Opery – FESTIVAL JANÁČEK BRNO 2020 https://2020.janacek-brno.cz/en Navštivte mezinárodní festival JANÁČEK BRNO od 28. 9. do 16. 10. 2020. Předprodej zahájen! Sat, 26 Sep 2020 19:27:09 +0000 cs hourly 1 https://wordpress.org/?v=5.8 29. 11. 2020  The Echoes of the festival: Destiny https://2020.janacek-brno.cz/en/opery/29-11-2020-the-echoes-of-the-festival-destiny/ https://2020.janacek-brno.cz/en/opery/29-11-2020-the-echoes-of-the-festival-destiny/#respond Thu, 29 Nov 2018 13:59:01 +0000 https://2020.janacek-brno.cz/en/?p=3895 29. 11. 2020, 5 pm Janáček Theatre Author: Leoš Janáček Conductor: Marko Ivanović Director: Robert Carsen Repeat performances on 29.9., 14.10. and 28.11. 2020 Premiere 28.9. 2020 Buy tickets Act 1 – The colonnade walk in Luhačovice At the centre of attention of the many guests

The post <strong>29. 11. 2020</strong>  <br>The Echoes of the festival: Destiny appeared first on FESTIVAL JANÁČEK BRNO 2020.

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29. 11. 2020, 5 pm

Janáček Theatre

Author: Leoš Janáček
Conductor: Marko Ivanović
Director: Robert Carsen

Repeat performances on 29.9., 14.10. and 28.11. 2020
Premiere 28.9. 2020

Buy tickets

SYNOPSIS

Act 1 – The colonnade walk in Luhačovice
At the centre of attention of the many guests at the spa town is the poet Dr. Suda, who is there with his friends, Konečný and Lhotský, and a young lady named Míla. A new guest arrives, the composer Živný. The group is surprised to find that Živný and Míla have met before. New people appear on the scene: the singing teacher Miss Stuhlá, along with some young people who are looking forward to a scouting excursion with Dr. Suda. Most of the people then leave, and only Živný and Míla stay behind. Their previous love affair had been put to an end by Míla´s mother, for whom the prospect of her daughter living with a composer was comparable to a beggar´s existence. Živný has been composing an opera about his unfortunate fate ever since. Only now does he find out that he had wrongly suspected Míla of infidelity: her son Doubek is actually his son. The two lovers agree that they will live together, Míla´s mother notwithstanding.

Act 2 – The married couple´s apartment 
Živný sings excerpts from his opera. He must now delete those parts in which he unjustly accused Míla of faithlessness. Young Doubek asks his mother whether she knows what love is. Míla knows this far too well – love and the whole of her life are ruled by Fate, Fatum. Life with Míla´s mother is becoming hell. The mother´s insanity is increasing: she is forced to live under one roof with a man who, in her opinion, is interested only in her money. Živný appears to her like a wicked raven. She wants to fly away from him, but falls off the balcony and drags Míla down with her. Živný is in despair about his wife´s death. He invites thunderbolts to strike at his wretched fate.

Act 3 – The assembly hall of the conservatoire
Students are singing from the score of the new opera written by their Professor Živný. The work is to have its premiere in the theatre that evening, but the last act is still missing. The students ask their teacher to tell them something about his strange opera. With great animation, Živný speaks about the origin of the piece, and the surprised students realize that the content of the opera is in fact their professor’s very own life story. Živný´s narration is just getting close to the point of Míla´s death when suddenly thunderbolts from a real storm can be seen. Živný collapses. The end of his opera remains unfinished and in the hands of God, much like Živný´s fate.

OPERA CAST LISTS

Conductor: Marko Ivanović

Stage director: Robert Carsen

Dramaturgy: Ian Burton

Set Design: Radu Boruzescu

Costume Design: Annemarie Woods

Lighting Design: Peter van Praet a Robert Carsen

Choreography: Lorena Randi

Choirmaster: Pavel Koňárek

Assistant Stage Director: Gilles Rico

CAST:

Živný, a composer: Enrico Casari & Philip Sheffield

Míla Válková: Alžběta Poláčková

Míla´s mother: Natascha Petrinsky

Dr. Suda: Peter Račko

Lhotský, malíř: Jan Šťáva

Konečný: Igor Loškár

Miss Stuhlá, a teacher: Daniela Straková-Šedrlová

Doubek (child): Kryštof Cholava

Poet: Michael Robotka

First lady / Miss Pacovská: Andrea Široká

Second lady / Mrs. Majorová: Tereza Kyzlinková

Student: Michael Robotka

Old Slovak woman: Jitka Zerhauová

Mrs. Radová: Jana Hrochová

Young widow: Hana Kopřivová

Engineer: Pavel Valenta

Verva, student: Lukáš Bařák

Součková, student: Marta Reichelová

Kosinská, student: Jarmila Balážová

Doubek: Daniel Matoušek

Sklepník: Ivo Musil

Hrázda: Ondřej Koplík

Servant: Petr Štych

Nána: Kristýna Svítilová

Lhotský, painter: Jan Šťáva

The opening ceremony of the festival will be marked by the return of one of the world’s best opera directors, Robert Carsen. This creator of productions praised for their dramatic grasp, poesy and artistic refinement has returned to Janáček´s opera works once again after his previous productions of Jenůfa, The Cunning Little Vixen, Katya Kabanova, The Makropulos Affair and From the House of the Dead. Destiny, created especially for the Janáček Opera, National Theatre Brno, is thus Mr Carsen’s sixth interpretation of a work by the Czech master.

The first decades of the 20th century were characterized by a search for new ways and means of expression, and this was doubly true for opera. Janáček had already taken a radically new path with Jenůfa before embarking on a musical and dramaturgical excursion into totally uncharted lands with his fourth opera, Destiny. As is the case with other works by him, Janáček’s creativity was inspired by a beautiful woman, 28-year-old Kamila Urválková, who was the wife of a forest manager in Zahájí as well as an ex-lover of the composer Ludvík Čelanský. Janáček met her in Luhačovice in August 1903. Kamila described her romantic relationship with Čelanský, which hadn’t turned out well: Čelanský portrayed his disillusionment in the opera Kamila, where the lady in the title role was portrayed as an unstable and immature person. Janáček fell for her charms and decided to create “a brand new, modern opera” in which her good name would be restored. After his return from Luhačovice, he searched for a suitable librettist capable of processing his ideas and eventually asked Fedora Bartošová, a young teacher and erstwhile friend to his deceased daughter Olga, to do so. He didn´t call Destiny an opera, but rather three episodes from a novel, and it places spectators in a completely different environment to that of his earlier operas. The very first tones of the orchestral waltz take us amongst the cream of high, spa-going society. The simple natural prose of previous works is replaced by the language of decadent poets, and the plot is unveiled before the eyes of the audience via the dialogue between the two main characters, the composer Živný and his lover Míla. As with his other operas, Janáček drew extensively from his notes on the melodies of human speech. Despite the undisputed musical qualities of the work, the composer didn´t live to see Destiny performed. It was originally assigned to the Brno Theatre, but Janáček decided to have it performed at the Vinohrady Theatre in Prague. However, after a series of delays and despite many promises, the premiere didn´t take place. It wasn’t until 1934 that Janáček´s pupil Břetislav Bakala prepared a radio version, following it up with a concert version twenty years later in 1954. Destiny was finally staged for the first time in Brno on 25th October 1958, adapted by Václav Nosek.

Even though Destiny stands somewhat in the shadow of Janáček´s top operas, mainly due to its distinctive libretto, it has an important place in the history of opera as well as in Janáček´s compositional development.

Author: Patricie Částková

The post <strong>29. 11. 2020</strong>  <br>The Echoes of the festival: Destiny appeared first on FESTIVAL JANÁČEK BRNO 2020.

