Events

The Prague Cello Quartet will perform at Špilberk in the main courtyard on August 10, 2026 from 7:00 PM.

It is well known that Adam Plachetka has recently enjoyed stepping beyond the boundaries of the classical music world to venture into musical territories he had not previously explored. Many have surely taken note of his projects involving musicals and operettas. It must be said that he approaches these excursions into genres outside of opera as a consummate professional—fully informed, deeply committed, and brimming with creative inventiveness.

Ondřej Havelka and his Melody Makers present *Heaven on Earth*.

JAN VALTA Kingdom Come: Deliverance II, music for the computer game MUNI Choir Choirmaster Jan Ocetek Medieval Band Bakchus Artistic Director Richard Závada Brno Philharmonic Conductor Jan Valta

JAN VALTA Kingdom Come: Deliverance II, music for the computer game MUNI Choir Choirmaster Jan Ocetek Medieval Band Bakchus Artistic Director Richard Závada Brno Philharmonic Conductor Jan Valta

LEONARD BERNSTEIN Candide, overture to the operetta ERICH WOLFGANG KORNGOLD Einfache Lieder (Simple Songs) Op. 9 for soprano and orchestra, Der Sturm (The Storm) for mixed choir and orchestra on a text by Heinrich Heine CARL ORFF Carmina burana Chen Reiss soprano Richard Samek tenor Aksel Daveyan baritone Czech Philharmonic Choir Brno Choirmaster Petr Fiala Brno Philharmonic Orchestra Conductor Dennis Russell Davies

Warm summer evenings are best spent under the stars accompanied by music; that is why the Janáček Opera of the National Theatre Brno is once again bringing opera performances to the romantic setting of Špilberk Castle.

The music of Bizet’s *Carmen* embodies both French *esprit* and Spanish passion. After all, who isn’t familiar with its immortal hits—the famous Habanera or the Toreador Escamillo’s aria? Yet, what if there is something more hidden beneath this story of the fickleness of love?

Warm summer evenings are best spent under the stars accompanied by music; that is why the Janáček Opera of the National Theatre Brno is once again bringing an opera performance to the romantic setting of Špilberk Castle.

Is Verdi’s famous *Nabucco* merely an opera about the yearning for freedom? Jiří Heřman’s production offers a compelling perspective on the story of the Babylonian king and the Jewish people, centering on family relationships and King Nebuchadnezzar himself. Filled with magnificent choral numbers and captivating vocal parts, this opera has been one of the most popular titles in our repertoire for 35 years.

Join the celebrations marking the start of the 2026/2027 season at the National Theatre Brno! Get a sneak peek at the upcoming season and discover the surprises in store for you.

Look forward to performances by the soloists, chorus, and orchestra of the Janáček Opera (NdB), conducted by Chief Conductor Robert Kružík alongside his colleagues Ondrej Olos, Jakub Klecker, and Dominik Pernica.

They will be joined by dancers from the NdB and NdB2 ballet companies, while actors from the NdB Drama Company, Pavel Čeněk Vaculík and Anna Gläsnerová, will host the evening.

The piazzetta will open to the public in the afternoon, offering a rich program for the whole family prior to the concert.

Refreshments on the piazzetta will be provided this year by Basta Catering.

The Mint Market returns this year as well; from 11:00 AM to 8:00 PM, you can treat yourself to a selection of fresh fashion, original jewelry, design pieces, and tasty treats from local creators.

18:00 – 20:00 Concert conducted by four Janáček Opera conductors. 

Free admission.

Immortality is a curse.

This is the story of the mysterious opera diva Emilia Marty, a fascinating *femme fatale* who turns the lives of everyone around her upside down. Yet few suspect that behind her cool mask and captivating voice lies Elina Makropulos—the daughter of Emperor Rudolf II’s physician—who has lived for over three hundred years thanks to an elixir of youth.

Leoš Janáček composed this penultimate opera based on a famous play by Karel Čapek. While Čapek wrote his work as a conversational comedy with a detective-story plot, Janáček infused it with profound emotion. He created a gripping drama about the human longing for eternal life, but also about the endless weariness, loneliness, and cynicism that arise when death is denied. The premiere took place in 1926 at the *Divadlo Na hradbách* in Brno, attended by the composer himself. It has become one of Janáček’s most enduringly popular operas and is frequently performed on the world’s most prestigious stages.

The National Theatre Brno has prepared this production as part of the "Year of Czech Music"—marking the 160th anniversary of the composer's birth—and as the opening event of the Janáček Brno 2014 festival.

Two nations are at war, yet amidst the battlefield, a far more intimate drama unfolds—one that could lead to unexpected consequences. The Egyptian princess Amneris loves the commander Radamès; however, his heart belongs to the captive Aida, whose true identity as a princess of the enemy Ethiopian nation remains unknown to all. Unbeknownst to them, they will soon face a choice that determines life or death...

Verdi’s *Aida* is a masterpiece containing all the essential ingredients of Romantic Italian opera: love, jealousy, political intrigue, grand choral scenes, and an inevitable tragic death. Naturally, it also demands a superb cast of singers—in this instance, Csilla Boross, Sung Kyu Park, Luis Cansino, Aleš Jenis, and others. This production also marks the first time our company will collaborate with our junior ballet troupe, NdB2. While Verdi typically selected his own subjects for composition, this project came from an external source. The opera was commissioned by the Egyptian Khedive Ismail Pasha, originally intended for the celebrations marking the opening of the Suez Canal and the inauguration of the newly built Cairo Opera House. Verdi hesitated at first, but the subject matter—set in ancient Egypt and based on a story by the archaeologist Auguste Mariette—eventually captured his interest. It was not the spectacle that drew him in, but rather the intimate drama concealed beneath layers of political intrigue. This enabled him to craft a gripping and timeless story filled with powerful music—from famous arias like "Celeste Aida" and the Triumphal March to the opera’s heart-wrenching final quartet. Productions typically focus on the secret lovers Radames and Aida, but what if we were to view the entire story through the eyes of Amneris? She is determined to win Radames’s love at any cost—unaware that the ultimate price will be human lives, including that of the man she desires.

