Events

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.

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.

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.

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.

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.

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.

"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.

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.

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.

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.

Immortality is a curse.

The story of the singer Emilia Marty, who has lived for over three hundred years thanks to an elixir of life… A glimpse into the eccentric world of opera divas, degenerate nobility, and shallow petty bourgeois. In February 2017, the Janáček Opera presented this production at the Hong Kong Arts Festival. It was created in co-production with the Gothenburg Opera.

Join us for *A Step Behind the Curtain*. This program is designed for curious minds of all ages—young and old alike—who wish to learn something new about the world of opera.

Embark on a 70-minute interactive, adventurous, and—above all—entertaining journey into the heart of opera productions, featuring soloists, the chorus, and the orchestra of the Janáček Opera of the National Theatre Brno (NdB).

This educational program is suitable for secondary schools. *A Step Behind the Curtain* is an ideal way to integrate music education with Czech language studies or aesthetics.

OH HUMANITY!

An existential one-act opera

Oh Humanity! The final cry of a witness to a cataclysmic disaster. There comes a point when it is simply too much. Pierre (perhaps Petr, perhaps you or me) has seen too much. Nothing remains but helplessness. He can bear to see no more, feel no more. And so, he shuts down... And then? Another disaster.

What is right, and what makes us heroes? The answer may well be waiting at Borodino.

HERE LIES AN ISLAND

A comic one-act opera based on the apocryphal tales of Karel Čapek

Three renowned figures—Don Juan, Hamlet, and Napoleon—find themselves shipwrecked on the shores of a mythical island of gold, abundance, and infinite possibilities. But what happens when they confront boundless freedom and are given the chance to rewrite their own stories? Will they finally find what they crave? Will they remain true to themselves?

Josef Suk: A Fairy Tale, Op. 16 / suite for large orchestra based on themes from the music for Julius Zeyer’s dramatic fairy tale *Radúz and Mahulena*

Leoš Janáček: *Šárka* (concert performance), JW I/1 / opera in three acts based on the music drama by Julius Zeyer 

Cast:
Šárka: Mária Porubčinová
Ctirad: Aleš Briscein
Přemysl: Svatopluk Sem
Lumír: Daniel Matoušek

A mere ten years separate Janáček’s first opera and Suk’s *A Fairy Tale*. They are linked not only by the figure of the writer, playwright, and poet Julius Zeyer but also by Slavic mythology.

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*.

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*.

In Leoš Janáček’s opera *Káťa Kabanová*, the protagonist is trapped in a dark web of relationships. Her domineering mother-in-law, Kabanicha, controls her son Tichon, whose marriage to Káťa is severely strained under this domination. Finding no fulfillment within the family, Káťa turns to a secret love affair with Boris.

Acting as his own librettist, Janáček condensed the plot of Alexander N. Ostrovsky’s drama *The Storm*, deliberately omitting extensive social commentary. Instead, he creates a musical language of extraordinary psychological nuance that traces Káťa’s inner evolution. Her feelings of guilt and mental anguish intensify, culminating in a public confession—an emotional storm that sweeps everything away.

Director Krzysztof Warlikowski views Káťa as an outcast denied the chance to live in harmony with her desires—a woman who ultimately chooses death over a life of hypocrisy. In this Munich production, the set design, lighting, and video projections amplify both Káťa’s inner landscape and the social constraints that hem her in.

OH HUMANITY!

An existential one-act opera

Oh Humanity! The final cry of a witness to a cataclysmic disaster. There comes a point when it is simply too much. Pierre (perhaps Petr, perhaps you or me) has seen too much. Nothing remains but helplessness. He can bear to see no more, feel no more. And so, he shuts down... And then? Another disaster.

What is right, and what makes us heroes? The answer may well be waiting at Borodino.

HERE LIES AN ISLAND

A comic one-act opera based on the apocryphal tales of Karel Čapek

Three renowned figures—Don Juan, Hamlet, and Napoleon—find themselves shipwrecked on the shores of a mythical island of gold, abundance, and infinite possibilities. But what happens when they confront boundless freedom and are given the chance to rewrite their own stories? Will they finally find what they crave? Will they remain true to themselves?

"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.

Immortality is a curse.