]]> https://2020.janacek-brno.cz/en/opery/29-11-2020-the-echoes-of-the-festival-destiny/feed/ 0 28. 11. 2020  The Echoes of the festival: Destiny https://2020.janacek-brno.cz/en/opery/28-11-2020-ozveny-festivalu-osud-repriza/ https://2020.janacek-brno.cz/en/opery/28-11-2020-ozveny-festivalu-osud-repriza/#respond Wed, 28 Nov 2018 15:15:35 +0000 https://2020.janacek-brno.cz/en/?p=3634 28. 11. 2020, 5 pm Janáček Theatre Author: Leoš Janáček Conductor: Marko Ivanović Director: Robert Carsen Repeat performances on 29.9., 14.10. and 29.11. 2020Premiere 28.9. 2020 Buy tickets Act 1 – The colonnade walk in LuhačoviceAt the centre of attention of the many guests at the

The post <strong>28. 11. 2020</strong>  <br>The Echoes of the festival: Destiny appeared first on FESTIVAL JANÁČEK BRNO 2020.

]]>

28. 11. 2020, 5 pm

Janáček Theatre

Author: Leoš Janáček
Conductor: Marko Ivanović
Director: Robert Carsen

Repeat performances on 29.9., 14.10. and 29.11. 2020
Premiere 28.9. 2020

Buy tickets

SYNOPSIS

Act 1 – The colonnade walk in Luhačovice
At the centre of attention of the many guests at the spa town is the poet Dr. Suda, who is there with his friends, Konečný and Lhotský, and a young lady named Míla. A new guest arrives, the composer Živný. The group is surprised to find that Živný and Míla have met before. New people appear on the scene: the singing teacher Miss Stuhlá, along with some young people who are looking forward to a scouting excursion with Dr. Suda. Most of the people then leave, and only Živný and Míla stay behind. Their previous love affair had been put to an end by Míla´s mother, for whom the prospect of her daughter living with a composer was comparable to a beggar´s existence. Živný has been composing an opera about his unfortunate fate ever since. Only now does he find out that he had wrongly suspected Míla of infidelity: her son Doubek is actually his son. The two lovers agree that they will live together, Míla´s mother notwithstanding.

Act 2 – The married couple´s apartment 
Živný sings excerpts from his opera. He must now delete those parts in which he unjustly accused Míla of faithlessness. Young Doubek asks his mother whether she knows what love is. Míla knows this far too well – love and the whole of her life are ruled by Fate, Fatum. Life with Míla´s mother is becoming hell. The mother´s insanity is increasing: she is forced to live under one roof with a man who, in her opinion, is interested only in her money. Živný appears to her like a wicked raven. She wants to fly away from him, but falls off the balcony and drags Míla down with her. Živný is in despair about his wife´s death. He invites thunderbolts to strike at his wretched fate.

Act 3 – The assembly hall of the conservatoire
Students are singing from the score of the new opera written by their Professor Živný. The work is to have its premiere in the theatre that evening, but the last act is still missing. The students ask their teacher to tell them something about his strange opera. With great animation, Živný speaks about the origin of the piece, and the surprised students realize that the content of the opera is in fact their professor’s very own life story. Živný´s narration is just getting close to the point of Míla´s death when suddenly thunderbolts from a real storm can be seen. Živný collapses. The end of his opera remains unfinished and in the hands of God, much like Živný´s fate.

OPERA CAST LISTS

Conductor: Marko Ivanović

Stage director: Robert Carsen

Dramaturgy: Ian Burton

Set Design: Radu Boruzescu

Costume Design: Annemarie Woods

Lighting Design: Peter van Praet a Robert Carsen

Choreography: Lorena Randi

Choirmaster: Pavel Koňárek

Assistant Stage Director: Gilles Rico

CAST:

Živný, a composer: Enrico Casari & Philip Sheffield

Míla Válková: Alžběta Poláčková

Míla´s mother: Natascha Petrinsky

Dr. Suda: Peter Račko

Lhotský, malíř: Jan Šťáva

Konečný: Igor Loškár

Miss Stuhlá, a teacher: Daniela Straková-Šedrlová

Doubek (child): Kryštof Cholava

Poet: Michael Robotka

First lady / Miss Pacovská: Andrea Široká

Second lady / Mrs. Majorová: Tereza Kyzlinková

Student: Michael Robotka

Old Slovak woman: Jitka Zerhauová

Mrs. Radová: Jana Hrochová

Young widow: Hana Kopřivová

Engineer: Pavel Valenta

Verva, student: Lukáš Bařák

Součková, student: Marta Reichelová

Kosinská, student: Jarmila Balážová

Doubek: Daniel Matoušek

Sklepník: Ivo Musil

Hrázda: Ondřej Koplík

Servant: Petr Štych

Nána: Kristýna Svítilová

Lhotský, painter: Jan Šťáva

 

The opening ceremony of the festival will be marked by the return of one of the world’s best opera directors, Robert Carsen. This creator of productions praised for their dramatic grasp, poesy and artistic refinement has returned to Janáček´s opera works once again after his previous productions of Jenůfa, The Cunning Little Vixen, Katya Kabanova, The Makropulos Affair and From the House of the Dead. Destiny, created especially for the Janáček Opera, National Theatre Brno, is thus Mr Carsen’s sixth interpretation of a work by the Czech master.

The first decades of the 20th century were characterized by a search for new ways and means of expression, and this was doubly true for opera. Janáček had already taken a radically new path with Jenůfa before embarking on a musical and dramaturgical excursion into totally uncharted lands with his fourth opera, Destiny. As is the case with other works by him, Janáček’s creativity was inspired by a beautiful woman, 28-year-old Kamila Urválková, who was the wife of a forest manager in Zahájí as well as an ex-lover of the composer Ludvík Čelanský. Janáček met her in Luhačovice in August 1903. Kamila described her romantic relationship with Čelanský, which hadn’t turned out well: Čelanský portrayed his disillusionment in the opera Kamila, where the lady in the title role was portrayed as an unstable and immature person. Janáček fell for her charms and decided to create “a brand new, modern opera” in which her good name would be restored. After his return from Luhačovice, he searched for a suitable librettist capable of processing his ideas and eventually asked Fedora Bartošová, a young teacher and erstwhile friend to his deceased daughter Olga, to do so. He didn´t call Destiny an opera, but rather three episodes from a novel, and it places spectators in a completely different environment to that of his earlier operas. The very first tones of the orchestral waltz take us amongst the cream of high, spa-going society. The simple natural prose of previous works is replaced by the language of decadent poets, and the plot is unveiled before the eyes of the audience via the dialogue between the two main characters, the composer Živný and his lover Míla. As with his other operas, Janáček drew extensively from his notes on the melodies of human speech. Despite the undisputed musical qualities of the work, the composer didn´t live to see Destiny performed. It was originally assigned to the Brno Theatre, but Janáček decided to have it performed at the Vinohrady Theatre in Prague. However, after a series of delays and despite many promises, the premiere didn´t take place. It wasn’t until 1934 that Janáček´s pupil Břetislav Bakala prepared a radio version, following it up with a concert version twenty years later in 1954. Destiny was finally staged for the first time in Brno on 25th October 1958, adapted by Václav Nosek.

Even though Destiny stands somewhat in the shadow of Janáček´s top operas, mainly due to its distinctive libretto, it has an important place in the history of opera as well as in Janáček´s compositional development.

Autor: Patricie Částková

The post <strong>28. 11. 2020</strong>  <br>The Echoes of the festival: Destiny appeared first on FESTIVAL JANÁČEK BRNO 2020.