To cradle your tears in my palms…

The production of Janáček’s *Osud* (Destiny), which opened the Janáček Brno 2020 festival, marks the return of one of the finest opera directors, Robert Carsen. Known for productions acclaimed for their dramatic insight, poetic quality, and visual refinement, Carsen returns to Janáček’s operatic oeuvre to add a sixth title to his cycle of the composer's works—one created specifically for the Janáček Opera of the National Theatre Brno (NdB). The opening notes of the orchestral waltz from the *Osud* overture immediately transport us into the midst of refined spa society; here, simple, natural prose gives way to language reminiscent of decadent poets, reflecting the inspiration Janáček drew from a beautiful woman—twenty-eight-year-old Kamila Urválková—whom he met in August 1903 at his beloved Luhačovice spa. Kamila confided in Janáček about her romance with the composer Čelanský, who had depicted his own romantic disillusionment in an opera titled *Kamila*. Janáček was so captivated by Kamila’s charm that he resolved to create a "completely new, modern opera" that would redeem her image. He described *Osud* not as an opera, but as "three novelistic episodes," placing the audience in a setting vastly different from that of his earlier works; following *Jenůfa*, Janáček’s fourth opera, *Osud*, represents a bold musical and dramaturgical foray into new territory.

CÉSAR FRANCK Psyché, symphonic poem for chorus and orchestra FWV 47
JOHANNES BRAHMS Symphony No. 2 in D major, Op. 73

Czech Philharmonic Choir of Brno
Choirmaster Petr Fiala
Brno Philharmonic
Conductor Petr Altrichter

Falling in love without losing one’s head—that is the art of relationships.

Do you need to win love, or perhaps forget it altogether? Dr. Dulcamara’s elixir can do just that! A single bottle is all it takes! Love potions have long been among the most sought-after magical remedies for young men and women alike—recipes for them can still be found online today. It is no wonder, then, that they frequently feature in legends—ranging from ancient tragedies like the tale of Tristan and Isolde to stories with happy endings that have inspired operas.

Donizetti was one of a famous trio of composers whose works dominated Italian stages in the first half of the 19th century and gradually spread across Europe and overseas. Although the plot of his *L’elisir d’amore* (The Elixir of Love)—which premiered in Milan in 1832—was not entirely original (librettist Romani openly borrowed the storyline from an opera by D. Auber), Donizetti’s music ensured that—unlike its French counterpart—it has remained one of the most popular operas from its premiere to the present day. The bittersweet story of the shy Nemorino, who falls for the wealthy Adina and attempts to win her affection with the help of a "love potion," offers a wonderful showcase for the singers; the composer penned a series of beautiful duets and arias for the roles, including Nemorino’s most famous piece, "Una furtiva lacrima."

A unifying thread runs through all of Leoš Janáček’s compositions: profound humanity and original form. This applies perhaps most strongly to his final two major works—the opera *From the House of the Dead* and the *Glagolitic Mass*. The former offers a concise glimpse into the souls of prisoners, while the latter provides a distinctive expression of faith set to an Old Church Slavonic text. The Janáček Brno 2022 festival saw a unique pairing of these two works; presenting the *Glagolitic Mass* in a staged format as a continuation of *From the House of the Dead* imbues both pieces with a new message regarding faith in humanity.

The prisoners live in the brutal conditions of a Siberian penal colony; behind every name lies a harrowing human destiny—misfortune and wickedness, yet also a spark of hope. Bit by bit, in brief vignettes, Leoš Janáček tells their stories in this singular final work. A creative genius and master of concision, Janáček manages to capture the essence of humanity within a compact scope. Despite the grim conclusion, the score of *From the House of the Dead* begins with the inscription: "In every creature, a spark of God!" This idea links his final opera to another equally unique work, the *Glagolitic Mass*. As Janáček himself put it: "Here, I wished to capture faith in the nation’s certainty—not on a religious foundation, but on a strong moral one that calls upon God as a witness."

Prison, or a ball filled with beautiful women? The choice is easy—provided his wife doesn't find out.

Gabriel Eisenstein is due to serve a one-week jail sentence for contempt of court. At home, he pretends to be heading off to serve his time, but instead goes incognito to enjoy a gala hosted by the exotic Prince Orlofsky. His wife, Rosalinda, takes advantage of his absence to invite her former lover, Alfred, over; however, their tryst is interrupted by the guards who have arrived to take her husband to prison.

The Soul of England.

These songs are little gems—offering drama, deep emotion, and laughter all within the span of just a few minutes.

South African countertenor Christopher Ainslie is a star of Baroque opera, yet the world of song is his second home. Join him in discovering the magic of early English music and exploring the depths of the English soul as captured by John Dowland, Thomas Campion, Henry Purcell, and others.

Nominated for a 2024 International Opera Award in the New Production category.

"You don't look so bad, you pale fellow up there. Oh, surely your people are happier than us poor earthlings!" cries Matěj Brouček to the Moon shining over Prague. An artist’s imagination knows no bounds—so why not journey there with Janáček and find out if Mr. Brouček is right?

