Classical Music

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.

Join us in Brno this October 2026 for a wave of extreme music! Fastcore, grindcore, powerviolence, and other genres will crush you to the max!

Nickel Crack - powerviolence/grindcore /DE/
Jack - grindcore /HU/
Idiocracy - extreme hardcore
Kaosquad - old-school grindcore
Kandar - sick/horror grindcore
No God Rhetoric - fastcore/grindcore

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.

A contemporary musical born of passion and blood – world premiere

The story of a woman for whom freedom is the ultimate value has lost none of its urgency, even after nearly two hundred years. Carmen returns to the stage once more, this time as a musical set in present-day New York.

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.

A contemporary musical born of passion and blood – world premiere

The story of a woman for whom freedom is the ultimate value has lost none of its urgency, even after nearly two hundred years. Carmen returns to the stage once more, this time as a musical set in present-day New York.

Every autumn, the Moravia Brass Band invites audiences to a gala concert that launches its new season—and the 2026 edition promises to be exceptional.

On October 25, 2026, the evening’s star attraction will be Joseph Alessi, a world-class trombonist and principal trombone of the New York Philharmonic. Audiences can look forward to a virtuoso performance by an artist who ranks among the global elite and performs on the world's most prestigious stages. The charismatic Chuhei Iwasaki will take the conductor's podium.

For the first time, the concert will be held at the modern SONO Center in Brno. The program will feature the finest works from the global brass repertoire, new arrangements for brass band, and captivating pieces for solo trombone and orchestra.

The Moravia Brass Band Gala Concert is more than just a season opener; it is a musical event that pushes the boundaries of brass performance and brings world-renowned artists to Brno.

"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.

A contemporary musical born of passion and blood – world premiere

The story of a woman for whom freedom is the ultimate value has lost none of its urgency, even after nearly two hundred years. Carmen returns to the stage once more, this time as a musical set in present-day New York.

Rock Ballads by Candlelight – An Unforgettable Evening Filled with Emotion.

At the "Rock Ballads by Candlelight" concert, you will have a unique opportunity to relive the most beautiful and significant moments of your life. Beloved melodies will evoke cherished memories from the past, while the magical glow of candlelight creates a truly unique, emotionally charged experience.

A musical journey through the eras of rock awaits you—spanning legends like Deep Purple, Led Zeppelin, Queen, and Pink Floyd; iconic bands such as Metallica, Nirvana, Depeche Mode, Guns N’ Roses, Bon Jovi, Aerosmith, RHCP, and Rammstein; and modern stars like Linkin Park, Limp Bizkit, System of a Down, and Måneskin.

During the concert, your favorite songs will be performed in original acoustic arrangements that reveal new musical layers and deeper emotions. Vocals, acoustic guitars, piano, and a string quartet will create a unique atmosphere, allowing you to experience rock ballads in a whole new light.

A contemporary musical born of passion and blood – world premiere

The story of a woman for whom freedom is the ultimate value has lost none of its urgency, even after nearly two hundred years. Carmen returns to the stage once more, this time as a musical set in present-day New York.

The popular duo Krhut & Kozub presents an evening of music and entertainment filled with emotion, humor, and a unique atmosphere.
The collaboration between singer-songwriter Jiří Krhut and actor-singer Štěpán Kozub offers an original blend of poetic lyrics, catchy melodies, and distinctive humor that appeals to audiences of all generations. Their natural onstage chemistry creates an unforgettable experience where laughter and moving moments go hand in hand. Each performance is unique, guaranteeing an evening of great music and high spirits.
Audiences can look forward to popular hits and lesser-known songs from their two collaborative albums—*Prásknu bičem* and *Přeježděný vztah*—as well as the spontaneous moments that make every concert one-of-a-kind. The evening promises quality music, authentic emotion, and exceptional entertainment.
The popular duo will be joined on vocals by the brilliant Johana Freywaldová.
This time, they will be accompanied by an energetic band featuring Pavel Sotoniak (keyboards), Marek Zeman (bass guitar), and Matěj Drabina (drums)—members of the band Bandjeez—along with Ostrava-based guitarist Rudy Horvát. Together, they add a new musical dimension and a captivating atmosphere to the songs.
Come and enjoy a concert that will entertain and move you, leaving a lasting impression long after the final note fades.

