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The first stage of the multi-genre Brno Music Marathon festival has announced its programme. Tickets are already on sale. Legends of the rock scene and absolute newcomers will perform as part of UrbanRock. The second week of August will offer us bands such as Enter Shikari, Dog Eat Dog, Hentai Corporation, The Adicts and many others.
At the beginning of March in Brno a young orchestra will perform with even younger soloists. The third year of the concert with the title “Young and Even Younger” will take place this year in the Hall of the Merciful Brethren. Aside from two younger soloists, also appearing with the orchestra will be the leader of the Czech Philharmonic Jiří Vodička, and the director of the Czech Philharmonic David Mareček, unusually in the role of conductor.
This year for the first time in the history of the festival the spring part will present a film production. There will be the Czech premiere of the documentary about one of the biggest personalities in Czech and world jazz with the title Miroslav Vitouš – jazzová legenda (Miroslav Vitouš – Jazz Legend). During the festival Miroslav Vitouš will also be appearing alongside Emil Viklický. The main part of the festival will open with a concert from the saxophonist Donny McCaslin, who among other things played on the last album by David Bowie.
If you are a fan of and listener to ancient music then you will certainly have heard of the Czech Ensemble Baroque and its artistic director Roman Válek. The ensemble works with historically informed interpretations from older stylistic periods, mainly the baroque and classical. The main strength of the orchestra lies in the performance of large musical-dramatic works. Among their recent achievements is the artificially created oratorio Příběh o Kristu (The Story of Christ) created from thematically linked works by the composer Heinrich Schütz. The ensemble has also paid great attention to the works of František Xaver Richter, whose Requiem and passion oratorio Deposizione dalla croce di Gesu Cristo were part of the most recent recording by the orchestra.
Every now and then works appear on a concert that the listeners have not had a chance to appreciate before. In most cases these premieres serve to spice up the otherwise standard repertoire of a concert. Whether it is a brand new piece or a modern premiere resulting from long hours of research in the archives, it normally takes place alongside a long-term classic. For example if a reconstructed symphony by an unknown classical period composer is to be performed then it is almost a certainty that with it we will hear Mozart, Beethoven or Haydn. The programme for the concert by Brno’s Ensemble Opera Diversa with the violin virtuoso Milan Paľa, with which the orchestra opened their concert cycle Slovakia in Brno, was however made up only of premieres of contemporary music.
After more than fifty years The Queen of Spades by Pyotr Ilyich Tchaikovsky is returning to the repertoire of the national Theatre Brno. The premiere on 17 February in the Mahen Theatre of the production by Martin Glaser also involves one more return for music theatre – after more than sixty years Soňa Červená will once more being treading the boards in Brno.
Music-lovers in Brno like to remember the visit Wolfgang Amadeus Mozart made to the city at the turn of 1767-68. The theme of the third subscription concert of the Brno Philharmonic from the cycle The Philharmonic at Home I was however the composer’s visit to Prague. And this was not without reason. Prague has an indisputable place in the professional career of the most significant representative of Viennese classicism. To go with the chosen theme the programme creators chose important milestones in the composer’s output that were linked to Prague and its inhabitants. The Brno Philharmonic Orchestra was conducted by Alexander Liebreich and the pianist was Saleem Ashkar.
The three musketeers in fact numbered four. In the same way 3fo3 (which reads as “three fotři” – a play on words since ‘fotr’ is an unflattering term for father) is made up of four members. To the founding members of Bombarďák, Michal Dalecký, Jiří Jelínek and Filip Nebřenský, Matěj Pospíšil was added as a kind of d’Artagnan. However otherwise everything has stayed the same. Bombarďák – or rather the lyricist Jiří Jelínek – speaks to kids with a dynamic language full of fashionable and modern expressions. In the space of very brief songs (on average under two minutes) they are able to tell humorous tales full of wordplay and situational humour. One song follows on from another, mostly upbeat, with speaking as well as singing, on the borders of song and theatrical sketch, but all fitting together well.
Hits like Stayin’ Alive, Night Fever or How Deep Is Your Love sung beautifully, and wonderfully constructed and danced choreography in shiny disco costumes, and three exceptional performances in the main roles. That is the currency of the new Brno musical Saturday Night Fever. The director Stanislav Moša staged it in the Municipal Theatre.
Brno is a city full of contrasts. A short walk through its centre reveals curious contrasts: the Rozkvět passage next to the House of the Lords of Lipá or the Omega department store inserted into the historic centre are clear examples. The Brno Philharmonic also bases its musical production on the contrast of old with new. More than once I have praised the fresh programmes of the concerts, which go for contrasting musical works and present combinations of compositions which are rarely heard alongside each other. In the case of the concert entitled Romantic Fairy Tales of 24 January however the programme was down to earth. There were no sudden dissonances or odd instrumental combinations and the musical language did not depart from the moderately conventional. However we do not have only the contrasts of old and new, known and unknown, but unfortunately also between quality and its absence and not last between interesting and dull.
For what is already the sixth time the National Theatre Brno has presented promising choreographers from among its own ranks. Yesterday in the Reduta Theatre there was the premiere of another year of the unusual project entitled Choreographic Studio. Nine mini productions were performed by soloists and members of the company to their own choreography.