"Without Boundaries!" is a fitting motto for the work of director Robert Carsen, whose productions are acclaimed worldwide for their dramatic vision, poetic quality, humor, and visual sophistication. The famous director’s path crossed with the Czech composer’s work many years ago, and today Carsen has productions of six Janáček operas to his credit. In 2020, he created a production of *Osud* (Destiny) for the Brno company, and he now returns to the stage of the Janáček Theatre, where his new production of *The Excursions of Mr. Brouček* will ceremoniously open the Janáček Brno 2024 festival.

Introduce students to Leoš Janáček in a fun and engaging way. Let them experience Janáček firsthand!

What is Janáček’s story? How did he live and create? Which places in Brno are linked to him, and how did his personal life shape the music he composed? This two-hour educational workshop takes place on the rehearsal stage of the Janáček Theatre and guides students through the milestones of Janáček’s life and work using entertaining activities.

Practical information:

Workshop designed for primary school students (grades 4–6).
Program duration: 2 hours.
Workshop fee: 2,000 CZK for up to 20 participants; an admission fee of 100 CZK applies for each additional person.
Arrival via the Janáček Theatre staff entrance.
Please ensure students wear comfortable clothing, as the program involves sitting on the floor, creative activities, etc.
To book the program, please contact the opera education specialist: Klára Mazlová (mazlova@ndbrno.cz, +420 607 089 755).

The music of Bizet’s *Carmen* embodies both French *esprit* and Spanish passion. After all, who isn’t familiar with its immortal operatic hits—the famous "Habanera" or the Toreador Escamillo’s aria? Yet, what if there is something more beneath this story of love’s fickleness?

It began with a slim novella by the French writer Prosper Mérimée about Don José, a man who—driven by a foolish passion for a wild Gypsy woman—deserted the army to become a smuggler and a murderer. Directed by Tomáš Pilař, this production of *Carmen* returns to the original story, revealing new layers of the characters; here, they are, above all, human beings hailing from vastly different backgrounds. It is not merely a tale of Carmen’s fickle, unbridled love—something the jealous José cannot come to terms with. It is a clash of two worlds: the orderly, tidy realm of José and Micaëla, bound by established rules, and the world of Gypsies and smugglers living day-to-day, free from laws and driven by immediate impulses. Their worlds suddenly collide, but this disparity sparks a tension and conflict that ultimately lead to the total destruction of both. Neither is able to prevent this, as neither is willing—or able—to yield.

Brno Philharmonic
Conductor: Dominik Pernica
Hosts: Kristýna Drášilová and Vítězslav Mikeš
Script and Direction: Kristýna Drášilová

We are already familiar with the orchestra—we know how powerful it can sound and why it needs a conductor to keep it all together. But what actually lies within? What instruments make up its colorful world? Who takes the lead, and who waits patiently for their big moment? And can an orchestral musician simply sit wherever they please?

The Family Subscription series takes you into the inner workings of the musical system known as the orchestra. Together, we will discover how the various sections interact: who sets the tempo, who carries the melody, and who builds tension in the background. We will learn that every instrument plays an indispensable role—and that even silence can be charged with anticipation.

This year, you don’t have to remain mere listeners! We invite you to join forces with our orchestra: young listeners can prepare alongside their teachers, while adults can dust off their own instruments. Let’s experience that unique feeling together—being part of an orchestra.

Brno Philharmonic
Conductor: Dominik Pernica
Hosts: Kristýna Drášilová and Vítězslav Mikeš
Script and Direction: Kristýna Drášilová

We are already familiar with the orchestra—we know how powerful it can sound and why it needs a conductor to keep it all together. But what actually lies within? What instruments make up its colorful world? Who takes the lead, and who waits patiently for their big moment? And can an orchestral musician simply sit wherever they please?

The Family Subscription series takes you into the inner workings of the musical system known as the orchestra. Together, we will discover how the various sections interact: who sets the tempo, who carries the melody, and who builds tension in the background. We will learn that every instrument plays an indispensable role—and that even silence can be charged with anticipation.

This year, you don’t have to remain mere listeners! We invite you to join forces with our orchestra: young listeners can prepare alongside their teachers, while adults can dust off their own instruments. Let’s experience that unique feeling together—being part of an orchestra.

To cradle your tears in my palms…

The production of Janáček’s *Osud* (Destiny), which opened the Janáček Brno 2020 festival, marks the return of one of the finest opera directors, Robert Carsen. Known for productions acclaimed for their dramatic insight, poetic quality, and visual refinement, Carsen returns to Janáček’s operatic oeuvre to add a sixth title to his cycle of the composer's works—one created specifically for the Janáček Opera of the National Theatre Brno. From the very first notes of the orchestral waltz in the *Osud* overture, we are transported into the midst of refined spa society; here, simple, natural prose gives way to the language of decadent poets, as Janáček was inspired to write the opera by a beautiful woman—twenty-eight-year-old Kamila Urválková—whom he met in August 1903 at his beloved spa resort of Luhačovice. Kamila confided in Janáček about her love affair with the composer Čelanský, who had depicted his own romantic disillusionment in an opera titled *Kamila*. Janáček was so captivated by Kamila’s charm that he resolved to create a "completely new, modern opera" that would redeem her image. He described *Osud* not as an opera, but as "three novelistic episodes," placing the audience in a setting vastly different from that of his earlier works; following *Jenůfa*, Janáček’s fourth opera, *Osud*, represents a bold musical and dramaturgical foray into new territory.