]]> https://2020.janacek-brno.cz/en/opery/28-11-2020-ozveny-festivalu-osud-repriza/feed/ 0 16. 10. 2020   S.A.M.P.O. – Chamber opera by the Janáček Academy of Music and Performing Arts in Brno https://2020.janacek-brno.cz/en/opery/16-10-2020-daniel-simek-otto-kaupinnen-s-a-m-p-o/ https://2020.janacek-brno.cz/en/opery/16-10-2020-daniel-simek-otto-kaupinnen-s-a-m-p-o/#respond Tue, 16 Oct 2018 14:51:49 +0000 https://2020.janacek-brno.cz/en/?p=3485 16. 10. 2020, 5 pm Orlí Street Theatre Daniel Šimek / Otto Kauppinen Buy tickets Author: Daniel Šimek (student of the Faculty of Music, Janáček Academy of Music and Performing Arts)Conductor: Daniel ŠimekDirector: Kateřina Křivánková (student of the Faculty of Music, Janáček Academy of Music and Performing

The post <strong>16. 10. 2020</strong>  <br> S.A.M.P.O. – Chamber opera by the Janáček Academy of Music and Performing Arts in Brno appeared first on FESTIVAL JANÁČEK BRNO 2020.

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16. 10. 2020, 5 pm

Orlí Street Theatre

Daniel Šimek / Otto Kauppinen

Buy tickets

OPERA CAST LIST

Author: Daniel Šimek (student of the Faculty of Music, Janáček Academy of Music and Performing Arts)

Conductor: Daniel Šimek

Director: Kateřina Křivánková (student of the Faculty of Music, Janáček Academy of Music and Performing Arts)

Cast

Conductor: Daniel Šimek

Director: Kateřina Křivánková

Dramaturgy, libretto: Otto Kauppinen

Set design: Anna Chrtková (graduate of the Faculty of Theatre, Janáček Academy of Music and Performing Arts)

Costume design: Kateřina Kábová

Choreography: Filigrán dance ensemble

Production: Eliška Dočkalová, Lukáš Nedomlel

Aino: Linda Kunclová, Ilona Laubová

Louhi: Alžběta Symerská, Veronika Zaplatilová

Ilmari: Zbyšek Humpolec j.h.

Väinämöinen: Tomáš Jeřábek, Jiří Miroslav Procházka j.h.

Movement 1: Veronika Kolečkářová

Movement 2: Michaela Ondrašinová

Movement 3: Ondřej Glogar

Movement 4: Jan Ondruška

Finnish mythology tells of a mythical artefact called Sampo which ensures the well-being and continuity of the world. Contemporary science can trace the genetic footprint of humans thousands of years into the past via research into the human genome. In the near future, two neuropharmaceutical corporations are competing with each other: one of them manages to combine two achievements: to create a substance that can transfer a person into an ancient myth, and to let them experience the story of their mythical ancestors. However, this may not be as “perfect” in all its truthfulness as the stories we use to shape our identity on social networks today. Is a contemporary person prepared to know the truth about themselves?

The Kalevala is a collection of Finnish – Karelian mythology whose purely oral form was collected during visits to villages by the Finnish physician and linguist Elias Lönnrot (1802–1884). These were individual stories that Lönnrot combined into an epic narrative. The opera S.A.M.P.O. takes The Kalevala as a source of inspiration and updates its motifs and characters to create a story set in the near future. The opera was made to order by the Janáček Academy of Music and Performing Arts for the Janáček Brno festival. It is the first collaboration of both faculties of the Janáček Academy on a project of such a type, and at the same time, it is the opera’s world premiere.

Otto Kauppinen graduated from the Faculty of Theatre, Janáček Academy of Music and Performing Arts, specializing in theatre dramaturgy. In 2015 -2016 he worked as a dramaturge for Brno’s Divadlo Feste Theatre. In 2017-2018 he worked closely with the Continuo Theatre in Malovice as a dramaturge and director. Otto is half Finnish and is bilingual. He has been translating contemporary Finnish drama into Czech since 2012, and has translated 13 theatre plays so far. He has won, among other things, the first prize at the 2014 Evald Schorm Awards for his translations. He is currently a doctoral student at the Faculty of Theatre, Janáček Academy of Music and Performing Arts. He presents the topic of his dissertation thesis, the search for a non-hierarchical relationship between the production form and the spectator, at international conferences as well as in professional journals.

Daniel Šimek studied the piano at the Brno Conservatory. In June 2019 he completed his follow-up Master´s degree in composition at the Faculty of Music, Janáček Academy of Music and Performing Arts. He has been studying orchestra conducting since 2018, and since 2016 he has worked as a piano teacher and accompanist at a music school in Velké Opatovice. He has been a keyboard player in the band Universe B since 2017. In 2018 he became the leader of the Mirror Ensemble, which focuses on contemporary music. He composed the pieces Shapes of Time (2018), Waves (2015), Questioning, and Head Echoes (2016–2019). He has composed music for stage projects as part of Devítka Studio and the Chamber Opera of the Janáček Academy of Music and Performing Arts: Master (2016), the background music for a production of the Magic Flute (2017), and Unknown (2018, performed at the Janáček Brno 2018 festival).

The post <strong>16. 10. 2020</strong>  <br> S.A.M.P.O. – Chamber opera by the Janáček Academy of Music and Performing Arts in Brno appeared first on FESTIVAL JANÁČEK BRNO 2020.

]]> https://2020.janacek-brno.cz/en/opery/16-10-2020-daniel-simek-otto-kaupinnen-s-a-m-p-o/feed/ 0 15. 10. 2020  S.A.M.P.O. – Chamber opera by the Janáček Academy of Music and Performing Arts in Brno – premiere https://2020.janacek-brno.cz/en/opery/15-10-2020-daniel-simek-otto-kaupinnen-s-a-m-p-o-svetova-premiera/ https://2020.janacek-brno.cz/en/opery/15-10-2020-daniel-simek-otto-kaupinnen-s-a-m-p-o-svetova-premiera/#respond Mon, 15 Oct 2018 14:29:58 +0000 https://2020.janacek-brno.cz/en/?p=3474 15. 10. 2020, 7 pm Orlí Street Theatre Premiere Repeat performance on 16. 10. 2020, 5 pm Buy tickets Author: Daniel Šimek (student of the Faculty of Music, Janáček Academy of Music and Performing Arts)Conductor: Daniel ŠimekDirector: Kateřina Křivánková (student of the Faculty of Music, Janáček Academy

The post <strong>15. 10. 2020</strong>  <br>S.A.M.P.O. – Chamber opera by the Janáček Academy of Music and Performing Arts in Brno – premiere appeared first on FESTIVAL JANÁČEK BRNO 2020.

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15. 10. 2020, 7 pm

Orlí Street Theatre

Premiere

Repeat performance on 16. 10. 2020, 5 pm
Buy tickets

OPERA CAST LIST

Author: Daniel Šimek (student of the Faculty of Music, Janáček Academy of Music and Performing Arts)

Conductor: Daniel Šimek

Director: Kateřina Křivánková (student of the Faculty of Music, Janáček Academy of Music and Performing Arts)

Cast

Conductor: Daniel Šimek

Director: Kateřina Křivánková

Dramaturgy, libretto: Otto Kauppinen

Set design: Anna Chrtková (graduate of the Faculty of Theatre, Janáček Academy of Music and Performing Arts)

Costume design: Kateřina Kábová

Choreography: Filigrán dance ensemble

Production: Eliška Dočkalová, Lukáš Nedomlel

Aino: Linda Kunclová, Ilona Laubová

Louhi: Alžběta Symerská, Veronika Zaplatilová

Ilmari: Zbyšek Humpolec j.h.

Väinämöinen: Tomáš Jeřábek, Jiří Miroslav Procházka j.h.

Movement 1: Veronika Kolečkářová

Movement 2: Michaela Ondrašinová

Movement 3: Ondřej Glogar

Movement 4: Jan Ondruška

Finnish mythology tells of a mythical artefact called Sampo which ensures the well-being and continuity of the world. Contemporary science can trace the genetic footprint of humans thousands of years into the past via research into the human genome. In the near future, two neuropharmaceutical corporations are competing with each other: one of them manages to combine two achievements: to create a substance that can transfer a person into an ancient myth, and to let them experience the story of their mythical ancestors. However, this may not be as “perfect” in all its truthfulness as the stories we use to shape our identity on social networks today. Is a contemporary person prepared to know the truth about themselves?