The story of the singer Emilia Marty, who has lived for over three hundred years thanks to an elixir of life… A glimpse into the eccentric world of opera divas, degenerate nobility, and shallow petty bourgeois. In February 2017, the Janáček Opera presented this production at the Hong Kong Arts Festival. It was created in co-production with the Gothenburg Opera.

"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 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 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 the power of 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 brilliant creator and master of concision, Janáček captures 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 the equally unique *Glagolitic Mass*. As Janáček himself put it: "Here, I wanted 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."

Two nations are at war, yet amidst the battlefield unfolds a far more intimate drama 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 any of them, they will soon face a choice that will determine life or death…

Is Verdi’s famous *Nabucco* merely an opera about the longing 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. Packed with magnificent choral sequences and stirring vocal parts, the opera has been one of the most popular titles in our repertoire for 35 years.

Falling in love without losing your head—that is the art of relationships.

Do you need to win someone’s love, or perhaps forget it altogether? Dr. Dulcamara’s elixir can make it happen! Just one bottle does the trick! Love potions have always been among the most sought-after magical remedies for young men and women—you can even find recipes for them 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.

4 Tenors and the Bohuslav Martinů Philharmonic

How do you sell a bride? Ideally, through a production directed by Ondřej Havelka. Bedřich Smetana’s *The Bartered Bride*—one of the most popular Czech operas—has been in the repertoire of the Brno theatre for twenty years, yet it has lost none of its wit or appeal to audiences.

The story takes us to a village where Jeník and Mařenka, two young lovers, live. However, Mařenka is expected to marry the son of the wealthy farmer Mícha, to whom her father is in debt. Yet the young woman has no intention of simply giving up on her love and refuses to marry the chosen suitor. Jeník takes a clever approach, making use of the matchmaker Kecal. However, the couple fails to share their plans with one another, and things get a bit complicated... Ondřej Havelka has created a masterfully staged musical production; while rooted in beautiful folk traditions, it offers a distinctive perspective on the opera. It is set not during the usual summer harvest festival, but during Masopust. You can therefore look forward not only to the traveling players in Act 3 but also to an array of authentic Moravian *fašank* masquerade figures.

How do you sell a bride? Ideally, through a production directed by Ondřej Havelka. Bedřich Smetana’s *The Bartered Bride*—one of the most popular Czech operas—has been in the repertoire of the Brno theatre for twenty years, yet it has lost none of its wit or appeal to audiences.

The story takes us to a village where Jeník and Mařenka, two young lovers, live. However, Mařenka is expected to marry the son of the wealthy farmer Mícha, to whom her father is in debt. Yet the young woman has no intention of simply giving up on her love and refuses to marry the chosen suitor. Jeník takes a clever approach, making use of the matchmaker Kecal. However, the couple fails to share their plans with one another, and things get a bit complicated... Ondřej Havelka has created a masterfully staged musical production; while rooted in beautiful folk traditions, it offers a distinctive perspective on the opera. It is set not during the usual summer harvest festival, but during *Masopust*—or *fašank*, as we call it here in Moravia! You can therefore look forward not only to the traveling players in Act 3 but also to an array of authentic Moravian *fašank* masquerade figures.

During this interactive workshop, children will get a glimpse into the worlds of opera and ballet, learning about basic theatrical concepts and professions in a fun and engaging way.

Participants will take part in a series of connected activities—involving both movement and voice—that allow them to discover firsthand how opera and ballet performances are created. The program also includes a meeting with an opera singer and a ballet dancer.

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.

"Dad, how do you sell a bride?" "What gave you the idea that someone would sell a bride, Hurvínek?" "Well, I’m reading here: The National Theatre Brno presents Bedřich Smetana’s opera *The Bartered Bride*. So, how does it work, Dad?" "Well, you see, it’s just make-believe... how can I put this... it’s a sort of trick to buy a bride for oneself." "Now I’m totally confused—is she being sold or bought?" "You know what, Hurvajz? Grab Žeryk and Mánička and let’s go to the opera; that’ll be easier than trying to explain it to you!"