Choreographer Edward Clug has concocted a captivating theatrical blend from brilliant, seemingly disparate ingredients: Shakespeare, the music of the rock band Radiohead, and contemporary ballet. The result is a spellbinding production—nominated for a *Divadelní noviny* Award—whose magic appeals to audiences well beyond the younger generation.

Edward Clug is a creator of European renown. His choreographic work is no stranger to Brno audiences; in 2017, his home company, Ballet Maribor, performed *Peer Gynt* at the Janáček Theatre. We have added his piece *Radio and Juliet* to our repertoire; since its 2005 premiere, it has enjoyed great success on tours across more than twenty countries. *Radio and Juliet* offers an unconventional take on the famous Shakespearean tale of the lovers from Verona, set to the music of Radiohead—one of today’s most successful rock bands. You can be certain you have never listened to Radiohead or seen *Romeo and Juliet* quite like this before: it features elegant movement aesthetics, Edward Clug’s distinctive fluidity of motion, and striking visual elements including superb lighting design and video projections. The choreographer unfolds this unconventional interpretation of the Shakespearean love story—featuring one female and six male dancers—around a single premise: What if Juliet decided not to die? She wakes up beside the reclining Romeo and, through flashbacks, relives the events that led her to the tomb.

A contemporary musical born of passion and blood – world premiere

The story of a woman for whom freedom is the ultimate value has lost none of its urgency, even after nearly two hundred years. Carmen returns to the stage once more, this time as a musical set in present-day New York.

A contemporary musical born of passion and blood – world premiere

The story of a woman for whom freedom is the ultimate value has lost none of its urgency, even after nearly two hundred years. Carmen returns to the stage once more, this time as a musical set in present-day New York.

Choreographer Edward Clug has concocted a captivating theatrical blend from brilliant, seemingly disparate ingredients: Shakespeare, the music of the rock band Radiohead, and contemporary ballet. The result is a spellbinding production—nominated for a *Divadelní noviny* Award—whose magic appeals to audiences well beyond the younger generation.

Edward Clug is a creator of European renown. His choreographic work is no stranger to Brno audiences; in 2017, his home company, Ballet Maribor, performed *Peer Gynt* at the Janáček Theatre. We have added his piece *Radio and Juliet* to our repertoire; since its 2005 premiere, it has enjoyed great success on tours across more than twenty countries. *Radio and Juliet* offers an unconventional take on the famous Shakespearean tale of the lovers from Verona, set to the music of Radiohead—one of today’s most successful rock bands. You can be certain you have never listened to Radiohead or seen *Romeo and Juliet* quite like this before: it features elegant movement aesthetics, Edward Clug’s distinctive fluidity of motion, and striking visual elements including superb lighting design and video projections. The choreographer unfolds this unconventional interpretation of the Shakespearean love story—featuring one female and six male dancers—around a single premise: What if Juliet decided not to die? She wakes up beside the reclining Romeo and, through flashbacks, relives the events that led her to the tomb.

"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.

The popular duo Krhut & Kozub presents an evening of music and entertainment filled with emotion, humor, and a unique atmosphere.
The collaboration between singer-songwriter Jiří Krhut and actor-singer Štěpán Kozub offers an original blend of poetic lyrics, catchy melodies, and distinctive humor that appeals to audiences of all generations. Their natural onstage chemistry creates an unforgettable experience where laughter and moving moments go hand in hand. Each performance is unique, guaranteeing an evening of great music and high spirits.
Audiences can look forward to popular hits and lesser-known songs from their two collaborative albums—*Prásknu bičem* and *Přeježděný vztah*—as well as the spontaneous moments that make every concert one-of-a-kind. The evening promises quality music, authentic emotion, and exceptional entertainment.
The popular duo will be joined on vocals by the brilliant Johana Freywaldová.
This time, they will be accompanied by an energetic band featuring Pavel Sotoniak (keyboards), Marek Zeman (bass guitar), and Matěj Drabina (drums)—members of the band Bandjeez—along with Ostrava-based guitarist Rudy Horvát. Together, they add a new musical dimension and a captivating atmosphere to the songs.
Come and enjoy a concert that will entertain and move you, leaving a lasting impression long after the final note fades.

