None of the characters in Dvořák’s opera has an individual name; they are all identified by their position or profession. In the translation, only Rusalka (Water Nymph) and Ježibaba (Witch) retain their Czech names.

Act one

Rusalka tells the Water Sprite that she has fallen in love with the Prince and admits that she longs to have a human soul. The Water Sprite warns her urgently against entering a relationship, but Rusalka has made up her mind. She summons Ježibaba to transform her.

She informs Rusalka of the consequences of her act: she will have to sacrifice her voice and gain the love of the prince. Otherwise, she will be struck by a curse that brings about the downfall of both her and her beloved. But Rusalka refuses to be dissuaded, and Ježibaba casts her spell. Soon afterward, Rusalka and the Prince meet, and she follows him to his world.

Act two

Preparations for Rusalka’s marriage to the Prince are made.

The Kitchen Boy and the Gamekeeper gossip about the strange bride, who never speaks and whose name nobody knows. The Prince also tries without success to find out Rusalka’s secret.

The Foreign Princess invited to the marriage festivities beguiles the Prince and encourages him to pay more attention to his guests. Rusalka is left behind, alone. The Water Sprite seeks her out and deplores her fate.

In his presence, Rusalka regains her voice. Oblivious to what is going on, the Prince declares his love to the Foreign Princess. The Water Sprite warns that he will not escape Rusalka’s embrace.

Act three

In search of a way out, Rusalka, who through the curse has now become a will o’ the wisp, summons Ježibaba once again. She suggests to Rusalka to kill her beloved; only in that way the curse can be broken.

Rusalka rejects the proposal. Meanwhile, the Gamekeeper and the Kitchen Boy seek out Ježibaba and ask for advice for the confused Prince, in whose chambers strange things are taking place.

The Water Sprite chases them away and swears revenge. The penitent Prince seeks out the rejected Rusalka.

A renewed meeting takes place, where they fall into one another’s arms, before Rusalka gives the Prince a final kiss.

Sehenswert, das bedeutet gehenswert.

(rbbKultur)

Die Inszenierung ist fein gearbeitet, die rigorosen Umdeutungen in der Handlung sind durch den Text allemal gedeckt. Das ist schon verblüffend. Es ist eine starke Inszenierung, […].

(Berliner Morgenpost)

Christiane Karg in der Titelrolle durchleidet Rusalkas Horrortrip am eigenen Körper, kriecht, windet sich, verliert Stück für Stück ihre Haare, doch behält das Dramatische in der Stimme bei.

(Der Tagesspiegel)

Ticciati im Graben ist tatsächlich der Joker der Aufführung. […] Die Staatskapelle klingt herrlich.

(rbbKultur)

Das Spiel der Staatskappelle hat etwas Blühendes, etwas von – wie es im Libretto heißt – „magischen Sommernächten über blühenden Seerosen“. Alle im Graben scheinen Antonin Dvořáks Partitur zu fühlen, zu atmen, und das über die ganzen drei Stunden dieser Premiere, ohne Durchhänger, elektrisierend.

(Der Tagesspiegel)

Mika Kares gibt einen monumental-alphornhaften Wassermann. Altistin Anna Kissjudit als Ježibaba zeigt, so tief sie auch immer hinabsteigt, nicht den kleinsten herben Brustton. Phantastisch!

(rbbKultur)

Das Bühnenbild von Monika Pormale ist ein Hingucker.

(Berliner Morgenpost)

Rusalka, das Wasserwesen, die Nixe, die ihr Element verlassen, Mensch werden will, um mit dem geliebten Prinzen zusammen zu sein, durchtränkt auch den Notentext. Alles fließt, verändert sich, ihr Motiv erscheint ständig in neuen Zusammenhängen, so wie sie selbst nie dieselbe bleibt.

(Der Tagesspiegel)

Preface 45 minutes before the start of the performance in the Apollosaal

Important note!
Stroboscopic effects are used in this production.

In Czech language with German and English surtitles