The Kalevala is a collection of Finnish – Karelian mythology whose purely oral form was collected during visits to villages by the Finnish physician and linguist Elias Lönnrot (1802–1884). These were individual stories that Lönnrot combined into an epic narrative. The opera S.A.M.P.O. takes The Kalevala as a source of inspiration and updates its motifs and characters to create a story set in the near future. The opera was made to order by the Janáček Academy of Music and Performing Arts for the Janáček Brno festival. It is the first collaboration of both faculties of the Janáček Academy on a project of such a type, and at the same time, it is the opera’s world premiere.

Otto Kauppinen graduated from the Faculty of Theatre, Janáček Academy of Music and Performing Arts, specializing in theatre dramaturgy. In 2015 -2016 he worked as a dramaturge for Brno’s Divadlo Feste Theatre. In 2017-2018 he worked closely with the Continuo Theatre in Malovice as a dramaturge and director. Otto is half Finnish and is bilingual. He has been translating contemporary Finnish drama into Czech since 2012, and has translated 13 theatre plays so far. He has won, among other things, the first prize at the 2014 Evald Schorm Awards for his translations. He is currently a doctoral student at the Faculty of Theatre, Janáček Academy of Music and Performing Arts. He presents the topic of his dissertation thesis, the search for a non-hierarchical relationship between the production form and the spectator, at international conferences as well as in professional journals.

Daniel Šimek studied the piano at the Brno Conservatory. In June 2019 he completed his follow-up Master´s degree in composition at the Faculty of Music, Janáček Academy of Music and Performing Arts. He has been studying orchestra conducting since 2018, and since 2016 he has worked as a piano teacher and accompanist at a music school in Velké Opatovice. He has been a keyboard player in the band Universe B since 2017. In 2018 he became the leader of the Mirror Ensemble, which focuses on contemporary music. He composed the pieces Shapes of Time (2018), Waves (2015), Questioning, and Head Echoes (2016–2019). He has composed music for stage projects as part of Devítka Studio and the Chamber Opera of the Janáček Academy of Music and Performing Arts: Master (2016), the background music for a production of the Magic Flute (2017), and Unknown (2018, performed at the Janáček Brno 2018 festival).

The post <strong>15. 10. 2020</strong>  <br>S.A.M.P.O. – Chamber opera by the Janáček Academy of Music and Performing Arts in Brno – premiere appeared first on FESTIVAL JANÁČEK BRNO 2020.

]]> https://2020.janacek-brno.cz/en/opery/15-10-2020-daniel-simek-otto-kaupinnen-s-a-m-p-o-svetova-premiera/feed/ 0 14. 10. 2020  Destiny (Janaček Opera, National Theater Brno) – Live stream Opera Vision https://2020.janacek-brno.cz/en/opery/14-10-2020-destiny-janacek-opera-national-theater-brno/ https://2020.janacek-brno.cz/en/opery/14-10-2020-destiny-janacek-opera-national-theater-brno/#respond Sun, 14 Oct 2018 14:08:47 +0000 https://2020.janacek-brno.cz/en/?p=3901 14. 10. 2020, 7 pm Janáček Theatre Author: Leoš Janáček Conductor: Marko Ivanović Director: Robert Carsen Repeat performances on 29.9., 28.11. and 29.11. 2020, 7 pm Buy tickets Act 1 – The colonnade walk in LuhačoviceAt the centre of attention of the many guests at the

The post <strong>14. 10. 2020</strong>  <br>Destiny (Janaček Opera, National Theater Brno) – Live stream Opera Vision appeared first on FESTIVAL JANÁČEK BRNO 2020.

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14. 10. 2020, 7 pm

Janáček Theatre

Author: Leoš Janáček
Conductor: Marko Ivanović
Director: Robert Carsen

Repeat performances on 29.9., 28.11. and 29.11. 2020, 7 pm

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SYNOPSIS

Act 1 – The colonnade walk in Luhačovice
At the centre of attention of the many guests at the spa town is the poet Dr. Suda, who is there with his friends, Konečný and Lhotský, and a young lady named Míla. A new guest arrives, the composer Živný. The group is surprised to find that Živný and Míla have met before. New people appear on the scene: the singing teacher Miss Stuhlá, along with some young people who are looking forward to a scouting excursion with Dr. Suda. Most of the people then leave, and only Živný and Míla stay behind. Their previous love affair had been put to an end by Míla´s mother, for whom the prospect of her daughter living with a composer was comparable to a beggar´s existence. Živný has been composing an opera about his unfortunate fate ever since. Only now does he find out that he had wrongly suspected Míla of infidelity: her son Doubek is actually his son. The two lovers agree that they will live together, Míla´s mother notwithstanding.

Act 2 – The married couple´s apartment 
Živný sings excerpts from his opera. He must now delete those parts in which he unjustly accused Míla of faithlessness. Young Doubek asks his mother whether she knows what love is. Míla knows this far too well – love and the whole of her life are ruled by Fate, Fatum. Life with Míla´s mother is becoming hell. The mother´s insanity is increasing: she is forced to live under one roof with a man who, in her opinion, is interested only in her money. Živný appears to her like a wicked raven. She wants to fly away from him, but falls off the balcony and drags Míla down with her. Živný is in despair about his wife´s death. He invites thunderbolts to strike at his wretched fate.

Act 3 – The assembly hall of the conservatoire
Students are singing from the score of the new opera written by their Professor Živný. The work is to have its premiere in the theatre that evening, but the last act is still missing. The students ask their teacher to tell them something about his strange opera. With great animation, Živný speaks about the origin of the piece, and the surprised students realize that the content of the opera is in fact their professor’s very own life story. Živný´s narration is just getting close to the point of Míla´s death when suddenly thunderbolts from a real storm can be seen. Živný collapses. The end of his opera remains unfinished and in the hands of God, much like Živný´s fate.

OPERA CAST LIST

Conductor: Marko Ivanović

Stage director: Robert Carsen

Dramaturgy: Ian Burton

Set Design: Radu Boruzescu

Costume Design: Annemarie Woods

Lighting Design: Peter van Praet a Robert Carsen

Choreography: Lorena Randi

Choirmaster: Pavel Koňárek

Assistant Stage Director: Gilles Rico

CAST:

Živný, a composer: Enrico Casari & Philip Sheffield

Míla Válková: Alžběta Poláčková

Míla´s mother: Natascha Petrinsky

Dr. Suda: Peter Račko

Lhotský, malíř: Jan Šťáva

Konečný: Igor Loškár

Miss Stuhlá, a teacher: Daniela Straková-Šedrlová

Doubek (child): Kryštof Cholava

Poet: Michael Robotka

First lady / Miss Pacovská: Andrea Široká

Second lady / Mrs. Majorová: Tereza Kyzlinková

Student: Michael Robotka

Old Slovak woman: Jitka Zerhauová

Mrs. Radová: Jana Hrochová

Young widow: Hana Kopřivová

Engineer: Pavel Valenta

Verva, student: Lukáš Bařák

Součková, student: Marta Reichelová

Kosinská, student: Jarmila Balážová

Doubek: Daniel Matoušek

Sklepník: Ivo Musil

Hrázda: Ondřej Koplík

Servant: Petr Štych

Nána: Kristýna Svítilová

Lhotský, painter: Jan Šťáva

The opening ceremony of the festival will be marked by the return of one of the world’s best opera directors, Robert Carsen. This creator of productions praised for their dramatic grasp, poesy and artistic refinement has returned to Janáček´s opera works once again after his previous productions of Jenůfa, The Cunning Little Vixen, Katya Kabanova, The Makropulos Affair and From the House of the Dead. Destiny, created especially for the Janáček Opera, National Theatre Brno, is thus Mr Carsen’s sixth interpretation of a work by the Czech master.

