Events

You won’t find music quite like that of Už jsme doma anywhere—neither in the Czech Republic nor abroad. It is wildly energetic and urgent—reminiscent of punk—yet compositionally complex and meticulously crafted, featuring timeless lyrics.

Their signature sound is defined by the trumpet, vocal harmonies, and breakneck tempos, while their live shows overflow with intense energy and humor. Perhaps that is why their audience doesn't age along with them. Although the uninitiated might perceive their music as chaotic, haphazard, or improvised, the exact opposite is true. Every note and detail matters; the band operates with strict discipline, and—much like a symphony orchestra—the musicians play from a score.

Libor Pavlata—a singer, composer, and lyricist—has collaborated throughout his career with many prominent figures on the Czech music scene (such as Michal Malátný of Chinaski, Pavel Bohatý of Anna K, and František Černý of Čechomor). Among other appearances, he has been featured on TV Nova’s *Snídaně s Novou* (Breakfast with Nova), performing songs and lyrics inspired by real-life experiences and celebrating the launch of a new album alongside several interesting guests.

Medvěd 009 is a band from Úvaly near Prague that has just celebrated its 30th anniversary on the music scene. Their concerts are spirited, captivating, and full of energy. A notable feature is the band's close connection to the group Divokej Bill through Vašek Bláha; he is a co-founder of Medvěd 009 and continues to perform with the band.

The popular band MIG 21 is a fixture of the Czech music scene—a status proven not only by their regular prime-time slots at summer festivals but also by their sold-out tours. As part of their newly announced autumn tour, the band will visit Brno to perform at the Fléda club on November 4 and 5.

In addition to their established hits, MIG 21 will include a brand-new song in their setlist and bring a completely new visual concept for their energetic show to Brno, complete with countless surprises.

Leoš Janáček: Jealousy (Introduction to *Jenůfa*), JW VI/10

Antonín Dvořák: The Wild Dove, symphonic poem, Op. 110, B 198

Anton Bruckner: Symphony No. 4 in E-flat major "Romantic", WAB 104 

Composing the opera *Jenůfa* took Leoš Janáček (1854–1928) more than eight years. At the very beginning of this process, in February 1895, the composer wrote a symphonic introduction to the opera titled *Jealousy*. Rather than conceiving this short piece as an operatic overture in the traditional sense, he envisioned it as a kind of introductory motto or a reflection on one of the work's fundamental narrative themes. Janáček drew inspiration from the text of the Moravian folk song "The Jealous Man" (*Žárlivec*), which he had set to music a few years earlier as a male chorus. *Jealousy* marks the first full crystallization of Janáček’s distinctive style, characterized by its terseness and dramatic tension. The work premiered on November 14, 1906, in Prague, performed by the Czech Philharmonic under the baton of conductor František Neumann.

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.

A post-black metal band from Bratislava that blends black metal and post-rock with elements of Slovak history, creating a sound that is at once melancholic and intense.

Their debut album, *Zverstvá*, won the Radio_Head Award for Best Slovak Hard & Heavy Record of 2022. They subsequently released a charity single titled "Neha." In January 2025, they released the album *Krásno*, which also received an award from the Radio_Head Awards jury.

Besna captured the atmosphere of their live shows with a recording from the Brutal Assault festival in the summer of 2025. This recording was released as a live EP in the spring of that same year.

Dopamin relies on a dynamic live performance, a large instrumental lineup, and the energy that naturally permeates every concert. Their repertoire blends original material with well-known songs by popular artists ranging from Jelen to Kabát. At their shows, you can currently look forward to a perfectly balanced 50/50 mix of original tracks and famous hits.

Desert rock legends and the creators of one of the most famous movie soundtracks in history are returning to Europe. Tito & Tarantula—a band inextricably linked to Robert Rodriguez’s cult film *From Dusk Till Dawn* (featuring a screenplay by Quentin Tarantino)—will celebrate their decades-long career with a spectacular "Best of Tour 2026."

From the "Titty Twister" bar to global stages

Few scenes have left such a mark on cinema history as the one in *From Dusk Till Dawn* (1995) where Tito Larriva and his band provide the musical backdrop for Salma Hayek’s hypnotic dance. It was this role as the house band at the "Titty Twister" that catapulted Tito & Tarantula to worldwide fame and opened the door to Europe, where they made their debut supporting the legendary Joe Cocker.

Let us listen together to the story of a magical boy whose kingdom brings musical instruments—and even ordinary objects—to life.
This interactive reading for the youngest audience members will be accompanied by live music; together, the story and the music create a unique experience filled with imagination, rhythm, and musical surprises.

Featuring: Gabriela Svobodová and the Musica Felix ensemble.
The program is designed for children aged 1.5 to 6 years.

To attend, please register using the online form: https://forms.gle/RnRKDgJVgi3mAHCBA
Admission is free.

