česká hudba | czech music


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270 items

anniversaries 2018


    (* 13.7.1958 Pardubice)

    český operní pěvec - bas

    Czech bass singer

    He studied contrabass at the Conservatory in Prague, then later singing. From 1981, he was a member of the orchestra of the National Theatre in Prague. From 1985, he was engaged as a bass vocalist in Olomouc, than in Brno from 1989 to 1994. Since 1994, he has been singing in the National Theatre in Prague, and he is also a permanent guest vocalist at the State Opera in Prague. He sings a large repertoire and he is very flexibile artist. His repertoire includes: Leporello in Mozart´s Leporello in Don Giovanni, Figaro in Figaro´s Marriage and Papageno in The Magic Flute; Don Pasquale in Rossini´s The Barber from Sevilla, Zachariáš in Verdi´s Nabucco, Gremin in Tschaikowski´s Eugen Onegin, Pimen in Musorgski´s Boris Godunov, Daland in Wagner´s The Flying Dutchman, Kecal in Smetana´s The Bartered Bride, Rarach in The Devil Wall, Chrudoš in Libusse; Water Sprite in Dvořák´s Rusalka, Game Warden in Janáče´s The Cunning Litlle Vixen and others.

  • Karel HÁBA

    (* 21.5.1898 Vizovice - † 21.11.1972 Praha)

    český skladatel, houslista a pedagog

    Czech composer, violist and pedagogue

    He is a brother of composer Alois Hába. He was originally a teacher. During his teaching practice, he studied violin and composition at the Prague Conservatory (composition with Jaroslav Křička, Josef B. Foerster and in the master class with Vítězslav Novák). After state his teaching exam, he worked at the Pedagogical Institute from 1922 to 1927, and later as the editor in the Czech Radio where he devoted himself to broadcasting for schools. In 1945, he founded the Children Radio Choir. From 1952, he taught at the Pedagogical University in Prague and he wrote some pedagogical works such as Modern Violin Technique (1927, 1928), Methodology of Music Education (1953, 1957). He worked in the society Art Party (Umělecká Beseda) in Prague, he performed as a violist and chamber player. He wrote many piano and chamber compositions, choirs, songs, orchestral compositions (2 symphonies, violin concert), cantata, opera Jánošík, 1934, Old History (comp.during 1935-37), Kaliba´s Crime (1968 Košice) and childre opera About Smolíček (1950 Czech Radio).

  • Beno BLACHUT

    (* 14.6.1913 Ostrava - † 10.1.1985 Praha)

    český operní pěvec - tenor

    Originally an ironworker, Beno Blachut studied singing at the Prague Conservatory with Louis Kadeřábek, anda drama with Ferdinand Pujman. From 1939 to 1941 he was engaged in Olomouc where he debuted as Jeník in Smetana's The Bartered Bride. Between 1941 and 1985, he worked in the National Theatre in Prague where he was the first tenor many years. He began in the roles of lyrical tenor, but his excellent technique and his voice's dark sound quality allowed him to sing dramatic roles. Blachut was a well-balanced actor. He was rarely a guest singer on foreign stages (such as Vienna, Amsterdam, Helsinki), he preferred Czech stages and Czech operas such as Prince in Dvořák's Rusalka, Lukáš in Smetana's The Kiss, Laco in Janáček's  Jenůfa, Boris in Janáček's Káťa Kabanová, Mánek in Foerster's Eva, Kozina in Kovařovic's The Dogheads [Psohlavci] or Ondrej in Suchoň's Krútňava. He was also an excellent Belmonte in Mozart's Abduction from the Seraglio, Lenskij in Tchaikovsky's  Eugen Onegin, Otello or Radames in Verdi's Otello and Aida, Walter Stolzing and Erik in Wagner's Mastersingers of Nuremberg and The Flying Dutchman. At the end of his career, he preferred character and comic roles such as Benda in Dvořák's The Jacobin, Skřivánek in Smetana's The Secret, Michálek in Smetana's The Devil Wall. Brouček in The Excursions of Mr. Brouček by Janáček as well as others.