Emil František Burian: *Vojna* (War) – a folk play with songs and dances based on folk poetry collected by K. J. Erben

Frederic Rzewski: *Coming Together* for narrator and variable ensemble (1971/72)

Part 1: *Coming Together* (1971)
Part 2: *Attica* (1972)
Emil František Burian (1904–1957) ranks among the most remarkable Czech artists of his generation. He exemplifies the avant-garde trends of the interwar period; he was a member of the Devětsil group, collaborated with the Liberated Theatre (*Osvobozené divadlo*), and founded the DADA and D34 theatres. He distinguished himself as an original playwright, director, and composer. Notable examples of his musical-dramatic output include the experimental jazz opera *Bubu from Montparnasse* and the opera *Maryša*, which was inspired by Janáček’s *Jenůfa* (*Její pastorkyňa*).

The 1935 folk play with songs, *Vojna* (War), further demonstrates Burian’s ability to explore new forms within the musical-dramatic genre. In his pursuit of so-called "synthetic theatre," he drew upon his experience with *voiceband* (choral speech), dance, chamber ensembles, folk music, and jazz. The premiere took place in 1935 at the D35 theatre under Burian’s direction, though the work was subsequently banned during the Protectorate era. Burian revisited the piece in the 1950s, revising the instrumentation and staging a revival in 1955. *Vojna* stands as one of the most significant Czech musical projects rooted in folk poetry, placing Burian alongside composers such as Bohuslav Martinů, who were exploring similar themes during that period.

Janáček’s fifth opera, *The Excursions of Mr. Brouček*, opened the festival’s ninth season, which ran under the motto "Without Borders!" This same phrase aptly describes the work of director Robert Carsen, whose productions are acclaimed worldwide for their dramatic insight, poetic quality, humor, and visual sophistication. The famous director’s path first crossed with the Czech composer’s work many years ago; today, Carsen has staged six of Janáček’s operas. In 2020, he created a production of *Osud* (Destiny) for the Brno ensemble, returning four years later to embark on a journey—not only to the Moon—with Mr. Brouček. Carsen’s production offered a fresh perspective on this rarely performed opera, linking its plot to pivotal 20th-century historical events that shaped the Czech nation. The production’s broad appeal—extending well beyond the local audience—is evidenced by its nomination for the prestigious 2025 Opera Award.

None of Janáček’s operas can be classified as comic operas; while humor is never absent, it serves more as a rare seasoning. Yet, in this opera about a small-time homeowner from Prague’s Lesser Town—an archetypal "little Czech man"—Janáček positively brims with humor, albeit of a decidedly sharp variety. He drew inspiration from the popular *Brouček* novellas by poet Svatopluk Čech, complementing the satire with dance-like rhythms and the use of unusual instruments, such as the glass harmonica and bagpipes. While the first part of the opera—a trip to the Moon—aimed its biting humor at Prague’s critics, intellectuals, and artists, the second half, set in the Hussite era, struck at the unsavory traits of the Czech nation as a whole.

JOSEPH HAYDN Symphony No. 84 in E-flat Major, Hob. I:84
THOMAS ADÈS Air (Homage to Sibelius) for violin and orchestra
BENJAMIN BRITTEN Symphony for Cello and Orchestra, Op. 68

Marie Petříková, violin
Julia Hagen, cello
Brno Philharmonic
Conductor Dennis Russell Davies

The solo violin in Adès’s *Air* is suffused with light, reaching towards celestial heights. The cello in Britten’s Symphony strikes a darker chord. And Symphony No. 84 by “Papa” Haydn keeps the world in balance.

Introduce students to Leoš Janáček in a fun way. Let them experience Janáček firsthand!

What is Janáček’s story? How did he live and create? Which places in Brno are linked to him, and how did his personal life shape the music he composed? This two-hour educational workshop, held on the rehearsal stage of the Janáček Theatre, guides students through the milestones of Janáček’s life and work using engaging activities.

Practical information:

Workshop designed for primary school students (grades 4–6).
Program duration: 2 hours.
Workshop fee: 2,000 CZK for up to 20 participants; an admission fee of 100 CZK applies for each additional person.
Arrival via the Janáček Theatre staff entrance.
Please ensure students wear comfortable clothing, as the program involves sitting on the floor, creative activities, etc.

Leoš Janáček: *Říkadla* (Nursery Rhymes) (1925–26) / world premiere of a new version for 1–2 voices, clarinet, and piano, arranged by Kryštof Mařatka (2025–26)

Kryštof Mařatka: *Altotem* / nocturnal archaic music for viola with piano accompaniment (Czech premiere)

Kryštof Mařatka: *Báchorky* (Folk Tales) / for viola, clarinet, piano, and an ensemble of Czech and Moravian folk instruments

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Kryštof Mařatka: *Záhada pana Rybky* (The Mystery of Mr. Rybka) / melodrama for actor and pianist based on a short story by Karel Čapek

Leoš Janáček: *Zápisník zmizelého* (The Diary of One Who Disappeared), JW V/12 / song cycle for tenor, alto, three female voices, and piano

While Janáček’s music is rooted in Moravian folk music, Kryštof Mařatka (b. 1971) draws inspiration from the ethnic music of several continents.

Kryštof Mařatka’s 2016 composition *Báchorky* (Folk Tales) is inspired by the world of folk music and its instrumentation, which the composer juxtaposes with other instruments. Featured instruments include the elder-wood pipe, chamois horn, rag-and-bone man’s whistle, nose flute, shepherd’s horn, and bone flute.

