The Brno National Theatre presented the premiere shows of the new season

The Brno National Theatre presented the premiere shows of the new season

The upcoming opera season will start with the 7th Janáček Brno Festival. At that festival, the NdB Janáček Opera Ensemble will present the premiere of Janáček's opera Osud [Destiny] directed by Robert Carsten, which will open the festival. The second title will be Její pastorkyňa [Jenufa] under the direction of Claus Guth. His production team from London will also come with the acclaimed performer of Janáček's roles, Karita Mattila, who will render the role of Kostelnička. The opera ensemble is heading for a total of five premieres in the new season. The NdB Ballet will present Beethoven as the first premiere title of the season. The production with music by Ludwig van Beethoven, with choreography and direction of Mário Radačovský, will commemorate the 250th anniversary of the birth of the composer. Jaroslav Milfajt and Ľudmila Várossová will take care of the stage and costume designs. The next title will be Stabat Mater with choreography by Pavel Šmok.

NdB OPERA 2020/2021

Leoš Janáček: Destiny

Conductor: Marko Ivanović

Director: Robert Carsen

Stage design: Radu Boroescu

Costumes: Annemarie Woods

Choreography: Lorena Randi

Lighting design: Peter van Praet and Robert Carsen

Dramaturgy: Ian Burton

Premiere: 28 September 2020 at Janáček Theatre

Leoš Janáček: Jenufa

Conductor: Robert Kružík

Director: Claus Guth

Stage design: Michael Levine

Costumes: Gesine Völlm

Choreography: Teresa Rotemberg

Lighting design: Roland Horvath & Carmen Zimmerman (rocafilm)

Dramaturgy: Yvonne Gebauer

Premiere: 3 October 2020 at Janáček Theatre

Pyotr Ilyich Tchaikovski: Eugene Onegin

Conductor: Robert Kružík

Director: Martin Glaser

Stage design: Pavel Borák

Costumes: Markéta Sládečková

Premiere: 6 February 2021 at Janáček Theatre

George Frederick Handel: Alcina

Conductor: Václav Luks

Director: Jiří Heřman

Stage design: Dragan Stojčevski

Costumes: Alexandra Grusková

Choreography: Jan Kodet

Premiere: 16 April 2021 at Janáček Theatre

Giacomo Puccini: La bohème

Conductor: Jaroslav Kyzlink

Director: Magdalena Švecová

Stage design: David Janošek

Costumes: Zuzana Přidalová

Premiere: 11 June 2021 at Janáček Theatre

NdB BALLET 2020/21


Music: Ludwig van Beethoven

Choreography: Mário Radačovský

Conductor: Jakub Klecker

Stage design: Jaroslav Milfajt

Costumes: Ludmila Várossová

Premiere: 13 November 2020 at Janáček Theatre

Stabat Mater

(Stabat Mater / Sleepless / Black Milk)

Music: Antonín Dvořák, Dirk Haubrich, Paul Smadbeck

Choreography: Jiři Kylian, Ohad Naharin, Pavel Šmok

Costumes: Josef Jelínek, Joke Visser, Rakefet Levy

Premiere: 5 March 2021 at Janáček Theatre

OFF programmes:

Summer Ballet Cocktail – Bishop's Court

International Dance Day

November 2020 – DANCE Life 2020



No comment added yet..

Let us hope that Sunday's concert to mark the fifteenth anniversary of the great music band of the Brno-based Valášek Children's Ethnographic Ensemble (Dětský národopisný soubor Valášek) will not be the last event that ever-changing government regulations will allow. And even if that, God forbid, was the case, it would be a dignified farewell.  more

For the end of this summer, the National Theatre Brno prepared a children's opera, written by the composer Evžen Zámečník under the title Ferdy the Ant  (original Czech title: Ferda Mravenec), based on the story by Ondřej Sekora. The stories of an optimistic ant who "can do anything and knows everything" and doesn’t turn his nose up at “work of all kinds", however, are actually not appearing at the Janáček Theatre for first time. Zámečník's work in eight scenes won the hearts of the Brno audiences between the years 1977 and 1986 with astounding success; it helped bring a number of children to opera – the most refined form of musical theatre. Today, these already adult musicians, actors, directors, lighting technicians and many others have decided to pay tribute to the composer, who also carried out a lot of "work of all kinds" for Brno's musical life.  more

The municipal council of Velká nad Veličkou decided already in mid-April that this year's Horňácké Festivities (original name: Horňácké slavnosti) would not take place on the traditional dates around the feast of St. Mary Magdalene, and their scope, previously meant to be of three to five days, would also be modified. Obviously, it was impossible to foresee the development of lockdown measures towards the third week of July, but musicians from the Horňácko district tried to come up with at least a partial alternative solution in order to maintain continuity. Eventually, two concerts were officially held on two consecutive Saturdays:  On 18 July,  live broadcast of a public radio recording of Czech Radio Brno under the title Hrajte že ně, hrajte aneb Horňácké trochu jinak (Play for Me, or Horňácké Festivities in a Slightly Different Fashion) took place at the Culture House in Velká nad Veličkou. A week later, at a sports complex in Javorník, a traditional competition for "the biggest expert on Horňácko peasant songs" was held under the auspices of the Horňácko Dulcimer Band of Libor Sup. Needless to say, both events have found their spectators and listeners.  more

The Brno-based rock band Kulturní úderka (which translates loosely as "Culture Brigade"), led by singer and guitarist Štěpán Dokoupil, did not keep its fans waiting for too long this time. While there was a fifteen-year break between their first and second albums, the new album Black Metall was released less than two years after the previous album Sarajevská Katarzija (Sarajevo Catharsis). The name of the new album must be handled with care. Úderka has never had anything to do with black metal as a music genre. And once again, we are treated not to metal, but to relatively raw rock, which in some moments is pleasantly softened by the keyboard of Omer Blentič, or the trumpet of their guest artist Jan Kozelek.  more

Cultural life has endeavoured to move into a sterile and "life-safe" social networking environment in an unequal struggle against the viral phantasm and government lockdown regulations. In the darkest months, music institutions competed with one another in staging recordings of memorable concerts, and major opera houses broadcast to the world those of their performances that gained the most success from spectators.  more