This event is part of the Creative Learning project.

Leoš Janáček: Moravian Folk Songs for Piano, JW VIII/23

Pavel Haas: Folk Songs for Piano, HW VII/14

Václav Kaprál: Miniatures, 5 Pieces for Piano

Leoš Janáček: In the Mists, JW VIII/22

Leoš Janáček: 1. X. 1905

Leoš Janáček’s (1854–1928) cycle of fifteen arrangements of Moravian folk songs for piano represents an intriguing neo-folklorist parallel to the Romantic "Songs Without Words" by Mendelssohn-Bartholdy, Edvard Grieg, or Janáček’s favorite, Anton Rubinstein. Janáček composed the cycle between 1921 and 1922 at the request of Otakar Nebuška from the Prague publishing house Hudební matice Umělecké besedy; however, it was not published during the composer's lifetime. Janáček’s folk song arrangements are aphoristic miniatures rendered in a modern style that bears his distinctive signature.

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.

Choreography: Klaudie Lakomá and Marek Svobodník

DRESSED IN TRADITION
Folk attire from the regions that captivated Leoš Janáček. This unique fashion show introduces the folk costumes whose authentic forms Janáček himself would have encountered in specific areas. Through a journey across the regions that sparked his interest in folklore, we will explore the diverse types and functions of these costumes—for women, men, and children; for summer and winter; and for ceremonies, holidays, and work. Expert commentary will accompany the presentation, while the atmosphere will be enhanced by the music of a cimbalom ensemble.

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.

Don’t miss an extraordinary concert featuring a heavy dose of ska, reggae, rocksteady, and swing, performed by one of the Czech Republic’s most distinctive bands!
The band Sto zvířat is releasing a new album. Titled *Žádná poezie* ("No Poetry"), it marks their fifteenth release. The nationwide tour supporting the new album kicks off this autumn and will continue through the spring of 2027.

A band from Brno that defined its own unique sound—blending funk, rock, and crossover—during the 1990s is returning to the stage. New musicians have joined members of the original lineup, seamlessly carrying on the band's signature energy.

Their live performances prove that their groove has lost none of its power—quite the opposite. At this year’s anniversary concert at the Mahen Theatre, it was clear from the very first notes that this was no ordinary show and that the band was performing with even greater cohesion and strength than ever before.

Especially for Groove Brno, they are preparing a concert featuring an expanded lineup that includes a horn section—presenting Narvan in a unique format you won't see anywhere else.

After a record-breaking spring tour, we’re coming back even stronger!
We have up to six stops lined up for this autumn; alongside the locations you already know well, we’re expanding into Hungary for the very first time. Join us in welcoming Budapest! We are thrilled to bring EMONIGHT to another country and grow our community beyond the borders of Slovakia, the Czech Republic, and Austria.

Joining us for almost the entire tour is the fan-favorite MØNØDREAM! They are a fresh face on the local alternative scene, fronted by Martin Čupek—whom you might recognize as the frontman of John Wolfhooker.
(Don’t worry, Košice—you’ll be able to catch MØNØDREAM outside of EMONIGHT, and we’re preparing a slightly different lineup for the Budapest show). We’re also switching venues in Vienna, moving to a larger space so we can welcome even more of you. We’ll announce the presale details and the lineup for the first stop on our social media very soon.

DRESSED IN TRADITION
Folk attire from the regions that captivated Leoš Janáček. This unique fashion show introduces the folk costumes whose authentic forms Janáček himself would have encountered in specific areas. Through a journey across the regions that sparked his interest in folklore, we will explore the diverse types and functions of these costumes—for women, men, and children; for summer and winter; and for ceremonies, holidays, and work. Expert commentary will accompany the presentation, while the atmosphere will be enhanced by the music of a cimbalom ensemble.

Darius Milhaud: Tango des Fratellini, Op. 58c (from the ballet *Le Boeuf sur le toit*)

Bohuslav Martinů: Eight Preludes, H. 181 (selection)

Igor Stravinsky: Piano-Rag-Music

George Gershwin: "Song-Book" for piano (selection)

The ballet *Le Boeuf sur le toit* (The Ox on the Roof)—originally conceived as musical accompaniment for the silent slapstick comedies of Charlie Chaplin—was composed by Darius Milhaud (1892–1974) between 1919 and 1920, two years after his return from Brazil. Milhaud infused the score with Brazilian folk melodies and the rhythms of the tango, samba, and other Latin American dances. He dedicated the piano piece *Tango des Fratellini*—which he later adapted from the ballet score—to the Fratellini brothers, a trio of clowns who performed at the Cirque Medrano in Paris and were popular among the city's intellectuals during the 1920s.

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.