Lágrimas is a screamo/melodic crust band formed in South Central Los Angeles, with members hailing from various parts of Southern California. Their music blends elements of neo-crust, melodic punk, emoviolence, and post-rock. Their discography includes a split LP with Habak, several singles, and the full-length album *A Life of Destruction*.

Dno is a four-piece band from Orlová—featuring members of now-defunct acts such as Anne M. Christiansen, The Sin of Lilith, Toxic Run, and Rosa Parks—that also helps run the Futra club and the Provoz venue in Ostrava. They deliver a fast-paced, melodic, and urgent mix of emo hardcore and screamo. A new album is imminent!

An intense blend of emo-hardcore and atmospheric post-black metal. This Prague-based quartet explores themes of human rights and feminism within their harrowing songs about hopelessness.

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

A contemporary musical born of passion and blood – world premiere

The story of a woman for whom freedom is the ultimate value has lost none of its urgency, even after nearly two hundred years. Carmen returns to the stage once more, this time as a musical set in present-day New York.

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.

This production by Robert Carsen—one of the world’s leading opera directors—premiered successfully at the 2016 Janáček Brno Festival. Distinguished by a unique poetic quality, tight dramatic cohesion, and emotionally charged, vivid, and deeply moving theatricality, Carsen’s productions have long graced the stages of the world’s most prestigious opera houses, including La Scala in Milan, the Metropolitan Opera in New York, the Glyndebourne Festival, and the Royal Opera House, Covent Garden. *Káťa Kabanová* is one of Carsen’s stagings of Janáček’s operas; originally created for the Flemish Opera, it has since been performed in over twenty opera houses worldwide. It is little wonder that this production—featuring striking set design in which a sheet of water covers the entire stage, mirroring Káťa’s emotions and tragic fate—ranks among Carsen’s finest works.

When Leoš Janáček began considering Ostrovsky’s drama *The Storm* as the basis for a new opera in early 1919, his sixty-fifth birthday was approaching. Much had changed in his life over the preceding three years: he had finally achieved international acclaim, and in the summer of 1917, while in Luhačovice, he had met Kamila Stösslová—the muse who would inspire his greatest masterpieces. His choice of a subject from Russian literature is unsurprising, as is his selection of Ostrovsky’s *The Storm*; the play’s central theme—the tragedy of the protagonist Káťa, oppressed by social conventions—resonated deeply with Janáček. Janáček created the libretto himself, using a Czech translation of *The Storm*, and significantly altered the original—reducing the number of characters and acts while focusing primarily on the drama of the female protagonist. In doing so, he created one of his most intimate works. He entrusted the first performance—the world premiere—to the National Theatre in Brno, where the opera was presented on November 23, 1921, at the Na Hradbách Theatre. It met with extraordinary success, followed a year later by a production in Prague and soon after by performances abroad.

A contemporary musical born of passion and blood – world premiere

The story of a woman for whom freedom is the ultimate value has lost none of its urgency, even after nearly two hundred years. Carmen returns to the stage once more, this time as a musical set in present-day New York.

DŸSE (DE) are a hurricane that demolishes stages and shatters audience expectations with a blend of noise rock, punk, performance art, and Dadaist humor. What appears at first glance to be a minimalist duo transforms live into a whirlwind of raw energy—precise, loud, and unpredictable. Their lyrics oscillate between wordplay, madness, and poetry, while the music balances on the edge between chaos and control.