Would you also like to know the real story behind the "bartered bride"? Smetana’s *The Bartered Bride* is an iconic opera, but this time we’ve decided to introduce it primarily to children. And since a comic opera should be truly entertaining, the Janáček Opera NdB ensemble has invited the best possible guides to join them. In this new family show, the famous puppet characters Spejbl, Hurvínek, and Mánička will introduce you to *The Bartered Bride* and the world of opera. Žeryk will be there too, along with the best musical highlights, as the beloved puppets will be joined by Janáček Opera NdB soloists and our special Smetana-themed mini-orchestra.

"Dad, how do you sell a bride?" "What gave you the idea that someone would sell a bride, Hurvínek?" "Well, I’m reading here: The National Theatre Brno presents Bedřich Smetana’s opera *The Bartered Bride*. So, how does it work, Dad?" "Well, you see, it’s just make-believe... how can I put this... it’s a sort of trick to buy a bride for oneself." "Now I’m totally confused—is she being sold or bought?" "You know what, Hurvajz? Grab Žeryk and Mánička and let’s go to the opera; that’ll be easier than trying to explain it to you!"

Would you also like to know the real story behind the "bartered bride"? Smetana’s *The Bartered Bride* is an iconic opera, but this time we’ve decided to introduce it primarily to children. And since a comic opera should be truly entertaining, the Janáček Opera NdB ensemble has invited the best possible guides to join them. In this new family show, the famous puppet characters Spejbl, Hurvínek, and Mánička will introduce you to *The Bartered Bride* and the world of opera. Žeryk will be there too, along with the best musical highlights, as the beloved puppets will be joined by Janáček Opera NdB soloists and our special Smetana-themed mini-orchestra.

"Dad, how do you sell a bride?" "What gave you the idea that someone would sell a bride, Hurvínek?" "Well, I’m reading here: The National Theatre Brno presents Bedřich Smetana’s opera *The Bartered Bride*. So, how does it work, Dad?" "Well, you see, it’s just make-believe... how can I put this... it’s a sort of trick to buy a bride for oneself." "Now I’m totally confused—is she being sold or bought?" "You know what, Hurvajz? Grab Žeryk and Mánička and let’s go to the opera; that’ll be easier than trying to explain it to you!"

Would you also like to know the real story behind the "bartered bride"? Smetana’s *The Bartered Bride* is an iconic opera, but this time we’ve decided to introduce it primarily to children. And since a comic opera should be truly entertaining, the Janáček Opera NdB ensemble has invited the best possible guides to join them. In this new family show, the famous puppet characters Spejbl, Hurvínek, and Mánička will introduce you to *The Bartered Bride* and the world of opera. Žeryk will be there too, along with the best musical highlights, as the beloved puppets will be joined by Janáček Opera NdB soloists and our special Smetana-themed mini-orchestra.

"Dad, how do you sell a bride?" "What gave you the idea that someone would sell a bride, Hurvínek?" "Well, I’m reading here: The National Theatre Brno presents Bedřich Smetana’s opera *The Bartered Bride*. So, how does it work, Dad?" "Well, you see, it’s just make-believe... how can I put this... it’s a sort of trick to buy a bride for oneself." "Now I’m totally confused—is she being sold or bought?" "You know what, Hurvajz? Grab Žeryk and Mánička and let’s go to the opera; that’ll be easier than trying to explain it to you!"

Would you also like to know the real story behind the "bartered bride"? Smetana’s *The Bartered Bride* is an iconic opera, but this time we’ve decided to introduce it primarily to children. And since a comic opera should be truly entertaining, the Janáček Opera NdB ensemble has invited the best possible guides to join them. In this new family show, the famous puppet characters Spejbl, Hurvínek, and Mánička will introduce you to *The Bartered Bride* and the world of opera. Žeryk will be there too, along with the best musical highlights, as the beloved puppets will be joined by Janáček Opera NdB soloists and our special Smetana-themed mini-orchestra.

"Dad, how do you sell a bride?" "What gave you the idea that someone would sell a bride, Hurvínek?" "Well, I’m reading here: The National Theatre Brno presents Bedřich Smetana’s opera *The Bartered Bride*. So, how does it work, Dad?" "Well, you see, it’s just make-believe... how can I put this... it’s a sort of trick to buy a bride for oneself." "Now I’m totally confused—is she being sold or bought?" "You know what, Hurvajz? Grab Žeryk and Mánička and let’s go to the opera; that’ll be easier than trying to explain it to you!"