Mařatka found the inspiration for his 2015 melodrama *Záhada pana Rybky* (The Mystery of Mr. Rybka) in the short story "Šlépěje" (Footprints) by Karel Čapek, published in the collection *Povídky z jedné kapsy* (Tales from One Pocket). The text and the narrative play a pivotal role, shaping the musical setting—which, however, does not dominate but rather complements the storytelling.

This piece is part of a series of the composer's melodramas written for the same instrumentation, forming a cohesive whole with them. It was originally conceived for a single performer—an actor-pianist handling both the acting and the piano playing—though it can also be performed by two artists: an actor and a pianist. The text may be performed in various languages.

JOSEPH HAYDN Symphony No. 84 in E-flat Major, Hob. I:84
THOMAS ADÈS Air (Homage to Sibelius) for violin and orchestra
BENJAMIN BRITTEN Symphony for Cello and Orchestra, Op. 68

Marie Petříková, violin
Julia Hagen, cello
Brno Philharmonic
Conductor Dennis Russell Davies

The solo violin in Adès’s *Air* is suffused with light, reaching towards celestial heights. The cello in Britten’s Symphony strikes a darker chord. And Symphony No. 84 by “Papa” Haydn keeps the world in balance.

Alfred Schnittke: String Quartet No. 3

Antonín Dvořák: Four Songs on Lyrics by Gustav Pfleger-Moravský, Op. 2, B. 124 / arranged for voice and string quartet by Tomáš Ille

Leoš Janáček: String Quartet No. 2 "Intimate Letters", JW VII/13

Antonín Dvořák: In Folk Tone, Op. 73, B. 146 / arranged for voice and string quartet by Tomáš Ille

The fundamental building blocks of Alfred Schnittke’s (1934–1998) String Quartet No. 3 (1983) are quotations from works by three different composers spanning the Renaissance to the twentieth century: Orlando di Lasso, Ludwig van Beethoven, and Dmitri Shostakovich. Drawing on fragments from Lasso’s *Stabat Mater*, quotations from Beethoven’s *Grosse Fuge* for string quartet, and the motif of Shostakovich’s musical cryptogram "DSCH," the composer created a work in which disparate musical styles and textures blend and interpenetrate, much like in our dreams.

Antonín Dvořák (1841–1904) created this four-part song cycle—based on lyrics by the poet Gustav Pfleger-Moravský—in the early 1880s by reworking songs from his earlier cycle *Cypresses* (*Cypřiše*), which he had composed in 1865, shortly before his twenty-fourth birthday. Pfleger’s sentimental poems, filled with sorrow over unrequited love, inspired the young Dvořák to create a work of poignant, Schubert-esque Romantic expression.

Leoš Janáček’s (1854–1928) String Quartet No. 2, *Intimate Letters* (for two violins, viola, and cello), was composed during the final year of the composer’s life. *Intimate Letters* serves as a musical counterpart to the extensive correspondence between Janáček and his muse, Kamila Stösslová. Janáček heard the work performed during rehearsals by the Moravian Quartet in May 1928 but did not live to see its premiere; he died unexpectedly on August 12, 1928. The first performance, intended for experts and critics, was given by the Moravian Quartet on September 7, 1928, in the Hlahol Hall of the Besední dům in Brno. The work was subsequently presented to the general public on September 11, 1928, at the theater within the Brno Exhibition Grounds, as part of the Exhibition of Contemporary Culture in Czechoslovakia.

Béla Bartók: The Wooden Prince, Op. 13, Sz. 60, BB 74 / Suite from the ballet

Leoš Janáček: Sinfonietta, JW VI/18

Igor Stravinsky: Petrushka / Burlesque scenes in four tableaux 

Leoš Janáček (1854–1928), along with the slightly younger Béla Bartók (1881–1945) and Igor Stravinsky (1882–1971), form a significant trio of 20th-century composers who responded profoundly to folk music. While each approached it in his own way, all three were influenced by folk music in their musical thinking. Janáček and Bartók engaged deeply with folk song—even theoretically—and conducted field research; for the former, folk music was a "truth of life" that shaped his melodic style, while for the latter, it became the foundation for his work with modality and rhythm. Stravinsky was captivated by folk rituals, yet he drew from folk music only what he needed at specific stages of his creative journey—primarily texts and melodies. In any case, all three composers utilized this source in highly distinctive and inventive ways.

Béla Bartók composed the work based on the story of a proud, vain princess and a wooden prince between 1914 and 1916; following his opera *Bluebeard’s Castle*, this piece continued his exploration of the differences between men and women. This time, he chose the medium of ballet; the score possesses a distinctly symphonic character and stands as a true masterpiece of orchestration. *The Wooden Prince* is characterized by an impressionistic sound palette and incorporates elements of folk melody, spirited rhythms, and inspiration from Romanian and Hungarian music. Its 1917 premiere met with great international acclaim. Bartók’s suite from the ballet was performed in 1931.

Join Leoš Janáček on a journey through Moravian forests and villages, and listen to the life and stories found there—a playful adventure in pursuit of folk melodies and the language of animals.

Luboš Fišer: *Fašank* (Shrovetide) for children’s choir and piano, set to Moravian folk poetry texts

Miloslav Kabeláč: *To Nature* (*Přírodě*). A cycle of children’s choral pieces set to folk poetry texts with piano accompaniment, Op. 35

Leoš Janáček: *Folk Nocturnes* (*Lidová nokturna*). Evening songs of the Slovak people from Rovné, JW IV/32

Bohuslav Martinů: *Špalíček*, H. 214 (selection from the version for children’s choir and piano)

Children’s singing has always been an integral part of folk customs, games, and festivals. The distinctive timbre of children’s voices inspired a number of leading 20th-century Czech composers; in the natural, unspoiled vocal expression of children, they found a fitting musical counterpart for simple folk texts.

