Director Dmitri Tcherniakov on The Maid of Orleans
“Joan of Arc would meet resistance in our times as well”
Dmitri Tcherniakov is once again tackling a Tchaikovsky opera. After his successful productions of Eugene Onegin in Moscow and Iolanta in Paris, now he will be focusing on The Maid of Orleans, about the legendary figure of Joan of Arc. What is it about this relatively unknown work that appeals to him?
Text: Niels Nuijten
“This is the third Tchaikovsky opera I will be directing. The Maid of Orleans is another story that revolves around a strong lead female character. Actually, that is always the case with Tchaikovsky, even when the title refers to a male character. For example, Tatyana is the key character in Eugene Onegin, Maria in Mazeppa, and Natasha in Tchaikovsky’s early opera The Bodyguard.”
“All these heroines have lyrical and somewhat elevated qualities. They are visionary women who question social norms and eventually must pay for that with their lives. At a certain point in the story, all these characters choose not to continue living in accordance with the rules imposed upon them. They break away from their everyday lives or their families and emerge from the shadows as a kind of coming out. These choices often end in tragedy but also guarantee a breathtaking spectacle.”
Dmitri Tcherniakov
“All Tchaikovsky’s heroines are visionary women who question social norms”
Trial full of intrigue
“Joan of Arc is a historical figure who lived in the fifteenth century. Her story has survived in the records of her trial, complete with the charge, witness statements, and interrogations. She conducted her own defense in her trial, but someone who pretended to be a confidante, to entrap her, was ultimately able to extract all the information from her that she had not been willing to give during the trial. She was subjected to sophisticated interrogation methods to find out who she really was.”
Hero or criminal?
“The opera is based on the play by Friedrich Schiller. He once wrote that there is little difference between the personalities of prominent historical heroes and those of criminals, as both break the rules and transgress boundaries to achieve their goals. The main difference is in how they are judged: criminals are punished for pursuing selfish and often destructive objectives, while heroes are praised for their sacrifices in the public interest or a higher goal. But if heroes are placed in a different setting, they can just as easily be labeled as criminals. That is what makes Joan of Arc so interesting: her life and legacy encompass both sides of this coin.”
“Joan of Arc broke many of the norms and conventions of the fifteenth century. She wore men’s clothes, let herself be guided by visions and voices in her head, and was accused of heresy. These are all things you would not face trial for in our society today, at least in principle. Nevertheless, I feel that a strong and unconventional person like Joan would meet resistance in our times as well.”
The Maid of Orleans can be seen at Dutch National Opera & Ballet from 12 November to 2 December 2025
