Amadeus MozArt is a ballet production by three contemporary choreographers, inspired by the works and personality of Wolfgang Amadeus Mozart. This project was created from the choreography and direction of Carolina Isach, Uladzimir Ivanou and Dan Datcu. The premiere will take place in the Reduta Theatre, which has a close connection with the figure of the composer.
A production of the opera Così fan tutte by Wolfgang Amadeus Mozart has been created by the National Theatre Brno under the direction of Anna Petrželková. Jana Šrejma Kačírková alternating with Pavla Vykopalová, Jana Hrochová alternating with Václava Krejčí, Roman Hoza alternating with Igor Loškár, the guest Polish tenor Karol Kozlowský and many other will be appearing in Petrželková’s opera debut. The musical production was by Jakub Klecker.
A pair of young conductors of the Faculty of Music at the Janáček Academy of Music and Performing Arts will perform at a joint orchestral concert in Besední dům. Jiří Najvar and Jiří Habart, students of conducting, will be in charge of almost sixty players from the Moravian Philharmonic Orchestra. Under their leadership, music by Pyotr Ilyich Tchaikovsky, Francis Poulenc and Jan Václav Hugo Voříšek will be heard.
The Easter Festival of Sacred Music: Singer Pur, Ensemble Musikfabrik, the Brno Filharmonic and Dennis Russell Davies
The Easter Festival of Sacred Music enters its 27th year with the topic Garden and Vineyard. As part of the festival, we will get to see the German groups Singer Pur and the Ensemble Musikfabrik, followed by Motus Harmonicus, Cappella Mariana, Vox Iuvenalis, the Czech Philharmonic Choir Brno and the Brno Philharmonic under new upcoming principal conductor Dennis Russell Davies.
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 Miloš Štědroň is taking part as artist in residence at the festival Concentus Moraviae. This was a welcome pretext for an interview. It covered his musical beginnings, his path to a musical education, his artistic development and his famous teachers, his inclination to the legacy of the musical avant-garde as well as why he suddenly kept a certain distance from it, how he dedicated himself to faithful and successful cooperation with the Theatre Goose on a String as well as how he was affected by the political changes of the period, how he overcame their pressure, how he worked with today’s interviewer a banned playwright, how he wrote for the wonderful Due Boemi di Praga, how he taught music and the history of music and worked as a populariser, how he knowledgably interpreted ancient music, but also Leoš Janáček, how he worked as an editor, how he became a significant and famous cultural figure, and not just in Brno, and how all the tasks he set himself in his varied and rich creative life were and are being fulfilled, and the joy he has had from it all.
Yesterday’s premiere in the Mahen Theatre added to the repertoire of the National Theatre Brno (NdB) the opera Così fan tutte by Wolfgang Amadeus Mozart in an interesting production by Anna Petrželková. In this tale of the imprudent temptation of human feelings will be appearing the soprano Pavla Vykopalová as Fiordiligi, the mezzosoprano Václava Krejčí Housková as Dorabella and Andrea Široká as Despina. In the male roles Ondřej Koplík was on stage as Ferrando, Roman Hoza as Guglielmo and Jan Šťáva played Don Alfonso. Also taking part in the performance were the choir and orchestra of the Janáček Opera of the NdB.
The oratorio St John Passion by the composer Johann Sebastian Bach is one of the indisputable jewels of the world’s music literature. Many conductors try to surprise the audience with a new, fresh, energetic and expressively rich conception of the composer's music. Among the bodies willingly accepting this difficult challenge is the Czech Ensemble Baroque under the direction of conductor and artistic director Roman Válek. They gave their version of one of the most frequently performed of Bach's works on Good Friday in Brno’s Church of the Immaculate Conception of the Virgin Mary.
Entitled Stay Here and Keep Watch With Me, yesterday the Easter Festival of Sacred Music offered another concert in the Church of St. Augustine. To perform his Vigil for Six Voices and Instrumental Ensemble Wolfgang Rihm invited to the festival two renowned German ensembles - Ensemble Musikfabrik and the vocal sextet Singer Pur - for which the work was composed. The conductor Christian Eggen was responsible for a bravura performance of this extremely harrowing piece.
The musical ensemble Brno Contemporary Orchestra, which deals with contemporary musical work followed up on the last concert From Czechoslovakia by looking at it from another angle. The For Czechoslovakia concert’s programme included works by foreign composers, written either specifically for the anniversary or with topics related to Czechoslovakia. Quo vadis? by Alois Piňos, who died exactly ten years ago on 19 September, was the first song to be played.
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.
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.