Luboš Fišer (1935–1999) became renowned not only as a prolific film composer but also as an internationally acclaimed creator of orchestral, chamber, and vocal works. His distinctive postmodern style is unafraid to captivate the listener with Romantic—at times even intensely heightened—emotion, contrasted against simple, almost banal folk-like tunes and melodies. Such is the case with *Fašank* (Shrovetide) for children’s choir and piano—set to Moravian folk poetry texts—which was composed for the Bambini di Praga ensemble in 1982.

Antonín Dvořák: Love Songs, Op. 83, B 160

Vítězslava Kaprálová: Two Songs to Lyrics by R. Bojko, Op. 4

Vítězslava Kaprálová: Farewell and a Handkerchief, Op. 14

Vítězslava Kaprálová: Sung into the Distance, Op. 22

Leoš Janáček: Moravian Folk Poetry in Songs, JW V/2 (selection)

Leoš Janáček: Fairy Tale for Cello and Piano, JW VII/5

Erich Wolfgang Korngold: Three Songs, Op. 22

Erich Wolfgang Korngold: Three Songs, Op. 18 (Nos. 2 and 3)

Antonín Dvořák (1841–1904) created *Love Songs* (to lyrics by Gustav Pfleger Moravský) in late 1888 by adapting and reworking eight songs from his early cycle *Cypresses* (1865). Dvořák’s magnificent musical setting places this cycle among the gems of Czech song literature.

The work of composer Vítězslava Kaprálová (1915–1940) reveals an intimate feminine world filled with delicate, deeply felt lyricism. In her song cycles, Kaprálová transforms the influences of Janáček, Martinů, and the avant-garde of her time in a highly distinctive way. A survey of her song output will range from the early *Songs to Words by R. Bojko* (1932) and the song *Farewell and Handkerchief* (set to a text by Vítězslav Nezval, 1937) to the late cycle *Sung into the Distance*, composed in Paris in 1939.

The Opera Studio and Orchestra of the Brno Conservatory, in collaboration with the Janáček Brno 2026 festival, present a production of Bohuslav Martinů’s *The Theatre Beyond the Gate* (*Divadlo za bránou*). This "lyric opera"—featuring elements of pantomime and dance—was created as a distinctive tribute to folk roots while simultaneously engaging in an open dialogue with the modern trends of the 20th century, including jazz.

Come and see what the young generation reveals in a work that blends playfulness, rhythm, and profound lyricism. We will show you that Martinů’s music remains vibrant and full of light. With this production, we invite both the professional community and the general public to experience music that transcends genre and time, opening the gates of imagination to all who enter.

And what exactly is "the theatre beyond the gate"? In the words of Bohuslav Martinů, it is "nothing other than a stage at a market or a fair outside the town—essentially, a traveling theatre." It is theatre of the here and now, drawing energy from the street—a street that may pulse faster today than in the composer's time, yet remains a space of freedom: playful, unbridled, and open to improvisation and interaction.

The Opera Studio and Orchestra of the Brno Conservatory, in collaboration with the Janáček Brno 2026 festival, present a production of Bohuslav Martinů’s *The Theatre Beyond the Gate* (*Divadlo za bránou*). This "lyric opera"—featuring elements of pantomime and dance—was created as a distinctive tribute to folk roots while simultaneously engaging in an open dialogue with the modern trends of the 20th century, including jazz.

Come and see what the young generation reveals in a work that blends playfulness, rhythm, and profound lyricism. We will show you that Martinů’s music remains vibrant and full of light. With this production, we invite both the professional community and the general public to experience music that transcends genre and time, opening the gates of imagination to all who enter.

And what exactly is "the theatre beyond the gate"? In the words of Bohuslav Martinů, it is "nothing other than a stage at a market or a fair outside the town—essentially, a traveling theatre." It is theatre of the here and now, drawing energy from the street—a street that may pulse faster today than in the composer's time, yet remains a space of freedom: playful, unbridled, and open to improvisation and interaction.

Béla Bartók: Dance Suite, Sz. 77, BB 86a

Gustav Mahler: Songs of a Wayfarer

Johannes Brahms: Hungarian Dances (selection)

The six-movement *Dance Suite* is among the most popular orchestral works by the Hungarian composer Béla Bartók (1881–1945), a contemporary of Leoš Janáček. He composed it in 1923 to mark the 50th anniversary of the unification of the cities of Buda, Óbuda, and Pest, which created the Hungarian capital, Budapest. With its striking, vigorous music, colorful orchestration, and incorporation of Hungarian, Romanian, and even Arab folk motifs, the work captivated audiences at its premiere and soon found its way into the repertoires of orchestras worldwide.

Gustav Mahler (1860–1911) was inspired to compose *Songs of a Wayfarer* (*Lieder eines fahrenden Gesellen*) by his unhappy love for the soprano Johanna Richter. Written around the turn of 1884–1885, the lyrics were penned by the composer himself in the spirit of the German folk songs he knew from the collection *Des Knaben Wunderhorn* (The Youth's Magic Horn). This cycle of four songs for baritone and orchestra became Mahler’s first masterpiece; in it, poignant tragedy is expressed through a quintessentially Mahlerian late-Romantic musical language, interwoven with moments of undisguised irony and echoes of nature, naive children's lullabies, and the raw sounds of rustic village bands. The two sets of *Hungarian Dances* by Johannes Brahms (1833–1897)—comprising a total of 21 dance pieces—served as a cornerstone in the composer's rise to worldwide fame. In creating them, Brahms drew inspiration not only from Hungarian folk music but also from the music of Gypsy bands. The first ten dances were published in a piano version in 1869, with the remainder following eleven years later. The work's widespread success prompted Brahms to orchestrate three selected dances in 1873; over time, the remaining dances were also given orchestral arrangements by his successors, including Antonín Dvořák.