Emil František Burian: String Quartet No. 4

Béla Bartók: String Quartet No. 2, Sz. 67, BB 75

Leoš Janáček: Quartet for Two Violins, Viola, and Cello ("Intimate Letters"), JW VII/13

Emil František Burian (1904–1959) ranks among the most interesting and versatile figures of the Czech interwar avant-garde. He distinguished himself not only as a prolific composer, actor, singer, and writer but, above all, as a theatre and film director who championed innovative artistic approaches. Janáček’s music influenced not only Burian’s music-dramatic works but also left its mark on his chamber compositions. Burian’s String Quartet No. 4 was written in 1947, a period when the composer was recovering from the aftermath of his imprisonment in Nazi concentration camps. The quartet serves as a powerful and moving personal testament, alternating between passages of deep introspection and melancholy and moments of overt irony and harshness.

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.

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.

A modern jazz trio bringing together three distinctive figures from today’s music scene. Louis Cole has joined forces with saxophonist and composer David Binney and bassist Pera Krstajic. The result is a project that blends modern jazz improvisation with a powerful rhythm section, a contemporary sound, and an energy that transcends the boundaries of traditional jazz.

A modern jazz duo bringing together two distinctive figures from today’s music scene. Louis Cole has joined forces with saxophonist and composer David Binney. The result is a project that blends modern jazz improvisation with a strong rhythmic drive, a contemporary sound, and an energy that transcends the boundaries of traditional jazz.

Music rooted in flamenco and Mediterranean energy has evolved over the years into a global phenomenon. Songs such as "Bamboleo," "Djobi Djoba," "Baila Me," and "Volare" resonate across generations and continents today.

The project is led by co-founder Diego Baliardo, who carries on the band's legacy alongside a new generation of musicians. With over 20 million albums sold, a Grammy Award for *Savor Flamenco*, and concerts worldwide, the Gipsy Kings have long since transcended the boundaries of world music.

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.

Monolord is a Swedish stoner-doom band known for massive riffs and a hypnotic, heavy atmosphere. Formed in Gothenburg in 2013, the band consists of Thomas Jäger (guitar, vocals), drummer Esben Willems, and bassist Mika Häkki. Monolord quickly rose to the forefront of the modern doom scene thanks to a string of critically acclaimed albums and relentless touring across Europe, North and South America, as well as appearances at major festivals such as Hellfest, Desertfest, Psycho Las Vegas, and Roadburn.

Their records—including *Empress Rising*, *Vænir*, *Rust*, and *No Comfort*—cemented their reputation for blending crushing stoner fuzz with metal melodies and immersive, repetitive structures. Today, Monolord ranks among the most popular acts in the heavy music scene and is embarking on a new chapter: their album *Neverending* was produced by the legendary Sylvia Massy and released via Relapse Records.

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).

A famous musical based on the novel by Victor Hugo

On February 13, 2009, one of the most renowned musicals of the 20th century premiered on the Musical Stage of the Brno City Theatre. Based on Victor Hugo’s famous 1862 novel *Les Misérables*, the story of the escaped convict Jean Valjean captured the hearts of audiences—and not just in Brno—during a run of more than 130 performances, while Petr Gazdík won the prestigious Thalia Award for his portrayal of the lead role.

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?

COLOQUIO 6
Carolina Guiducci, Sergio Sánchez Martín / clarinet
Janire De Paz Rivas, Pablo Traine / French horn
William Gough, Javier Sánchez Castillo / bassoon

The Magic Flute
In Spanish, the word *coloquio* means "conversation." In the outstanding wind sextet Coloquio 6, six young virtuoso musicians engage in a musical conversation, viewing music as an ongoing dialogue and an exchange of ideas and emotions—both among themselves and with the audience. We will hear the distinctive and captivating sound of this wind ensemble for the first time in our series, and we will dive straight into Mozart: a selection of arias from his famous *The Magic Flute* will be performed in a historical arrangement by Johann Christian Stumpf for two clarinets, two French horns, and two bassoons.

In cooperation with HF JAMU and MHF Concentus Moraviae, and as part of the S-EEEmerging project.

Program:
W. A. ​​Mozart, J. Ch. Stumpf

A prominent Slovak singer, songwriter, and performer with international reach, he blends modern pop with electronic elements and a darker atmosphere.

ADONXS creates contemporary, world-class pop characterized by a strong visual identity and a charismatic stage presence.

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.

A famous musical based on the novel by Victor Hugo

On February 13, 2009, one of the most renowned musicals of the 20th century premiered on the Musical Stage of the Brno City Theatre. Based on Victor Hugo’s famous 1862 novel *Les Misérables*, the story of the escaped convict Jean Valjean captured the hearts of audiences—and not just in Brno—during a run of more than 130 performances, while Petr Gazdík won the prestigious Thalia Award for his portrayal of the lead role.

