In Slavic mythology, a ‘rusalka’ is a water sprite who inhabits a lake or river. In Rusalka, composed by Antonín Dvořák, librettist Jaroslav Kvapil draws on this ancient myth, as well as the 19th-century fables of Hans Christian Anderson, to produce Rusalka: the tale of a water sprite who falls in love with a human.
The sprite, Rusalka (Nicole Car), falls in love with a handsome Prince (Gerard Schneider) after observing him swimming. She dreams of becoming human, so she can leave her watery world and live with him on land.
She begs her father, the Water King (Warwick Fyfe) to help her become a human being. He thinks humans are evil and is against the idea – but relents when he sees Rusalka has made up her mind. He sends her to the wise enchantress of the forest, Ježibaba (Ashlyn Tymms), who can make her wish come true.
That’s the basis of this epic tale, presented by Opera Australia over three hours and five minutes (including two intervals). It’s only the second time our national opera company has staged Rusalka.
Rusalka: superstar cast
It is hard to overstate the talent on display in this production. Nicole Car, hailed for her ‘a once-in-a-generation voice‘, is the linchpin of the show. It’s as though the role of Rusalka was made for Car and her cutglass soprano of power and purity.
Other talents excel too. Warwick Fyfe, unrecognisable under stage makeup as the Water King, booms through the Joan Sutherland Theatre, with his powerful. bass-baritone inducing goosebumps.
Ashlyn Tymms’ Ježibaba is wonderful; her velvet mezzo-soprano ideal for portraying this creature of wonder and wisdom.
Gerard Schneider’s Prince is superbly acted. With his regal presence and warm, elegant tone, it’s easy to see why he was cast in the role – although his voice failed to cut through at times on opening night, being drowned out by the orchestra at several points.
The Austrian-Australian opera star is certainly up to the task. One suspects he was affected by a temporary health or other issue.
All are backed by an agile Opera Australia Orchestra, conducted by Johannes Fritzsch, bringing Dvořák’s sumptuous score to shimmering life.
Rusalka: a visual feast
Directed by Sarah Giles, this Rusalka is everything one wants from an opera. Opera famously encompasses all the theatrical arts, including music, drama, set design and costume. At its best, it’s a visual, as well as an aural, feast – as it is here.
Giles’s vision for Rusalka is supported by the formidable talents of projection designer David Bergman, set designer Charles Davis and lighting designer Paul Jackson, who create a memorable underwater netherworld, as well as the sumptuous earthly abode of the Prince.
The work of costume designer Renée Mulder deserves special mention. Beautifully textured and wonderfully weird, the costumes are nothing less than wearable art; some of the best to be seen on the Opera House stage in years.
Rusalka is an unusual, cautionary tale with a ‘careful what you wish for’ message. It ends in tragedy (for the Prince, at least) and Rusalka herself learns a powerful lesson about being true to one’s nature.
Unlike many other famous operas, it has only become a firm part of the Western opera canon in recent decades. First performed in Prague in 1901, it wasn’t staged in Britain until 1950.
Read: Emerald City review: David Williamson’s classic restaged at Ensemble Theatre, Sydney
The US premiere didn’t occur until 1975, when the San Diego Opera performed it. The country’s preeminent opera company, the Metropolitan Opera (the Met) didn’t follow suit until 1993.
Rusalka’s Opera Australia premiere was in 2007, with Cheryl Barker singing the lead role.
See this while you can, lest they wait another 18 years before staging this enchanting opera again.
Rusalka is presented by Opera Australia and will be performed at Joan Sutherland Theatre at the Sydney Opera House until 11 August 2025