Electronic music featuring live drums and a DIY ethos. Katastr consists of Tygr (C, Waawe, Night) and Sváča (Please The Trees, Slut, Veena)—two prominent figures of the Tábor DIY scene. Their collaborative project stems from the same environment that shaped their previous bands: a foundation of collective energy, experimentation, progression, and a strong emphasis on live performance.

The ONLY HALLOWEEN PARTY takes place at the SONO Centre in Brno on Friday, October 30.

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

This production by Robert Carsen—one of the world’s leading opera directors—premiered successfully at the 2016 Janáček Brno Festival. Distinguished by a unique poetic quality, tight dramatic cohesion, and emotionally charged, vivid, and deeply moving theatricality, Carsen’s productions have long graced the stages of the world’s most prestigious opera houses, including La Scala in Milan, the Metropolitan Opera in New York, the Glyndebourne Festival, and the Royal Opera House, Covent Garden. *Káťa Kabanová* is one of Carsen’s stagings of Janáček’s operas; originally created for the Flemish Opera, it has since been performed in over twenty opera houses worldwide. It is little wonder that this production—featuring striking set design in which a sheet of water covers the entire stage, mirroring Káťa’s emotions and tragic fate—ranks among Carsen’s finest works.

When Leoš Janáček began considering Ostrovsky’s drama *The Storm* as the basis for a new opera in early 1919, his sixty-fifth birthday was approaching. Much had changed in his life over the preceding three years: he had finally achieved international acclaim, and in the summer of 1917, while in Luhačovice, he had met Kamila Stösslová—the muse who would inspire his greatest masterpieces. His choice of a subject from Russian literature is unsurprising, as is his selection of Ostrovsky’s *The Storm*; the play’s central theme—the tragedy of the protagonist Káťa, oppressed by social conventions—resonated deeply with Janáček. Janáček created the libretto himself, using a Czech translation of *The Storm*, and significantly altered the original—reducing the number of characters and acts while focusing primarily on the drama of the female protagonist. In doing so, he created one of his most intimate works. He entrusted the first performance—the world premiere—to the National Theatre in Brno, where the opera was presented on November 23, 1921, at the Na Hradbách Theatre. It met with extraordinary success, followed a year later by a production in Prague and soon after by performances abroad.

The 17th official Czech Beatbox Championship, where the winner advances to the World Championship. This event serves primarily as a gathering for the beatbox community. It offers a unique opportunity for aspiring beatboxers, young talents, and enthusiasts from across the Czech Republic to meet beatbox veterans and seasoned pros, and to gain fresh inspiration.

Competition categories include:
SOLO BATTLE (1 beatboxer),
TAG TEAM (2 beatboxers),
LOOPSTATION BATTLE (Boss RC-505).

The entry fee for the competition is 400 CZK per person. There is no minimum age requirement for competitors; however, participants under the age of 18 must be accompanied by a responsible adult.

František Neumann: Pan, Op. 29 / melodrama for narrator and piano

Leoš Janáček: Taras Bulba, JW VI/15 / arrangement by Břetislav Bakala for piano four-hands

Leoš Janáček: Mládí (Youth), JW VIII/10 / arrangement by Břetislav Bakala for piano (two hands)

Leoš Janáček: Sinfonietta, JW VI/18 / arrangement by František Jílek for piano four-hands

The concert is dedicated to three of the most significant conductors of Janáček’s music active at the National Theatre in Brno (later known as the Provincial Theatre and the State Theatre in Brno); two of them also created piano arrangements of Janáček’s works.

Choreography: Klaudie Lakomá and Marek Svobodník

A contemporary musical born of passion and blood – world premiere

The story of a woman for whom freedom is the ultimate value has lost none of its urgency, even after nearly two hundred years. Carmen returns to the stage once more, this time as a musical set in present-day New York.