The first decades of the 20th century were characterized by a search for new ways and means of expression, and this was doubly true for opera. Janáček had already taken a radically new path with Jenůfa before embarking on a musical and dramaturgical excursion into totally uncharted lands with his fourth opera, Destiny. As is the case with other works by him, Janáček’s creativity was inspired by a beautiful woman, 28-year-old Kamila Urválková, who was the wife of a forest manager in Zahájí as well as an ex-lover of the composer Ludvík Čelanský. Janáček met her in Luhačovice in August 1903. Kamila described her romantic relationship with Čelanský, which hadn’t turned out well: Čelanský portrayed his disillusionment in the opera Kamila, where the lady in the title role was portrayed as an unstable and immature person. Janáček fell for her charms and decided to create “a brand new, modern opera” in which her good name would be restored. After his return from Luhačovice, he searched for a suitable librettist capable of processing his ideas and eventually asked Fedora Bartošová, a young teacher and erstwhile friend to his deceased daughter Olga, to do so. He didn´t call Destiny an opera, but rather three episodes from a novel, and it places spectators in a completely different environment to that of his earlier operas. The very first tones of the orchestral waltz take us amongst the cream of high, spa-going society. The simple natural prose of previous works is replaced by the language of decadent poets, and the plot is unveiled before the eyes of the audience via the dialogue between the two main characters, the composer Živný and his lover Míla. As with his other operas, Janáček drew extensively from his notes on the melodies of human speech. Despite the undisputed musical qualities of the work, the composer didn´t live to see Destiny performed. It was originally assigned to the Brno Theatre, but Janáček decided to have it performed at the Vinohrady Theatre in Prague. However, after a series of delays and despite many promises, the premiere didn´t take place. It wasn’t until 1934 that Janáček´s pupil Břetislav Bakala prepared a radio version, following it up with a concert version twenty years later in 1954. Destiny was finally staged for the first time in Brno on 25th October 1958, adapted by Václav Nosek.

Even though Destiny stands somewhat in the shadow of Janáček´s top operas, mainly due to its distinctive libretto, it has an important place in the history of opera as well as in Janáček´s compositional development.

Author: Patricie Částková

National Theatre Brno is a partner of Opera Vision. This international project presents productions by leading European theatres via live streaming on a web platform, which is a form available to a wide audience all over the world. Destiny will be streamed live on 14. 10. 2020. More information: www.operavision.eu

The post <strong>14. 10. 2020</strong>  <br>Destiny (Janaček Opera, National Theater Brno) – Live stream Opera Vision appeared first on FESTIVAL JANÁČEK BRNO 2020.

]]> https://2020.janacek-brno.cz/en/opery/14-10-2020-destiny-janacek-opera-national-theater-brno/feed/ 0 12. 10. 2020  A step behind the curtain to the opera Destiny https://2020.janacek-brno.cz/en/opery/12-10-2020-krok-za-oponu-k-opere-osud/ Fri, 12 Oct 2018 14:39:06 +0000 https://2020.janacek-brno.cz/en/?p=3478 12. 10. 2020, 7 pm Janáček Theatre Buy tickets Take a closer look at the opera! Take a step behind the curtain with us. A programme designed for all curious people, big and small, who would like to get to know something new about the world

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12. 10. 2020, 7 pm

Janáček Theatre

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Take a closer look at the opera! Take a step behind the curtain with us. A programme designed for all curious people, big and small, who would like to get to know something new about the world of an opera house. A 70-minute interactive, adventurous and mainly entertaining journey into the heart of opera with the soloists, choir and orchestra of the Janáček Opera, National Theatre Brno.

Your guide will be the chief conductor, Marko Ivanović.

The post <strong>12. 10. 2020</strong>  <br>A step behind the curtain to the opera Destiny appeared first on FESTIVAL JANÁČEK BRNO 2020.

]]> 10. 10. 2020  Salome (Hungarian State Opera) https://2020.janacek-brno.cz/en/opery/10-10-2020-richard-strauss-salome/ Wed, 10 Oct 2018 12:37:21 +0000 https://2020.janacek-brno.cz/en/?p=3456 10. 10. 2020, 7 pm Janáček Theatre Author: Richard Strauss Conductor: Balázs Kocsár Director: Zoltán Rátóti Hungarian State Opera (Budapest) Buy tickets In the palace of the Galilean tetrarch Herod, the soldiers are guarding the cistern in which the prophet Jokanaan, who had had the audacity

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10. 10. 2020, 7 pm

Janáček Theatre

Author: Richard Strauss
Conductor: Balázs Kocsár
Director: Zoltán Rátóti

Hungarian State Opera (Budapest)

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SYNOPSIS

In the palace of the Galilean tetrarch Herod, the soldiers are guarding the cistern in which the prophet Jokanaan, who had had the audacity to accuse Herod and his wife Herodiada of their sinful acts, is imprisoned. Narraboth, the commander, is watching the princess Salome, Herod’s stepdaughter. She is so beautiful and remarkable. In vain the guards warn him not to think about her any longer. Salome approaches the cistern. She has grown weary of the celebrations and the neverending quarrelling of the Jews, and the lustful gaze of her stepfather is beginning to worry her. She is interested only in the voice emanating from the cistern. She wants to see the man who is able to disseminate fear with words alone. She convinces Narraboth to break Tetrarch’s orders out of love for her, and bring Jokanaan to her. Although Jokanaan heaps abuse upon her, Salome is captivated and offers him her love. Jokanaan curses her. When Narraboth sees that Salome is possessed by the pophet he commits suicide with his own dagger.

Herod and Herodias arrive on the terrace. Herod is unable to pass without a glance at Salome, and not even hois wife is able to prevent this. Herod is followed by strange ideas, and Jokanaan’s curse awakens in him feelings of remorse. Herod wants the prophet to be silenced. Salome is indifferent to everything, and is led only by her passion for Jokanaan. In vain Herod offers her fruit and wine and invites her to dance. Only his promise that he will fulfill all of her wishes persuades her to dance the Dance of the Seven Veils. Salome completes her dance and asks for her reward – the head of Jokanaan on a silver plate. Even Herod is horrified by such a request; he offers her treasure and jewellery, but Salome stands firm. Finally he fulfills her wishes, but when he sees the passion with which Salome kisses the lips of the dead Jokanaan, he orders the soldiers to kill the girl.

OPERA CAST LISTS

Conductor: Balázs Kocsár

Director: Zoltán Rátóti

Costume Design: Tordai Hajnal

Set Desing: Vörös Győző / Dobrosi Tamás

CAST:

Salome: Sera Gösch

Herodes: Jürgen Sacher

Herodias: Gyöngyi Lukács

Jochanaan: Károly Szemerédy

Narraboth: Dániel Pataky

The Page of Herodias: Viktória Mester

First Jew: István Horváth

Second Jew: János Szerekován

Third Jew: Tivadar Kiss

Fourth Jew: Gergely Biri

Fifth Jew: Bence Pataki

First Nazarene: Kolos Kováts

Second Nazarene: Barna Bartos

First soldier: Lajos Geiger

Second soldier: András Kiss

A Cappadocian: Ferenc Endrész

It is not the first time that the ensemble of the Hungarian State Opera has come to the Janáček Brno festival. This time, it isn´t with a Janáček production, but with an opera whose time of creation intersects with the time when Janáček was working on his innovatively-styled new opera, Destiny. Just like Janáček with Jenůfa and subsequently Destiny, Richard Strauss also went in a new direction with Salome – that of 20th century opera.

There is an anecdote about the creation of Strauss´s Salome: apparently, when Strauss saw the play by English playwright Oscar Wilde in Berlin, one of his friends told him: “This would be a good subject for you!” And Strauss replied: “I´m already composing it…” It’s not surprising that the author was intrigued by this play based on an Old Testament story. The atmosphere of the perverted court of the tetrarch of Galilee, Herod, who lives in an incestuous marriage with his brother´s wife and eagerly turns his eyes to his step-daughter Salome, provides many expressive moments for an opera.

