Óperu­d­agar 2026: Kastali Bláskeggs

Where is the stage, dear audience? Outside us, or within us?

With these words, the prologue to Bluebeard’s Castle leads us into one of the most compelling psychological works in the history of opera. From the very beginning, it is unclear whether the castle we enter is a real place or our own inner landscape – a realm of memories, desire, fear, darkness, light, and secrets.

Judith enters Bluebeard’s dark castle and demands that its doors be opened, one by one. With each door, she moves closer to what lies hidden beneath the surface. The castle becomes an electrified, highly charged space in which the past, desire, fear, and power have accumulated. The tension grows, the charge intensifies, the doors open one after another, and what has been suppressed gradually breaks through.

What do we carry within us? How much emotional charge can a person bear before something breaks? How well can we ever truly know another person? Are we entitled to know every secret of those we love – and what happens when the desire for intimacy collides with the need to keep something that belongs to us alone?

More than a hundred years after Bartók composed the opera, these questions remain as urgent as ever. The music heightens the tension into an electrifying experience. The orchestra becomes the subconscious of the characters: simmering beneath the surface, pressing against it, erupting, and then retreating once more into the darkness.

Bluebeard’s Castle will be presented in a semi-staged production, in Stephen Higgins’s striking arrangement for a small chamber ensemble. Higgins condenses Bartók’s vast sound world without losing the original colours or the psychological tension that defines the work. The arrangement has already been performed around the world, including in London, Edinburgh, Toronto and Atlanta, as well as in Finland and China.

Director Kenza Koutchoukali directed Bluebeard’s Castle for Opera Zuid in the Netherlands in 2024, and the Reykjavík Opera Days production draws inspiration from that staging, with kind permission.

In Bluebeard’s Castle, audiences can expect a gripping performance in which voices, instruments, and space come together in an electrifying encounter. The audience is led through the doors of the castle – while the question posed by the work from its very beginning comes into focus once more: where is the stage of life?

Andri Björn Róbertsson, singer

Guja Sandholt, singer

Ragnheiður Ingunn Jóhannsdóttir, conductor

Kenza Koutchoukali, director

Members from Elja Ensemble

Promoter

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