Immerse yourself in the atmosphere of the cult series *Stranger Things* at a unique concert featuring live performances of the best music from the entire series.
An extraordinary musical experience awaits, combining symphonic arrangements, a live band, and vocalists with the unmistakable music that instantly transports you to the world of Hawkins—a place filled with mystery, suspense, and emotion. This concert is about more than just the music; it is about the atmosphere, cinematic emotion, and powerful moments best experienced live.

The Faculty of Music at JAMU regularly presents a specially curated student program to audiences at the Janáček Festival, showcasing student artistic activities in an unconventional format. Moreover, the event offers a glimpse into the specific environments of various study disciplines—spaces typically unseen by the average concertgoer. Attendees thus have the opportunity not only to hear performances by young artists but also to explore different parts of the faculty—ranging from the JAMU concert hall and student stage areas to truly unconventional locations, including the school’s corridors—all accompanied by the music of these young artists.

A contemporary musical born of passion and blood – world premiere

The story of a woman for whom freedom is the ultimate value has lost none of its urgency, even after nearly two hundred years. Carmen returns to the stage once more, this time as a musical set in present-day New York.

Claude Debussy: Trois chansons de Bilitis, L. 97

Dmitri Shostakovich: Spanish Songs, Op. 100

Reynaldo Hahn: Venezia (selections)

Luciano Berio: Quattro canzoni popolari

Benjamin Britten: Folk Song Arrangements, Vol. 2 (selections)

Manuel de Falla: Siete canciones populares españolas

The recital explores the fascinating interplay between the internal and external perspectives through song literature and folk song arrangements that transcend cultural boundaries.

A contemporary musical born of passion and blood – world premiere

The story of a woman for whom freedom is the ultimate value has lost none of its urgency, even after nearly two hundred years. Carmen returns to the stage once more, this time as a musical set in present-day New York.

Antonín Dvořák: Piano Trio No. 4 "Dumky", Op. 90, B. 166

Leoš Janáček: String Quartet No. 1 "Kreutzer Sonata" (inspired by Leo Tolstoy), JW VII/8

Dmitri Shostakovich: Piano Quintet in G minor, Op. 57 

Piano Trio No. 4 in E minor "Dumky", Op. 90, composed in 1890–1891, ranks among the most original and beloved works in Antonín Dvořák’s (1841–1904) chamber music repertoire. While the composer had adhered to the classical sonata form in his earlier trios, here he departed from it entirely to create a unique six-movement cycle based on the *dumka*—a Ukrainian dance characterized by abrupt shifts in mood. The composition captivates the listener with the contrast between pensive, melancholic passages and unbridled, rhythmically spirited joy. It is precisely this emotional volatility and deep grounding in folk inspiration that make the "Dumky" a work of immense inner strength, in which Dvořák masterfully blended his melodic inventiveness with an unconventional musical structure.

Leoš Janáček’s (1854–1928) String Quartet No. 1 "Kreutzer Sonata" (inspired by Leo Tolstoy) dates from 1923. However, its origins trace back to 1908, when Janáček composed a Piano Trio—now lost—inspired by the same short story by Tolstoy. Its 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 a 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 pieces in the quartet genre.

A contemporary musical born of passion and blood – world premiere

The story of a woman for whom freedom is the ultimate value has lost none of its urgency, even after nearly two hundred years. Carmen returns to the stage once more, this time as a musical set in present-day New York.

Guests: Bára Basiková and Vilém Čok

Guitar virtuoso and composer Michal Pavlíček will perform tracks from his latest albums during a special concert, appearing in a trio with Martin Ivan (bass), Michal Nejtek (keyboards), and Michal Daněk (drums); the subsequent part of the show will feature primarily songs by the band Stromboli, performed by Bára Basiková and Vilém Čok.