After a successful arena tour, we are returning to clubs and cultural centers—likely for the last time in a long while. As part of the FACE TOur FACE, we will visit legendary venues where the band’s history was written. Don't expect pyrotechnics or elaborate effects; it’s just us, face-to-face and as close as possible to the fans who have supported the band for nearly a quarter of a century. The FACE TOur FACE will also stop at the legendary Fléda club, which has a limited capacity, so we recommend buying tickets as soon as possible!
Koblížci will appear as the special guest.

Schedule
Doors: 18:30
Photo session: 19:00 – 20:00
Koblížci: 20:15 – 21:15
Rybičky 48: 21:45
End: 23:15

A famous musical based on the novel by Victor Hugo

On February 13, 2009, one of the most renowned musicals of the 20th century premiered on the Musical Stage of the Brno City Theatre. Based on Victor Hugo’s famous 1862 novel *Les Misérables*, the story of the escaped convict Jean Valjean captured the hearts of audiences—and not just in Brno—during a run of more than 130 performances, while Petr Gazdík won the prestigious Thalia Award for his portrayal of the lead role.

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*.

Frankie & The Deadbeats will celebrate the release of their third studio album, *Sometimes Drunk, Always Fucked Up*. This new record arrives three years after their last, once again on the Pushteek label.

The evening’s special guest is Matt Charette, a prominent figure in the Boston DIY scene who blends punk roots with Americana and country. His songs are raw and personal, drawing on his own experiences and the life around him. Notably, this marks his first time touring Europe with his band, The Truer Sound.

DJ Kuda will be on the decks for the evening. Having made a habit of visiting every record store he encountered while touring with bands, he has built a collection rich in musical discoveries. His sets blend rocksteady, soul, and Middle Eastern music.

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 famous musical based on the novel by Victor Hugo

On February 13, 2009, one of the most renowned musicals of the 20th century premiered on the Musical Stage of the Brno City Theatre. Based on Victor Hugo’s famous 1862 novel *Les Misérables*, the story of the escaped convict Jean Valjean captured the hearts of audiences—and not just in Brno—during a run of more than 130 performances, while Petr Gazdík won the prestigious Thalia Award for his portrayal of the lead role.

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.

The fifth annual Charity Night is arriving in a big way. After years at Brno’s ArtBar, the non-profit organization Human Help, z.s., is moving to a larger venue—the legendary Fléda. That is where we will gather on November 13, 2026, to lend a hand where it is needed most.
This year features a lineup that will never be repeated in this exact combination. We are keeping the names under wraps for now, but we can promise an evening that will take Charity Night to the next level.
Helping others is what it’s all about. This time, we have chosen two stories—those of Vašek and Míša. You will learn more about them soon and understand why being there matters.
Get ready for music, energy, community, and a night that truly makes a difference. Charity Night 2026—bigger venue, bigger heart, bigger impact.

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.

As the name suggests, Eagle Eye is a project built around the work of the "Ice Queen" Tarja Turunen. The band's repertoire features the biggest hits from Tarja's solo career. Their live shows often include acoustic versions of selected songs by the Finnish metal diva, and the setlist never fails to include legendary hits from Nightwish, the band where Tarja first made her mark years ago.

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?

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.

A famous musical based on the novel by Victor Hugo

On February 13, 2009, one of the most renowned musicals of the 20th century premiered on the Musical Stage of the Brno City Theatre. Based on Victor Hugo’s famous 1862 novel *Les Misérables*, the story of the escaped convict Jean Valjean captured the hearts of audiences—and not just in Brno—during a run of more than 130 performances, while Petr Gazdík won the prestigious Thalia Award for his portrayal of the lead role.

Giovanni Pierluigi da Palestrina: Missa brevis

Pavel Křížkovský: Graduale in Dominica Resurrectionis

Leoš Janáček: Exaudi Deus, JW II/4

Johann Sebastian Bach: Magnificat, BWV 243

The choir loft of the Basilica of the Assumption of the Virgin Mary in Old Brno is a place closely linked to the childhood and youth of Leoš Janáček. He sang there regularly as a chorister and later held the position of choir director. His teacher—the choir director and head of the Augustinian Abbey’s musical foundation, Pavel Křížkovský—was a major proponent of "Cecilianism." This was a reform movement in church music that aimed to strip away Classical and, above all, Romantic accretions; to revive Gregorian chant; to perform works from the turn of the 17th century; and to compose music in a style akin to that of Palestrina. The young Leoš Janáček shared this same passion for the movement. It is hardly surprising, then, that both Křížkovský and subsequently Janáček presented works in the Old Brno choir loft not only by contemporary exponents of Cecilianism but also by composers such as Orlando di Lasso and Giovanni Pierluigi da Palestrina. Ecclesiastical modes also influenced Janáček’s own musical thinking. Palestrina—serving as a kind of archetype of church music—also influenced the work of Johann Sebastian Bach.