Would you also like to know the real story behind the "bartered bride"? Smetana’s *The Bartered Bride* is an iconic opera, but this time we’ve decided to introduce it primarily to children. And since a comic opera should be truly entertaining, the Janáček Opera NdB ensemble has invited the best possible guides to join them. In this new family show, the famous puppet characters Spejbl, Hurvínek, and Mánička will introduce you to *The Bartered Bride* and the world of opera. Žeryk will be there too, along with the best musical highlights, as the beloved puppets will be joined by Janáček Opera NdB soloists and our special Smetana-themed mini-orchestra.

Get an up-close look at opera! Join us for "A Step Behind the Curtain"—a program designed for the curious of all ages who want to learn something new about the world of opera. Embark on a 70-minute interactive, adventurous, and—above all—fun journey into the heart of opera productions alongside the soloists, chorus, and orchestra of the Janáček Opera of the National Theatre Brno (NdB).

This time, we’ll be taking a look at *The Marriage of Figaro*.

Following the successful production of Handel’s *Alcina*, we once again join director Jiří Heřman to explore the beauty of Mozart’s music and a particular opera of his that enjoys enduring global popularity. And little wonder, for *The Marriage of Figaro* boasts not only brilliant, sparkling music that sweeps you along in a ceaseless flow—much like a mountain torrent—but also a libretto of exceptional dramatic quality. Indeed, Da Ponte based it on the play of the same name by the outstanding French dramatist Pierre de Beaumarchais.

"Dad, how do you sell a bride?" "What gave you the idea that someone would sell a bride, Hurvínek?" "Well, I’m reading here: The National Theatre Brno presents Bedřich Smetana’s opera *The Bartered Bride*. So, how does it work, Dad?" "Well, you see, it’s just make-believe... how can I put this... it’s a sort of trick to buy a bride for oneself." "Now I’m totally confused—is she being sold or bought?" "You know what, Hurvajz? Grab Žeryk and Mánička and let’s go to the opera; that’ll be easier than trying to explain it to you!"

Would you also like to know the real story behind the "bartered bride"? Smetana’s *The Bartered Bride* is an iconic opera, but this time we’ve decided to introduce it primarily to children. And since a comic opera should be truly entertaining, the Janáček Opera NdB ensemble has invited the best possible guides to join them. In this new family show, the famous puppet characters Spejbl, Hurvínek, and Mánička will introduce you to *The Bartered Bride* and the world of opera. Žeryk will be there too, along with the best musical highlights, as the beloved puppets will be joined by Janáček Opera NdB soloists and our special Smetana-themed mini-orchestra.

"Dad, how do you sell a bride?" "What gave you the idea that someone would sell a bride, Hurvínek?" "Well, I’m reading here: The National Theatre Brno presents Bedřich Smetana’s opera *The Bartered Bride*. So, how does it work, Dad?" "Well, you see, it’s just make-believe... how can I put this... it’s a sort of trick to buy a bride for oneself." "Now I’m totally confused—is she being sold or bought?" "You know what, Hurvajz? Grab Žeryk and Mánička and let’s go to the opera; that’ll be easier than trying to explain it to you!"

Would you also like to know the real story behind the "bartered bride"? Smetana’s *The Bartered Bride* is an iconic opera, but this time we’ve decided to introduce it primarily to children. And since a comic opera should be truly entertaining, the Janáček Opera NdB ensemble has invited the best possible guides to join them. In this new family show, the famous puppet characters Spejbl, Hurvínek, and Mánička will introduce you to *The Bartered Bride* and the world of opera. Žeryk will be there too, along with the best musical highlights, as the beloved puppets will be joined by Janáček Opera NdB soloists and our special Smetana-themed mini-orchestra.

"Dad, how do you sell a bride?" "What gave you the idea that someone would sell a bride, Hurvínek?" "Well, I’m reading here: The National Theatre Brno presents Bedřich Smetana’s opera *The Bartered Bride*. So, how does it work, Dad?" "Well, you see, it’s just make-believe... how can I put this... it’s a sort of trick to buy a bride for oneself." "Now I’m totally confused—is she being sold or bought?" "You know what, Hurvajz? Grab Žeryk and Mánička and let’s go to the opera; that’ll be easier than trying to explain it to you!"