Tomás Luis de Victoria: Asperges me, Domine and 4
Choral introitus Terribilis est locus
Giovanni Pierluigi da Palestrina: Missa Assumpta est Maria a 6 – Kyrie, Gloria
Orlando di Lasso: Meditabor in mandatis tuis a 4
Giovanni Pierluigi da Palestrina: Missa Assumpta est Maria a 6 – Credo
Tomás Luis de Victoria: Vexilla regis prodeunt and 6 alternatim
Jacobus Handl Gallus: Ecce quomodo moritur iustus and 4
Giovanni Pierluigi da Palestrina: Missa Assumpta est Maria a 6 – Sanctus
Jacobus Handl Gallus: Pater noster and 8
Giovanni Pierluigi da Palestrina: Missa Assumpta est Maria a 6 – Agnus Dei
Giovanni Croce: Domus mea a 4 (communio)
Tomás Luis de Victoria: O quam gloriosum and 4

An experiential workshop on the music and legacy of Leoš Janáček for children and parents.

What was the story and musical world of Leoš Janáček like?

In this workshop, we will trace the path of Janáček’s life, explore how his personal experiences influenced his music, and discover his work and sources of inspiration through creative, interactive activities.

The workshop is suitable for children in primary school (ages approx. 6–11).

The workshop takes place on the rehearsal stage of the Janáček Theatre; please enter via the staff entrance, where the instructor will meet participants at the reception desk.

Duration: approx. 2 hours
Price: 200 CZK per child + 1 accompanying adult free of charge
Capacity: 20 participants

Winner of the 31st Leoš Janáček International Competition in Brno (String Quartet category).

Leoš Janáček: String Quartet No. 1 ("The Kreutzer Sonata"), JW VII/8

Dmitri Shostakovich: String Quartet No. 8 in C minor, Op. 110

Béla Bartók: String Quartet No. 4 in C major, Sz. 91, BB 95

Leoš Janáček’s (1854–1928) String Quartet No. 1, inspired by Leo Tolstoy’s *The Kreutzer Sonata*, dates from 1923. However, its roots go back to 1908, when Janáček composed a Piano Trio—now lost—inspired by the same Tolstoy novella. The story’s protagonist is a woman terrorized by her despotic and pathologically jealous husband, at whose hands she is ultimately tormented to death. "I had in mind a poor woman, tormented, beaten, beaten to death," said Janáček, describing the motif that runs like a common thread through many of his other works. With its passionate expression, the quartet penetrates to the very core of human emotion and into the most intimate realms of the human soul. The work achieved success soon after its 1924 premiere and, even after more than a century, remains one of the most compelling works in the string quartet genre.

The most famous fox on the opera stage is surely the one from Brno—Janáček’s Vixen! She is captivating and kind, surrounded by children and their toys as they playfully transform the Forester’s house into a forest and themselves into woodland creatures.

Every opera by Janáček is unique, and *The Cunning Little Vixen*—where the human and animal worlds intertwine on stage—is unparalleled in the genre. Janáček sought a theme that reflected his worldview and the eternal cycle of life; thus, his Vixen dies at the hands of the poacher Harašta. Yet, there is another little vixen... life goes on. That is how it should be—a sentiment echoed by Janáček’s music, which is lyrical and melodic, with an orchestra teeming with the colors of the Bílovice woods and the creatures inhabiting them. Everything sparkles with humor—humor that is prickly in true Janáček fashion, yet ultimately kind-hearted.

Rudolf Těsnohlídek, the author of the original literary work, founded the beautiful tradition of the "Republic’s Christmas Tree"; the discovery of a little girl named Liduška in the forest just before Christmas served as one of the inspirations for the vixen’s story and for Leoš Janáček himself. This influence is reflected in the production by director Jiří Heřman: "The inspiration came from Těsnohlídek’s noble idea to build the Dagmar Children’s Home, which is where we have set our production. We unfold the story of the Vixen through the eyes of children."

Premiere: November 17, 2018, at the Janáček Theatre

Performed in the original Czech with Czech, English, and German surtitles.

The production is suitable for children aged 6 and up.

Antonín Dvořák: Mazurkas, Op. 56, B. 111

Leoš Janáček: On an Overgrown Path, JW VIII/17

Leoš Janáček: Con moto

Leoš Janáček: Allegro

Leoš Janáček shared a bond of friendship, admiration, and musical understanding with Antonín Dvořák, who was thirteen years his senior.

Antonín Dvořák (1841–1904) devoted himself to piano composition more intensively than Janáček. This was due in part to the interest music publishers showed in his piano works, particularly around 1880. It was in that very year that Dvořák composed a cycle of six piano mazurkas. While he was by no means the only composer inspired by this Polish national dance, unlike Chopin, for instance, he treated the genre with greater restraint—though still with a very rich melodic quality. To this day, the Mazurkas remain among Dvořák’s finest piano stylizations.

The most famous fox on the opera stage is surely the one from Brno—Janáček’s Vixen! She is captivating and kind, surrounded by children and their toys as they playfully transform the Forester’s house into a forest and themselves into woodland creatures.