Oscar Wild originally wrote Salome for the famous actress Sarah Bernhardt, but she never appeared in it. The play was published in Paris in 1893 and staged in the same season. In Germany, Salome was played for the first time as late as in 1901, and with great success: the Berlin version by director Max Reinhardt had 200 repeat performances at his Kleines Theater. Richard Strauss became acquainted with the play for the first time in 1902 when the Austrian poet Anton Lindner sent him a copy of the text with an offer to re-write it for Strauss as an opera libretto. The composer was interested, and Lindner immediately sent him the opening scene as a sample. In November 1902, Strauss visited a performance in Berlin. The German translation by Hedwiga Lachmann caught his interest and he decided that Wilde´s text could be set directly to music. Finally, after extensive study and consultation with Romain Rolland, Strauss shortened and simplified certain passages of the play’s original text. Despite thinking intensively about Salome, he didn´t start the composition immediately because he was working on an extensive composition for the orchestra – Symphonia Domestica – at the same time, finishing it in July 1903. He left to conduct in the United States the following year. A large part of Salome was created in the period between his return and June 1905. He used every free moment when he wasn’t conducting to compose, and many musicologists point out that even though his opera is full of violence, the manuscript of the score is calm and pure.

When he had completed Salome, Strauss contacted Ernst von Schuch from Dresden and offered the premiere to him. He reassured the conductor that this time the choral parts were not as difficult as in the opera Feuersnot (which was true, as there are no choral parts in Salome at all). However, the main role and the orchestral part are twice as difficult as in any of his previous operas. Problems occurred during the rehearsals – at the first of these, most of the singers wanted to return their roles. Schuch begged Strauss to postpone the premiere, but the composer pushed his opinion through and Salome had its world premiere in Dresden on 9th December 1905. It was a huge success, and although the shocked church deplored the immorality of the opera, the work quickly spread to other German theatres. After seeing Salome in Vienna, Gustav Mahler wrote to his wife: “It certainly is a work of genius, very powerful and certainly one of the most important works of our day. A volcano living under a pile of cinders, an underground blaze – not just fireworks!”

With this opera, Richard Strauss became one of the leading representatives of the musical avant-garde. Salome meant a distinct shift from his previous stage works. Its manner of speech is much more adventurous and it remains one of the masterpieces of twentieth-century opera to this day. At the same time, the work is very demanding to perform, and its success depends solely on the singing and also – without a doubt – the acting skills of those playing the main roles – Salome and Herod.

Author: Patricie Částková

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]]> 7. 10. 2020  The Greek Passion – Bohuslav Martinů https://2020.janacek-brno.cz/en/opery/7-10-2020-the-greek-passion-bohuslav-martinu/ Sun, 07 Oct 2018 19:00:42 +0000 https://2020.janacek-brno.cz/en/?p=4392 7. 10. 2020, 7 pm National Theatre Brno’s Janáček Opera Author: Bohuslav Martinů Conductor: Robert Kružík Director: Jiří Heřman Buy tickets Act 1 The bell in Lycovrissi announces the end of the Easter Sunday church service. The priest Father Grigoris arrives and announces the names of

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7. 10. 2020, 7 pm

National Theatre Brno’s Janáček Opera

Author: Bohuslav Martinů
Conductor: Robert Kružík
Director: Jiří Heřman

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SYNOPSIS

Act 1

The bell in Lycovrissi announces the end of the Easter Sunday church service. The priest Father Grigoris arrives and announces the names of the villagers whom the council of elders have chosen for the next passion plays. The roles of apostles James, Peter and John are assigned to café owner Kostandis, the pedlar and postman Yannakos and the mayor´s son Michelis. The role of Mary Magdalene is given to Katerina, a widow. Quick-tempered Panait was chosen for the character of Judas, though he desperately protests against the assigned role. Christ remains, and this most difficult task is laid at the feet of Manolios. All of the chosen begin to feel the burden of responsibility. They are supposed to live virtuously for the whole year so that they may resemble the characters they are to represent in the plays. Manolios falls into such deep thought that he does not even notice his bride Lenio is teasing him, but suddenly cries in the distance draw everyone´s attention. A crowd of wretched people arrive. They are fleeing from the Turks, who have burnt their village. Hungry and exhausted, they beg for help and a piece of land where they could settle down again. But Father Grigoris, who doesn´t want to share out his people’s prosperity or land, only has harsh words for the refugees and Fotis, the priest who leads them. One of the refugee women, Despinios, suddenly dies, exhausted from hunger. Grigoris makes use of this opportunity by crying out “Cholera!” Scared, many of the villagers flee. Only Manolios, Katerina and a few others remain. Manolios advises the refugees to settle down on Mount Sarakina where there is water, wild animals and enough wood to build a fire.

 

Act 2

Katerina became a widow at a young age and has remained alone. The men of the village started to seek out her company, and she didn´t turn any of them down, whether it was Panait, old Patriarcheas or Grigoris. However, she thinks only of Manolios, but at the same time feels something more for him than just physical desire. She tells Yannakos of a dream she had about Manolios. Yannakos looks at Katerina in the same way as all the men in the village, and instead of understanding, she only receives a reprimand and is told to leave Manolios alone.

Rich moneylender Ladas waits to speak to Yannakos. He tries to persuade the pedlar that he could get rich fast if he went to the people on Mount Sarakina and took the gold and jewels which they’ve saved from the Turks. Of course, they would share in the profit. Yannakos gets an advance payment and sets off to Mount Sarakina.

Manolios meets Katerina at St. Basil’s spring. She confesses to him that she dreams of him. He is not indifferent to her, but he does not know how to help. Katerina begs him not to think about her anymore.

On Mount Sarakina, Fotis is trying to rouse the exhausted refugees and convince them that they can build a new life there. In the foundations of the gate to the new village, where the bones of ancestors are supposed to be buried, an old man dies, reconciled and happy that his children will continue to live. Yannakos, who came to Sarakina to profit from the villagers’ poverty, is shaken. Crying, he confesses to Fotis that he wanted to get rich from their misfortune and asks for forgiveness, giving away Ladas´ money to the people there.

Act 3

Manolios is full of doubts about his mission, and his internal struggle is reflected in a feverish dream. He does not even notice Lenio when she comes to see him, and she decides to transfer her attentions to the shepherd Nikolios. Manolios goes down to the village to see Katerina. She welcomes him happily, but Manolios begs her not to pursue him as he sees her as his sister. Katerina is moved, his words purify her and she will be devoted to him her whole life.

On the way to Sarakina, Katerina meets Yannakos. She explains to him that she is taking a sheep there so that the children will have enough milk. She doesn´t have any children herself, and so she feels like all of them are her own. Yannakos also finally understands Katerina´s transformation.

Manolios is trying to persuade the people of the village to help the refugees. Father Grigoris is furious as he feels that his position is threatened. Action is needed. He drives Manolios out of the village along with the “apostles”. Michelis tells Yannakos and Kostandis that Lenio no longer wants to marry Manolios. Nikolios arrives, afraid to tell Manolios that he is getting married to Lenio. Manolios, however, wishes him good luck.

Act 4

The joyful celebration of the wedding of Nikolios and Lenio is interrupted by the angry voice of priest Grigoris. The mangy sheep needs to be chased out of the herd so that it does not infect the others. Manolios is expelled from the church! Everyone who offers to help him will suffer the same punishment. But Michelis, Yannakos and Kostandis stand firmly by him. Manolios confesses to his sins. The role of Christ had aroused pride in him, but now he understands its true nature. Everything in life has its time, and now the time has come for the world, a cruel place where children die of hunger, to pass away. The sounds of voices are heard from afar – the Sarakina people are coming to fight. At that moment, the villagers kill Manolios, accusing Panait – Judas of the deed. There is only one thing left for the refugees…

OPERA CAST LISTS

Author: Bohuslav Martinů

Conductor: Robert Kružík

Director: Jiří Heřman

Scéna: Dragan Stojčevski

Kostýmy: Alexandra Grusková

Dramaturge: Patricie Částková

Choirmasters: Pavel Koňárek, Michal Vajda, Valeria Maťašová

Movement Collaboration: Kateřina Nováčková

________________________

Manolios: Harold Meers

Kateřina: Pavla Vykopalová

Priest Grigoris: Jan Šťáva

Priest Fotis: David Szendiuch

Jannakos: Ondřej Koplík

Kostandis: Roman Hoza

Lenio: Andrea Široká

Panait: Petr Levíček

Ladas: Robert Musialek

An old man: Josef Škarka j. h.

