Laca is no saint, either. But unlike his stepbrother, Laca redeems himself at the end of the opera through his love and faithful devotion to Jenufa. “He shows many different sides,” said this production’s Laca, tenor Michael Hendrick. “He’s responsible for hurting (Jenufa), but his love for her is constant. And it’s inspiring to see that kind of love.”

Hendrick has sung Laca in three previous productions and will reprise it next year at New Orleans Opera. “It’s a fantastic role dramatically and musically,” he said.

Last seen at Utah Opera five years ago as Lenny Small in Carlisle Floyd’s “Of Mice and Men,” Hendrick is thrilled that regional companies such as Utah and New Orleans are adding “Jenufa” to their repertoire. “The music is glorious,” he said. “And it’s a story that can change anyone’s life, due to the greatness of this music. It’s a personal honor to bring it to audiences. I would sing it anywhere.”

In the United States,the operas of Leos Janicek have been relegated to the realm of the major opera houses. But in Europe, the situation is markedly different.

There, Janicek’s operas have always been a staple of the repertoire in both major houses and smaller companies. But in this country, the chances of hearing one of the Czech composer’s stage works outside of New York, Chicago or San Francisco are relatively slim. Unless, of course, there happens to be a performance on a Metropolitan Opera Saturday-morning radio broadcast.

Utah Opera is bucking the trend among regional opera companies and taking a bold step in staging Janicek’s “Jenufa.” Beginning Saturday, local opera lovers have the opportunity of seeing one of the composer’s most potent and compelling works.

The opera tells a gripping and complex tale of love, betrayal and murder. Jenufa is in love with Steva, with whom she has a child. Steva doesn’t love her, but his stepbrother Laca does. Complicating matters is Jenufa’s stepmother, Kostelnicka, who wants her to marry Steva, and even goes to the horrible extreme of drowning Jenufa’s baby to aid her scheme.

Finally, at the end, Jenufa realizes that Laca’s love for her is genuine and that the tragedy and suffering the two have endured have brought them closer together. (The production of “Jenufa” will be sung in Czech with English supertitles.)

“It’s a fascinating opera,” said soprano Cynthia Clayton. She’s returning to Salt Lake City after a two-year absence. The last time she was here she appeared as Mimi in Puccini’s “La Boheme.” This time, she’s tackling the title role in Jancek’s opera, a role very different in character and mood than Puccini’s heroine. “What makes ‘Jenufa’ so great is that these are not just opera characters. They are like real people.”

“Jenufa” has much in common with verismo opera that was the rage in Italy at the time Jancek composed the work (1904). Like the verismo operas of composers such as Puccini and Mascagni, “Jenufa” deals with the everyday lives of ordinary people who are caught up in a spidery web of misfortune, the consequences of which none of them could foresee.

Where it differs from Italian verismo, however, is in Jancek’s masterful psychological portrayal of each character. His music probes the innermost secrets of the protagonists. “It’s a fantastic piece,” said conductor Robert Tweten. “Here, like in any of his operas, it’s hard to separate the music and the drama. It comes out of the verismo tradition, but it’s his own style.”

The music in “Jenufa” is intense and forceful, Tweten said. “It has an angular quality, and it is in ways pre-minimalist. There are moments of relief musically and dramatically, but it’s really intense.”

The combination of a powerful plot and relentlessly driven music can alienate audiences who are accustomed to operas that are less graphic and gritty, Tweten admits, but people shouldn’t be intimidated by it. “I can tell you that people will be bowled over at the end.”

That sentiment is echoed by others in the cast. “You’re going to hear a lot of new sonorities,” said tenor Robert Breault, who’ll be singing the role of Steva. “But his musical language also has a lot of familiarity to it. Janicek’s music has influenced a lot of 20th century music.”

Breault agrees with the conductor that opera lovers should come and see “Jenufa.” “I warn people that they shouldn’t miss it. Anyone who loves ‘Cavalleria’ or verismo opera will love this from a dramatic perspective.”

Among the leads, Breault and Clayton are new to their respective roles. “I had some apprehension coming here, especially since it’s a new role,” Clayton said, “but the harmonic convergence here has been amazing. Everyone is right for their roles.” Clayton said that learning the notes and preparing Czech was easier than trying to grasp her character. “That came more easily than understanding Jenufa, because she is so far from who I am.”

Clayton said that Jenufa is a difficult character to comprehend. “The story presents the three worst days in her life. Horrible things happen to her. She is a victim, but she lets these things happen to her.”

On the other hand, Steva has to be one of the more despicable characters in opera. And given the number of loathsome people populating opera, that says much about him. “It’s very easy to dislike Steva,” Breault said of his character. “He is spoiled and pampered by his grandmother. He isn’t wired up to make responsible decisions, because that was how he was brought up.”

Laca is no saint, either. But unlike his stepbrother, Laca redeems himself at the end of the opera through his love and faithful devotion to Jenufa. “He shows many different sides,” said this production’s Laca, tenor Michael Hendrick. “He’s responsible for hurting (Jenufa), but his love for her is constant. And it’s inspiring to see that kind of love.”

Hendrick has sung Laca in three previous productions and will reprise it next year at New Orleans Opera. “It’s a fantastic role dramatically and musically,” he said.

Last seen at Utah Opera five years ago as Lenny Small in Carlisle Floyd’s “Of Mice and Men,” Hendrick is thrilled that regional companies such as Utah and New Orleans are adding “Jenufa” to their repertoire. “The music is glorious,” he said. “And it’s a story that can change anyone’s life, due to the greatness of this music. It’s a personal honor to bring it to audiences. I would sing it anywhere.”

Mezzo-soprano Judith Forst will be seen in the role of Kostelnicka. She has sung it at the Prague National Opera and is a frequent guest artist at the Metropolitan Opera, the San Francisco Opera and the Canadian Opera Company. She is a last-minute replacement for Jean Stilwell.

If you go

What: “Jenufa,” Utah Opera

Where: Capitol Theatre

When: Saturday, Jan. 24, 26, 28, 7:30 p.m.; Jan. 30, 2 p.m.

How much: $10-$65

Phone: 355-2787 or 888-451-2787 (group/student discounts, 533- 6683)

Web: www.utahsymphonyopera.org

Also: Free opera-preview lecture, Dr. Luke Howard, 7:30 p.m., Tuesday, Salt Lake City Library Auditorium

E-mail: [email protected]

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