Rusalka

Antonín Dvorák's 1901 opera is basically a Czech version of The Little Mermaid…with a tragic ending. The titular heroine is a naïve water nymph who is magically made human for the love of a handsome prince, but must give up her voice in the process, but when he proves unfaithful, both die. In this 2012 staging at Brussels' Théâtre Royale de la Monnaie, however, Stefan Herheim has decided to recast the fairy tale as a nightmare about the objectification of women. Here, Rusalka (Myrtò Papatanasìu) is a world-wise prostitute looking to improve her life but apparently incapable of creating a self-identity apart from her relationships with men. It's a concept that—like Martin Kušej's 2010 Munich production (VL-9/12), which shifted the theme toward child abuse—radically alters the character of the work while also requiring action that is at odds with the original libretto. Visually, however, this is carried out spectacularly, with the stage transformed into a realistic-looking rain-swept street in the red-light district of some unidentified city. And musically the performance is strong, with Ádám Fischer and the company orchestra giving a rich, affectionate reading of Dvorák's lovely score and Papatanasìu providing sterling vocalism, most notably in the gorgeous aria to the moon that is the opera's indisputable showstopper. Those preferring a more traditional approach are directed to the Paris production (VL-7/04) featuring Renée Fleming. Presented in Dolby Digital 5.1 and PCM stereo on DVD, and DTS-HD 5.1 and PCM stereo on Blu-ray, extras include a “making-of” featurette. Recommended, overall. (F. Swietek)