Would you also like to know the real story behind the "bartered bride"? Smetana’s *The Bartered Bride* is an iconic opera, but this time we’ve decided to introduce it primarily to children. And since a comic opera should be truly entertaining, the Janáček Opera NdB ensemble has invited the best possible guides to join them. In this new family show, the famous puppet characters Spejbl, Hurvínek, and Mánička will introduce you to *The Bartered Bride* and the world of opera. Žeryk will be there too, along with the best musical highlights, as the beloved puppets will be joined by Janáček Opera NdB soloists and our special Smetana-themed mini-orchestra.

Bedřich Smetana and librettist Eliška Krásnohorská originally envisioned a comic opera. However, while composing his final completed opera, Smetana discovered elements in the romantic text—inspired by an ancient legend about a stone wall built by the Devil on the river near the Vyšší Brod Monastery—that gave the story a different tone. Smetana’s isolation in Jabkenice, combined with his poor health and depression, left their mark on the characters; the intended comedy gave way to the depth of their emotions. Yet humor did not vanish entirely; it intertwines with a longing for love, worldly wisdom, melancholy, and diabolical temptation, ultimately resulting in a work that celebrates love, fidelity, and self-sacrifice.

Musically, Bedřich Smetana was ahead of his time with The Devil’s Wall; although it premiered in 1882, its style clearly points toward the 20th century. The libretto, which straddles the line between reality and fantasy, presents a staging challenge—making performances rare—which makes its return to the stage of the Janáček Theatre after nearly fifty years, featuring new chief conductor Robert Kružík and a star-studded cast, all the more magnificent.

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 passages and stirring vocal roles, the opera has been one of the most popular titles in our repertoire for 35 years.

What is the price of striving to be a good ruler and building a great empire? Verdi’s opera is based on the Old Testament story of the Jewish people’s captivity under the Babylonian king Nebuchadnezzar and their longing to return to their homeland—a story that retains its power and relevance to this day, epitomized by the famous chorus "Va, pensiero, sull’ali dorate" (Fly, thought, on golden wings...). Yet, like Verdi’s other works, Nabucco also harbors a more intimate layer concerning love: the story of two sisters, Fenena and Abigaille, and their conflict over the love of the man they both adore and the affection of their father. Verdi portrayed it all with the sensibility of a true dramatist, and the music—brimming with immediacy, passion, and temperament—rightfully continues to captivate audiences today.

Verdi’s Aida is one of his masterpieces, featuring all the essential ingredients of Romantic Italian opera: love, jealousy, political intrigue, grand choral scenes, and an inevitable tragic death. Naturally, this requires 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 ensemble, NdB2. While Verdi typically selected his own subjects for musical adaptation, the offer for this work came from an external source; the opera was commissioned by the Egyptian Khedive Ismail Pasha, originally for the celebrations marking the opening of the Suez Canal and for the newly built Cairo Opera House. Verdi initially hesitated, 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. The result is a compelling and timeless story filled with powerful music, ranging from famous arias like "Celeste Aida" and the Triumphal March to the opera’s heart-wrenching final quartet. Productions usually focus on the secret lovers Radames and Aida, but what if we were to view the entire story through the eyes of Amneris? Her love for Radames drives her to win him at any cost—unaware that the ultimate price will be human lives, including that of the man she desires.

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

As we celebrate the bicentennial of Johann Strauss Jr.’s birth, we decided to give both him and you a gift: a new production of his famous operetta *Die Fledermaus* (The Bat). Since its premiere, this witty tale of mistaken identity—and the lesson that even innocent flirting can backfire—has enjoyed great success on leading stages, and not just those dedicated to operetta. *Die Fledermaus* has long been a staple in the repertoires of houses such as the Metropolitan Opera and the Vienna State Opera. Few realize today that it all began with the ill-fated acquisition of the French play *Le Réveillon* by Meilhac and Halévy. After reading it, Max Stein, the director of the Theater an der Wien, decided against staging it as a straight play; instead, he had it adapted into an operetta libretto to offer to Johann Strauss. Strauss was delighted with Richard Genée’s version and completed the score within four months. A comedy brimming with Strauss’s sparkling melodies was created in record time, giving birth to *Die Fledermaus*—a work rightly regarded today as a jewel of classic Viennese operetta.