The complete presentation of Janáček’s operas during the festival’s 10th edition offers a unique opportunity not only to enjoy his masterpieces but also to discover works rarely seen on stage today. Alongside Janáček’s debut, *Šárka*, these include his second opera, *The Beginning of a Romance* (*Počátek románu*), a piece strongly influenced by the period when the composer was deeply interested in folklore. The libretto was based on a short story of the same name by Gabriela Preissová—herself inspired by a genre painting by Jaroslav Věšín—and was written by Janáček’s colleague from the grammar school, František Rypáček (publishing under the name Jaromír Tichý), after Eliška Krásnohorská had declined the task.

The simple love story of Poluška, a village girl, and Adolf, a young man from the gentry—a romance that meets with disapproval from Adolf’s parents—is filled with music derived from Janáček’s own transcriptions of folk music. Janáček himself described the opera as a *vaudeville*, a genre characterized by a simple plot accompanied by popular (i.e., folk) tunes—in this case, including folk dances. The premiere, conducted by the composer himself, took place in Brno on February 10, 1894, and brought Janáček his first theatrical success. By that time, however, he was already working on *Jenůfa* (*Její pastorkyňa*); in that work, he discovered a distinctive musical language and ultimately embarked on a path vastly different from the one outlined in *The Beginning of a Romance*.

A contemporary musical born of passion and blood – world premiere

The story of a woman for whom freedom is the ultimate value has lost none of its urgency, even after nearly two hundred years. Carmen returns to the stage once more, this time as a musical set in present-day New York.

A contemporary musical born of passion and blood – world premiere

The story of a woman for whom freedom is the ultimate value has lost none of its urgency, even after nearly two hundred years. Carmen returns to the stage once more, this time as a musical set in present-day New York.

There are few significant or famous ballets from the Classical and Romantic eras that are not part of our company’s repertoire. We are including *Giselle*—a masterpiece of Romantic ballet and, without exaggeration, a cornerstone of the ballet canon—in our performance schedule.

The premiere of the new ballet *Giselle* took place in Paris in 1841; it was such a resounding success that, within a decade, it had been staged at all the major venues of the ballet world. The subject matter was drawn from the German poet Heinrich Heine’s collection *De l’Allemagne*. The story—concerning young women who die of betrayed love before their weddings and subsequently find no peace in the grave—was adapted by Théophile Gautier, a leading theorist of Romantic theatre, and librettist Jules Henri Vernoy de Saint-Georges. Adolphe Adam composed the poignant, enchanting, and melodic score, which is imbued with French charm. The first interpreter of the fragile Giselle was Carlotta Grisi, one of the greatest dancers of the Romantic era; the ballet was created specifically for her by choreographers Jean Coralli and Jules Perrot. In the Czech lands, *Giselle* won over audiences only gradually. It did not reach the Brno stage until the late 1960s, when choreographer Miroslav Kůra presented it there for the first time (1968). Audiences also fondly remember Jiří Blažek’s 1983 production—which enjoyed a run of over a hundred performances—featuring the unforgettable, ethereal ballerinas Soňa Zejdová and, later, Jana Kosíková in the title role.

Scars on the soul are worse than scars on the face.

*Jenůfa* (originally titled *Her Stepdaughter*) is one of Janáček’s most celebrated works and a staple of the Brno Opera’s repertoire. It originated from a realistic drama by Gabriela Preissová, which the composer himself adapted into an opera libretto. Although he had to significantly condense the original text, he succeeded in further intensifying the impact of this tragic story set in the Moravian countryside. The characters include the profligate and fickle Števa; the hot-tempered yet fundamentally kind Laca; and, above all, the relentless Kostelnička, whose desperate need to preserve her status and respect within the village community drives her to murder the infant of her stepdaughter, Jenůfa. Janáček (1854–1928) captured these characters with a masterful, chilling dramatic conciseness that simultaneously evokes our compassion and understanding. The work’s final form—shaped by the death of the composer’s daughter, Olga—was the result of a long and arduous journey. Following its successful premiere in Brno in 1904, *Jenůfa* had to wait twelve long years before Janáček’s efforts were finally crowned with well-deserved success on other stages, both at home and abroad.