  • Václav TALICH

    (* 28.5.1883 Kroměříž - † 16.3.1961 Beroun)

    dirigent a houslista

    Czech conductor and violinist

    He studied violin at the Prague Conservatory, in 1903 he became a member of Berliner Philharmoniker. From 1904, he worked as a violinist, teacher and conductor in Odessa and Tbilissi, and later in 1906-7 in Prague. From 1908 to 1912, he conducted the Slovenian Philharmonic and Opera in Lublana. During this time, he completed a short residency with Max Reger, Arthur Nikisch and Artur Vigny [Arturo Vigna]. Between 1912 and 1915, he was the Head of the Opera stage in Pilsen. He conducted the first concert of Czech Philharmonic Orchestra in 1917, between 1919 and 1941, he was the chief of this orchestra with the two-years interruption between 1931 and 1933, when he worked in Stockholm. From 1936 to 1945, he was the chief of the Czech Opera of the National Theatre in Prague. After the War, he was unjustifiably persecuted for his alleged collaboration. In 1946, he established a chamber orchestra, between 1949 and 1952, he worked in Bratislava, in 1954 he conducted for the last time in Prague. He has belonged to the famous conductors of his time with Romantic style of orchestral sound. He performed primarily Czech music (Antonín Dvořák, Vítězslav Novák, Leoš Janáček and Bedřich Smetana). He was a close friend of the composer Josef Suk and conducted many premieres of other contemporary Czech composers such as Martinů, Jeremiáš, Jirák and Bořkovec. He performed very often the works by Gustav Mahler (he also adopted revisions of Beethoven´s compositions by Mahler). He preferred specializing with perfect interpretation to a larger repertoire. He conducted the Czech Philharmonic Orchestra on several tours that contributed to the famous name of this orchestra.

  • Václav TALICH

    (* 28.5.1883 Kroměříž - † 16.3.1961 Beroun)

    dirigent a houslista

    Czech conductor and violinist

    He studied violin at the Prague Conservatory, in 1903 he became a member of Berliner Philharmoniker. From 1904, he worked as a violinist, teacher and conductor in Odessa and Tbilissi, and later in 1906-7 in Prague. From 1908 to 1912, he conducted the Slovenian Philharmonic and Opera in Lublana. During this time, he completed a short residency with Max Reger, Arthur Nikisch and Artur Vigny [Arturo Vigna]. Between 1912 and 1915, he was the Head of the Opera stage in Pilsen. He conducted the first concert of Czech Philharmonic Orchestra in 1917, between 1919 and 1941, he was the chief of this orchestra with the two-years interruption between 1931 and 1933, when he worked in Stockholm. From 1936 to 1945, he was the chief of the Czech Opera of the National Theatre in Prague. After the War, he was unjustifiably persecuted for his alleged collaboration. In 1946, he established a chamber orchestra, between 1949 and 1952, he worked in Bratislava, in 1954 he conducted for the last time in Prague. He has belonged to the famous conductors of his time with Romantic style of orchestral sound. He performed primarily Czech music (Antonín Dvořák, Vítězslav Novák, Leoš Janáček and Bedřich Smetana). He was a close friend of the composer Josef Suk and conducted many premieres of other contemporary Czech composers such as Martinů, Jeremiáš, Jirák and Bořkovec. He performed very often the works by Gustav Mahler (he also adopted revisions of Beethoven´s compositions by Mahler). He preferred specializing with perfect interpretation to a larger repertoire. He conducted the Czech Philharmonic Orchestra on several tours that contributed to the famous name of this orchestra.

  • František JÍLEK

    (* 22.5.1913 Brno - † 16.9.1993 Brno)


    Czech conductor

    He studied composition at the Conservatory in Brno with Jaroslav Kvapil and Zdeněk Chalabala and in the master class of the Conservatory with Vítězslav Novák. From 1933 to 1938, he worked as a teacher and choirmaster of the Brno Assembly, from 1937 to 1939 as a répétiteur and conductor of Brno Opera, from 1939 to 1948 as a conductor of the Opera in Ostrava. From 1948 to 1978 he again worked again in Brno as a conductor and chief of opera, from 1978 as a chief conductor of the Brno Philharmonic Orchestra. From 1962, he taught at the Janáček Academy of Performing Arts. He continued as an opera conductor following the Brno´s tradition of performing of Janáček compositions (i.e. in 1958, the scenic premiere of opera The Fate in the arrangement by Václav Nosek). He studied a large classical and modern repertoire (Martinů: Greek Passion (1962), Prokofiev: A Flaming Angel (1963) and others). He was a versatile musician, he was also a composer, good improviser and a pianist. He conducted very precisely and logically. The Brno Opera reached an internatinal level under his baton. He guested on many foreign stages primarily with Janáček´s work among others in Dresden, Leipzig, Perugia, Florence, Vienna, Geneve, Oslo and Moskow.

