas’ lover) Varvara (Emily Edmonds) paves the way for Katya to meet Boris while Tichon is away on business.

Although Katya has promised Tichon to remain true during his absence, she falls into Boris’ arms and a passionate affair ensues. 

Upon Tichon’s return, Katya is caught in a big storm and tormented – with her sanity deteriorating – confesses all, sealing her fate.

Realising and contemporising this Czech opera – an intimate portrait of a woman imploding under societal pressure – is a superb work of art in every respect.

First up, the performances by an all-star cast are magnificent, passionately led by gifted soprano Desiree Frahn.

Most impressive, too, is the self-centred contemptuousness shown by highly accomplished soprano Antoinette Halloran.

Frankly, I could single out each one of the singers as they so inculcate themselves into their roles that each has bite.

The dramatic flourishes in composer and librettist Leos Janacek’s score, as performed by the Australian National Academy of Music Orchestra, conducted by Alexander Briger AO, hits home.

Janacek adapted Katya Kabanova from Alexander Ostrovksy’s The Storm.

Beyond that, the way this opera has been realised by the company is most exciting and invigorating.

It combines operatic distinction with creative excellence, bringing a cinematic lens to bear.

Black and white video footage (with red highlights) is a mainstay of the production, first focused on landscape and then on the interactions of the players.

Live video (with camera operators on stage) and projections are used throughout to grand effect. The video designer is Robert Brown.

The set design by set and costume designer Savanna Wegman is quite something to behold.

The moment you enter the Palais Theatre, it is impactful. I speak of a rundown, industrial setting (fencing and caging) wrapped in clear plastic.

Then, as the narrative unfolds, a pulley system sees this flattened out.

On top of that, there is some greenery – trees and shrubs. 

Niklas Pajanti’s lighting design further breathes life into the storyline.

Victorian Opera’s staging of Katya Kabanova is special and memorable.