The Patriacheas: Petr Karas

Michelis: Dušan Růžička

Andonis: Vít Nosek

An old woman: Jitka Zerhauová

Nikolios: Tadeáš Hoza j. h.

Despinio: Tereza Kyzlinková

little Manolios: Boris Trhlík, Kryštof Cholava

The priest Grigoris has summoned a meeting of the elders in the village of Lycovrissi and is choosing villagers to play the roles of Christ and the Apostles in the local passion plays. Just then, the deep peace in which the villagers have dwelt so far is shattered by a sudden shock. Just as if the hand of God has appeared to demand proof of their faith, refugees arrive from a pillaged and abandoned village to ask for asylum. They are angrily refused and forced to seek shelter in the rocky mountains nearby. However, the newly appointed saints take it upon themselves to go to the unhappy refugees. The common daily worries of these people gradually fade away; the power of their faith and their roles in the approaching passion plays begin to transform their spiritual awareness into a new maturity. Every man and woman gradually realizes the only true meaning of one’s actions: are they good, or evil…This is how Bohuslav Martinů characterized his last opera The Greek Passion, which was inspired by the novel Christ Recrucified by the Greek writer Nikos Kazantzakis. The composer, who had also experienced the trials and tribulations of life as a refugee, created a work with a great humanistic message about the power of faith – a message which is more and more topical in today´s world.

Through his music, Martinů captures in an impressive way the story of a society that is manipulated, fanaticized and soon driven to the most horrific of acts. For their own comfort, the people of Lycovrissi sacrifice the innocent just so that they do not have to accept other citizens of their nation into their village, human beings who have lost their homes, and not through any fault of their own. The fact that they are all members of one nation makes the tragedy even greater. Personally, what interests me most about this story are the inner transformations of the people who are assigned parts in the passion plays. It is inspiring for me to watch how the individual characters identify themselves with their roles, how they cope with the weakness of the human ego and free themselves from it internally. I do not feel the need to update the plot of The Greek Passion by setting it in a refugee camp, for example. Bohuslav Martinů´s music is very inspiring, and for me this is a work of theatre poetry, a parable concerning a serious area of conflict in society as well as a hope that never ends. I do not wish to bludgeon the spectators with contemporary images, but I would like to lead them to awareness and hope via the timeless art of theatre.

 

Jiří Heřman

Martinů´s music springs from the places where he was born, and despite all his experience as a globetrotter and later as a forced emigrant, he always returned home to Polička, to the hills of the Czech highlands known as the Vysočina, and filled it with a deep understanding of everything that is hidden within a person. The Brno theatre is also connected with him and his art. His early ballets and operas were performed here for the first time, and Brno has never lost interest in its Martinů. Proof of this can be found in the fact that the Czechoslovak premiere of The Greek Passion was held here, and that the theatre also hosted the world premieres of operas performed after Martinů´s death, such as Three Wishes. This year, as we commemorate the 130th anniversary of the composer´s birth, his last opera The Greek Passion is returning to the Brno stage, directed by Jiří Heřman and performed under the baton of Robert Kružík.

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]]> 5. 10. 2020  Jenůfa (National Theatre Brno’s Janáček Opera & Karita Mattila) https://2020.janacek-brno.cz/en/opery/5-10-2020-jenufa-national-theatre-brnos-janacek-opera-londons-royal-opera-house/ Fri, 05 Oct 2018 14:25:42 +0000 https://2020.janacek-brno.cz/en/?p=3917 5. 10. 2020, 7 pm Janáček Theatre Author: Leoš Janáček Conductor: Marko Ivanovič Director: Martin Glaser Kostelnička: Karita Mattila Janáček Opera, National Theatre Brno Buy tickets Act 1 The beautiful Jenůfa waits, fearing that her beloved Števa has been taken off to join the army. She

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5. 10. 2020, 7 pm

Janáček Theatre

Author: Leoš Janáček
Conductor: Marko Ivanovič
Director: Martin Glaser
Kostelnička: Karita Mattila


Janáček Opera, National Theatre Brno

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SYNOPSIS

Act 1

The beautiful Jenůfa waits, fearing that her beloved Števa has been taken off to join the army. She is expecting his child, and his departure would jeopardise the forthcoming marriage. Števa’s stepbrother Laca also carries a flame for Jenůfa and asks her about Števa. The delighted Števa arrives with his friends and musicians at the mill – he has not been taken away and, together with the other recruits, celebrates their good fortune with drink. Jenůfa’s strict guardian Kostelnička sees the riotous company with Števa and announces in front of them all that she would only give her consent to a marriage between Jenůfa and Števa after a probation year, during which Števa would not be allowed to drink. Laca convinces Jenůfa that Števa loves her only because of her beauty, and during the argument he cuts her face with a knife.

Act 2

In fear of disgrace, Kostelnička hides Jenůfa in her home and claims to everybody that she has left for Vienna. In the meantime, Jenůfa has given birth to a son. Whilst Jenůfa is sleeping, Kostelnička humbles herself before Števa and begs him to marry Jenůfa. For Števa, however, Jenůfa’s scarred face has rendered her ugly, and besides, he is already engaged to the Mayor’s daughter. Laca arrives and asks Kostelnička to hand over Jenůfa to him. When Kostelnička gives away the secret to him that Jenůfa has given birth to Števa’s child, he is shocked. Seeing his doubts, Kostelnička in desperation lies that the child died immediately after the birth. As soon as Laca leaves, Kostelnička drowns the child in an icy river and convinces Jenůfa that she has slept for several days in a fever and the little boy has died in the meantime. The devastated Jenůfa agrees to a marriage with Laca.

Act 3

During the preparations for the wedding between Jenůfa and Laca the news breaks out that a dead child has been found in the river. Jenůfa recognises her little boy’s bonnet and the suspicion of murder falls upon her. Kostelnička admits her crime in front of the assembled guests. Before the Mayor leads her off to court, Jenůfa forgives her, for she understands that she did it out of love for her. Jenůfa does not believe that Laca would still want her and sends him away. However, Laca wants to stay by her side and promises that he will stay with her even when times are bad. Jenůfa realises that she has found her true love “and God is pleased with it”.

OPERA CAST LISTS

Author: Leoš Janáček

Conductor: Marko Ivanović

Director: Martin Glaser

Set Design: Pavel Borák

Costume Design: Markéta Sládečková

Lighting Design: Martin Špetlík

Choreography: Mário Radačovský

Dramaturgy: Olga Šubrtová

________________________

Buryjovka: Jitka Zerhauová

Laca Klemeň: Jaroslav Březina

Števa Buryja: Richard Samek

Kostelnička: Karita Mattila

Jenůfa: Pavla Vykopalová

Stárek: Jiří Sulženko

Rychtář: Ladislav Mlejnek

Rychtářka: Jarmila Balažová

Karolka: Tereza Kyzlinková

Pastuchyňa: Jitka Klečanská

Barena: Jana Hrochová

Jana: Martina Mádlová

Aunt: Ivona Špičková

Jenůfa is one of Janáček´s most famous works, and it marked a major turning point in his oeuvre. It has been on the repertoire of Brno’s opera ensemble almost continuously since its creation in 1904. At the festival, the successful production by Martin Glaser and chief conductor Marko Ivanović will be enhanced by the presence of an exceptional guest. One of the best singers of Janáček´s characters, and a star who has performed on many renowned opera stages around the world, Finnish soprano Karita Mattila will appear at the festival in the role of Kostelnička.

