National Theatre Brno

Balet NdB 3 is a platform for exceptional performers in the mature stage of their dance careers. As with the junior ballet company, the inspiration for this concept comes from the approach of world-renowned choreographer Jiří Kylián, who championed the philosophy of the three dimensions of an artistic career at the famous Nederlands Dans Theater nearly fifty years ago.

The Balet NdB 3 project premiered at EXPO 2025 in collaboration with the Brno Philharmonic and Czech piano virtuoso Ivo Kahánek.

The evening will feature two choreographies:

On an Overgrown Path

In his interpretation of *On an Overgrown Path*, Mário Radačovský brings stories about the fragility of life to the stage. Through his vision, seven dancers portray vignettes about time—which flows inexorably for us all—and about those moments when the present can suddenly transform into eternity. With its apparent simplicity, Janáček’s timeless music perfectly underscores a choreography that reminds us of an important truth: that every ending also brings the hope of a new beginning.

Dinner

Two characters—a man and a woman—are preparing a celebratory dinner. Unexpected news suddenly shifts the atmosphere of the preparations; what appears to be good news may hold the opposite meaning for one of them. Guests are at the door, and appearances of composure and social convention must be maintained... Where will the situation lead? Choreography set to music by Bohuslav Martinů and Vít Gregor.

The autumn ballet premiere will mark the symbolic culmination of an era, serving as the final full-length original work by Artistic Director Mário Radačovský during his tenure in Brno.

The upcoming production, titled *The Mask*, represents a striking departure from the grand, epic narratives and biographical stories that have characterized his work to date (such as *Beethoven*, *Coco Chanel*, and *Warhol*). This time, the creator consciously eschews linear storytelling and specific historical facts. The focus will not be on biographical details, but rather on a compelling dialogue between music and the essence of humanity.

The autumn ballet premiere will mark the symbolic culmination of an era, serving as the final full-length original work by Artistic Director Mário Radačovský during his tenure in Brno.

The upcoming production, titled *The Mask*, represents a striking departure from the grand, epic narratives and biographical stories that have characterized his work to date (such as *Beethoven*, *Coco Chanel*, and *Warhol*). This time, the creator consciously eschews linear storytelling and specific historical facts. The focus will not be on biographical details, but rather on a compelling dialogue between music and the essence of humanity.

The autumn ballet premiere will mark the symbolic culmination of an era, serving as the final full-length original work by Artistic Director Mário Radačovský during his tenure in Brno.

The upcoming production, titled *The Mask*, represents a striking departure from the grand, epic narratives and biographical stories that have characterized his work to date (such as *Beethoven*, *Coco Chanel*, and *Warhol*). This time, the creator consciously eschews linear storytelling and specific historical facts. The focus will not be on biographical details, but rather on a compelling dialogue between music and the essence of humanity.

This music and dance program, accompanied by film projections, is based on selected biblical themes from the Book of Genesis.

The fascinating story of the world’s gradual creation—from the making of Adam and Eve to the seventh day of rest—offers scope for a fresh, playful, and imaginative approach to the various themes. By depicting their expulsion from the Garden of Eden, the creators also reveal the dark side of humanity on stage. Moral corruption gives way to divine wrath; the parallels to the present day are intentional, prompting SĽUK to consciously pose a series of unsettling questions to the audience.

Creative animations and large-scale projections, along with the captivating performance of the SĽUK dance ensemble, are complemented by witty theatrical vignettes and spoken commentary from actors František Kovár, Petra Molnárová, and René Štúr.

The autumn ballet premiere will serve as the symbolic culmination of an era—marking the final full-length original work by Artistic Director Mário Radačovský during his tenure in Brno.

The upcoming production, titled *The Mask*, represents a striking departure from the grand, sweeping narratives and biographical sagas that have characterized his work to date (such as *Beethoven*, *Coco Chanel*, and *Warhol*). This time, the creator consciously eschews linear storytelling and specific historical facts. The focus shifts away from biographical details to a compelling dialogue between music and the essence of humanity.

The genius of Frédéric Chopin and Franz Liszt provides the key to a deeper message; the production is conceived as a sequence of scenes that harness the emotional power of waltzes, nocturnes, and rhapsodies—not merely for illustration, but to unmask human nature. Through this virtuosic and emotionally charged music, the work tears away the idealized mask of humanism to reveal an unsettling possibility: that our civilization is but a thin veneer, liable to crumble with unexpected speed. Confronting the modern world, the production poses an urgent question: does latent violence lurk beneath the surface of noble values ​​like justice and tolerance, and does the old social contract still hold? The musical dramaturgy—dominated by solo and concert piano works—will form an inseparable whole with the work’s central concept.

The autumn ballet premiere will serve as the symbolic culmination of an era—marking the final full-length original work by Artistic Director Mário Radačovský during his tenure in Brno.

The upcoming production, titled *The Mask*, represents a striking departure from the grand, sweeping narratives and biographical sagas that have characterized his work to date (such as *Beethoven*, *Coco Chanel*, and *Warhol*). This time, the creator consciously eschews linear storytelling and specific historical facts. The focus shifts away from biographical details to a compelling dialogue between music and the essence of humanity.

The genius of Frédéric Chopin and Franz Liszt provides the key to a deeper message; the production is conceived as a sequence of scenes that harness the emotional power of waltzes, nocturnes, and rhapsodies—not merely for illustration, but to unmask human nature. Through this virtuosic and emotionally charged music, the work tears away the idealized mask of humanism to reveal an unsettling possibility: that our civilization is but a thin veneer, liable to crumble with unexpected speed. Confronting the modern world, the production poses an urgent question: does latent violence lurk beneath the surface of noble values ​​like justice and tolerance, and does the old social contract still hold? The musical dramaturgy—dominated by solo and concert piano works—will form an inseparable whole with the work’s central concept.

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.

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.

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.

Choreography: Klaudie Lakomá and Marek Svobodník