Every opera by Janáček is unique, and *The Cunning Little Vixen*—where the human and animal worlds intertwine on stage—is unparalleled in the genre. Janáček sought a theme that reflected his worldview and the eternal cycle of life; thus, his Vixen dies at the hands of the poacher Harašta. Yet, there is another little vixen... life goes on. That is how it should be—a sentiment echoed by Janáček’s music, which is lyrical and melodic, with an orchestra teeming with the colors of the Bílovice woods and the creatures inhabiting them. Everything sparkles with humor—humor that is prickly in true Janáček fashion, yet ultimately kind-hearted.

Rudolf Těsnohlídek, the author of the original literary work, founded the beautiful tradition of the "Republic’s Christmas Tree"; the discovery of a little girl named Liduška in the forest just before Christmas served as one of the inspirations for the vixen’s story and for Leoš Janáček himself. This influence is reflected in the production by director Jiří Heřman: "The inspiration came from Těsnohlídek’s noble idea to build the Dagmar Children’s Home, which is where we have set our production. We unfold the story of the Vixen through the eyes of children."

Premiere: November 17, 2018, at the Janáček Theatre

Performed in the original Czech with Czech, English, and German surtitles.

The production is suitable for children aged 6 and up.

Leoš Janáček: On an Overgrown Path, JW VII/18 (choreography: Mário Radačovský)

Leoš Janáček: In the Mists, JW VIII/22

Leoš Janáček: Capriccio, JW VII/12 / for piano left hand and chamber wind ensemble (choreography: Megumi Nakamura)

Janáček’s body of work, deeply rooted in folk music, also encompasses the piano—arguably the composer’s most intimate instrument.

The first set of the piano cycle *On an Overgrown Path*—a collection of poetic miniatures—was created in stages between 1900, 1908, and 1911. Janáček composed five pieces for the cycle in 1900, at the age of 46. They were originally published as short pieces for harmonium in the *Slavic Melodies* (*Slovanské melodie*) series, issued by the teacher Emil Kolář from Ivančice. The expansion of the cycle was facilitated by editor Jan Branberger, who arranged for the publication of the pieces with the Prague-based publisher Bedřich Kočí in 1908. This publishing interest prompted Janáček to compose additional movements; the cycle eventually grew to ten pieces, to which the composer assigned poetic titles. These small, intimate miniatures, which evoke some of the composer’s personal memories, are today counted among his best-known and most frequently performed works.

"Roots" is the theme of the festival’s 10th edition, and the premiere performance by the Brno-based ensemble focuses precisely on this concept. Through a site-specific production at the Besední dům—a venue inextricably linked to Janáček’s role in Brno’s cultural life—we will return to the very beginnings of the Maestro’s operatic output.

The opera *Šárka* exists in two forms: the 1887 version, which Janáček completed only as a piano reduction, and the revised, fully orchestrated version from 1925. While both versions will be presented at the festival, director Jiří Heřman has chosen the original 1887 form for his project; this allows him to immerse the audience within the Besední dům in the midst of the dramatic clash between men and women—a conflict that culminates in tragedy. The piano part will be performed by the outstanding British pianist Julius Drake, an artist well known to festival audiences from previous years as a brilliant interpreter of Janáček’s music.

"Roots" is the theme of the festival’s 10th edition, and the Brno-based ensemble’s premiere performance focuses precisely on that concept. Through a site-specific production at the Besední dům—a venue inextricably linked to Janáček’s role in Brno’s cultural life—we will return to the very beginnings of the Maestro’s operatic output.

The opera *Šárka* exists in two forms: the 1887 version, which Janáček completed only as a piano reduction, and the 1925 version, which was revised and fully orchestrated. While both versions will be presented at the festival, director Jiří Heřman has chosen the original 1887 form for his project; this allows him to place the audience right in the midst of the dramatic clash between men and women—a conflict that culminates in tragedy—within the setting of the Besední dům. The piano part will be performed by the outstanding British pianist Julius Drake, whom festival audiences know well from previous years as a brilliant interpreter of Janáček’s music.

Janáček was inspired to write his first opera by the work of Julius Zeyer, a prominent Czech poet and playwright. The musical drama *Šárka* was published in installments in the magazine *Česká Thalie* in January and February 1887. In it, Zeyer adapted the fourth part of his epic poem *Vyšehrad* into an opera libretto, originally intending it for Antonín Dvořák. When the text failed to capture Dvořák’s interest, Zeyer decided to publish it in the magazine instead—thereby catching the attention of another composer.

A journey to the roots and beyond.

Chant and polyphonic vocal works from the late 16th-century Příbor Hymnal—a unique manuscript featuring a Czech repertoire that captivated even Leoš Janáček. The program includes Gregorian chant—as Janáček sang it during his years as a choral scholar in Old Brno—alongside his earliest Latin compositions.

Musical layers spanning centuries intertwine within the complex spaces of the Yellow Hill Water Reservoirs—a venue where past and present converge to create a unique acoustic experience.

Meditation – Yoga Techniques and Sound Therapy (30 minutes)
An introductory meditation sequence combining breathing exercises, gentle movement, and sound stimulation using instruments. The aim is to open the body and mind, preparing them for a profound musical experience.

Instructors: Dominika Kvardová and Lucie Tomanová

Music Therapy Concert (60 minutes)
Mindful listening, breathwork, deep relaxation, and musical imagination techniques. The session also incorporates a sensitive exploration of the "inner child" theme.

Narration, script, and musical programming: Lucie Hradilová

Barbara Tolarová – violin
Terezie Saxová – violin
Kateřina Kurandová – viola
Katarína Madariová – cello
Dominika Kvardová – harp