Jenůfa had its beginnings in a realistic drama penned by G. Preissová (1862-1946), which the composer himself adapted into the form of an opera libretto. Even though Janáček shortened the text of the drama significantly, he managed to make the tragic impact of the story from a Moravian village even deeper. The prodigal and unstable Števa, the stern but kind-hearted Laca and above all the relentless Kostelnička, whose efforts to maintain her position and respect in the village community leads her to murder the child of her foster daughter Jenůfa – these are the characters captured by Janáček in a masterful and dramatic portrait that sends chills down one´s spine while simultaneously awakening feelings of compassion and understanding.

The work on Jenůfa took Janáček nearly nine years. He completed the first act of the opera in 1897, while the second and third were created under circumstances that were greatly tragic for Janáček´s family. In 1902 the composer´s daughter Olga became seriously ill during a visit to Janáček´s brother in St. Petersburg. Janáček completed the second act of the opera after Olga´s return and the third shortly before her death in February 1903. He dedicated Jenůfa to her memory. Janáček wanted to entrust the premiere of the opera to the Prague National Theatre but he was refused with the words that the opera was not suitable to be shown on a leading Czech stage. The first performance thus took place in Brno on 21.1.1904 and was unusually successful. It was not until 1915 that the management of the Prague theatre and conductor Karel Kovařovic were finally persuaded to perform Jenůfa. After a very well-received Prague premiere in 1916, a performance followed in Vienna and Janáček finally found success as a composer not only in the Czech Republic but also worldwide.

Autor: Patricie Částková

The post <strong>5. 10. 2020</strong>  <br>Jenůfa (National Theatre Brno’s Janáček Opera & Karita Mattila) appeared first on FESTIVAL JANÁČEK BRNO 2020.

]]> 3. 10. 2020  Jenůfa (National Theatre Brno’s Janáček Opera & Karita Mattila) https://2020.janacek-brno.cz/en/opery/3-10-2020-jeji-partorkyna-premiera-londynska-kralovska-opera/ Wed, 03 Oct 2018 12:19:39 +0000 https://2020.janacek-brno.cz/en/?p=3449 3. 10. 2020, 7 pm Janáček Theatre Author: Leoš Janáček Conductor: Marko Ivanovič Director: Martin Glaser Kostelnička: Karita Mattila Janáček Opera, National Theatre Brno Repeat performance on 5. 10. 2020, 19:00 Buy tickets Act 1 The beautiful Jenůfa waits, fearing that her beloved Števa has been

The post <strong>3. 10. 2020</strong>  <br>Jenůfa (National Theatre Brno’s Janáček Opera & Karita Mattila) appeared first on FESTIVAL JANÁČEK BRNO 2020.

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3. 10. 2020, 7 pm

Janáček Theatre

Author: Leoš Janáček
Conductor: Marko Ivanovič
Director: Martin Glaser
Kostelnička: Karita Mattila


Janáček Opera, National Theatre Brno

Repeat performance on 5. 10. 2020, 19:00

Buy tickets

SYNOPSIS

Act 1

The beautiful Jenůfa waits, fearing that her beloved Števa has been taken off to join the army. She is expecting his child, and his departure would jeopardise the forthcoming marriage. Števa’s stepbrother Laca also carries a flame for Jenůfa and asks her about Števa. The delighted Števa arrives with his friends and musicians at the mill – he has not been taken away and, together with the other recruits, celebrates their good fortune with drink. Jenůfa’s strict guardian Kostelnička sees the riotous company with Števa and announces in front of them all that she would only give her consent to a marriage between Jenůfa and Števa after a probation year, during which Števa would not be allowed to drink. Laca convinces Jenůfa that Števa loves her only because of her beauty, and during the argument he cuts her face with a knife.

Act 2

In fear of disgrace, Kostelnička hides Jenůfa in her home and claims to everybody that she has left for Vienna. In the meantime, Jenůfa has given birth to a son. Whilst Jenůfa is sleeping, Kostelnička humbles herself before Števa and begs him to marry Jenůfa. For Števa, however, Jenůfa’s scarred face has rendered her ugly, and besides, he is already engaged to the Mayor’s daughter. Laca arrives and asks Kostelnička to hand over Jenůfa to him. When Kostelnička gives away the secret to him that Jenůfa has given birth to Števa’s child, he is shocked. Seeing his doubts, Kostelnička in desperation lies that the child died immediately after the birth. As soon as Laca leaves, Kostelnička drowns the child in an icy river and convinces Jenůfa that she has slept for several days in a fever and the little boy has died in the meantime. The devastated Jenůfa agrees to a marriage with Laca.

Act 3

During the preparations for the wedding between Jenůfa and Laca the news breaks out that a dead child has been found in the river. Jenůfa recognises her little boy’s bonnet and the suspicion of murder falls upon her. Kostelnička admits her crime in front of the assembled guests. Before the Mayor leads her off to court, Jenůfa forgives her, for she understands that she did it out of love for her. Jenůfa does not believe that Laca would still want her and sends him away. However, Laca wants to stay by her side and promises that he will stay with her even when times are bad. Jenůfa realises that she has found her true love “and God is pleased with it”.

OPERA CAST LISTS

Author: Leoš Janáček

Conductor: Marko Ivanović

Director: Martin Glaser

Set Design: Pavel Borák

Costume Design: Markéta Sládečková

Lighting Design: Martin Špetlík

Choreography: Mário Radačovský

Dramaturgy: Olga Šubrtová

________________________

Buryjovka: Jitka Zerhauová

Laca Klemeň: Jaroslav Březina

Števa Buryja: Richard Samek

Kostelnička: Karita Mattila

Jenůfa: Pavla Vykopalová

Stárek: Jiří Sulženko

Rychtář: Ladislav Mlejnek

Rychtářka: Jarmila Balažová

Karolka: Tereza Kyzlinková

Pastuchyňa: Jitka Klečanská

Barena: Jana Hrochová

Jana: Martina Mádlová

Aunt: Ivona Špičková

Jenůfa is one of Janáček´s most famous works, and it marked a major turning point in his oeuvre. It has been on the repertoire of Brno’s opera ensemble almost continuously since its creation in 1904. At the festival, the successful production by Martin Glaser and chief conductor Marko Ivanović will be enhanced by the presence of an exceptional guest. One of the best singers of Janáček´s characters, and a star who has performed on many renowned opera stages around the world, Finnish soprano Karita Mattila will appear at the festival in the role of Kostelnička.

Jenůfa had its beginnings in a realistic drama penned by G. Preissová (1862-1946), which the composer himself adapted into the form of an opera libretto. Even though Janáček shortened the text of the drama significantly, he managed to make the tragic impact of the story from a Moravian village even deeper. The prodigal and unstable Števa, the stern but kind-hearted Laca and above all the relentless Kostelnička, whose efforts to maintain her position and respect in the village community leads her to murder the child of her foster daughter Jenůfa – these are the characters captured by Janáček in a masterful and dramatic portrait that sends chills down one´s spine while simultaneously awakening feelings of compassion and understanding.

The work on Jenůfa took Janáček nearly nine years. He completed the first act of the opera in 1897, while the second and third were created under circumstances that were greatly tragic for Janáček´s family. In 1902 the composer´s daughter Olga became seriously ill during a visit to Janáček´s brother in St. Petersburg. Janáček completed the second act of the opera after Olga´s return and the third shortly before her death in February 1903. He dedicated Jenůfa to her memory. Janáček wanted to entrust the premiere of the opera to the Prague National Theatre but he was refused with the words that the opera was not suitable to be shown on a leading Czech stage. The first performance thus took place in Brno on 21.1.1904 and was unusually successful. It was not until 1915 that the management of the Prague theatre and conductor Karel Kovařovic were finally persuaded to perform Jenůfa. After a very well-received Prague premiere in 1916, a performance followed in Vienna and Janáček finally found success as a composer not only in the Czech Republic but also worldwide.

Autor: Patricie Částková

The post <strong>3. 10. 2020</strong>  <br>Jenůfa (National Theatre Brno’s Janáček Opera & Karita Mattila) appeared first on FESTIVAL JANÁČEK BRNO 2020.

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