  • František PREISLER

    (* 23.10.1973 Olomouc)

    dirigent a varhaník

    Czech conductor and organist

    He is the son of director František Preisler. He studied organ at the Brno Conservatory, singing privately, composition and playing trombone and conducting at the Janáček Academy of Arts. In 1996, he graduated from the conducting course in Vienna with J. Kalmar. In 1990, he worked as répétitor and from 1991, he was the conductor of the Brno opera, from 1993, the chief conductor of the Music Theatre in Karlin, where he prepared the Czech premiere of musical by A. Loyd Webber Jesus Christ Superstar (1994). Since 1995, he has been working as a conductor of the National Theatre in Prague. He studied such operas as Shostakovich´s The Lady Macbeth Mcenskogo ujezda (2000), Adams´s The Death of Klinghoffer (2003). He is a versatile musician, arranger and concert conductor.

  • Ivo ŽÍDEK

    (* 4.6.1926 Kravaře - † 19.5.2003 Praha)

    český operní pěvec - tenor

  • Růžena MATUROVÁ

    (* 2.9.1869 Praha - † 25.2.1938 Praha)

    česká operní pěvkyně - soprán

    Czech soprano

    She studied in the Pivoda School of Vocalists, later with Eduard Stolz and with the married couple of Thomas Löwe and Marie Dreger-Destinn (1889–90). From 1889 to 1990, she was engaged in Teplice (she debuted as Pamina in Mozart´s The Magic Flute), from 1890 to 1893, she performed in Mannheim where she studied 14 great roles. In the summer of 1893, she performed briefly with the Society of Adolf Baumann on the stage in Berlin (as Mařenka in Smetana´s The Bartered Bride with Karel Burian). From 1893 to 1909, she was engaged in the National Theatre in Prague as the first soprano. She had a perfect technical education, full voice and dramatic talent. She was one of the most famous Czech singers of all times. She performed many premieres of Czech operas including Miranda in Fibich´s The Tempest (1895), Hedy in Fibich´s Hedy (1896), Šárka in Fibich´s Šárka (1897), Eva in Foerster´s Eva (1899), Dvořák´s Rusalka (1901), Armida (1904), Vlasta in Ostrčil´s The Death of Vlasta (1904). She emerged fully in the international repertoire such as Donna Anna in Mozart´s Don Giovanni, Leonora in Beethoven´s Fidelio, Desdemona, in Verdi´s Otello, Santuzza in Mascagni´s Cavalleria rusticana, Carmen in Bizet´s Carmen, Elsa and Ortrude in Wagner´s Lohengrin; she was the first Puccini´s Tosca (1903). She performed in the Czech theatres in the cities of Pilsen, Olomouc, and Brno as well as in foreign theatres (1899 in Warszaw, 1903 tour in USA). She devoted herself to the pedagogical activities, following her departure from the National Theatre, she founded the school for vocalists (Marie Krásová was one of her pupils).

  • Emmy DESTINN

    (* 26.2.1878 Praha - † 28.1.1930 České Budějovice)

    česká operní pěvkyně - dramatický soprán

    By his own name Emilie Paulina Věnceslava Kittlová.

    She was the dauther of the art subscriber Emanuel Kittl (1844-1911). From her childhood, she obtained very good musical education and played many instruments. From 1892 to 1896, she was educated by the couple of Thomas Löwe and Marie Destinn-Löwe (*1840 in Lvov, †1921 in Prague) and adopted her name as a pseudonym. She studied dramatic with Otilie Sklenářová-Malá. In 1897, she was refused at the Prague National Theatre, after in Dresden and Berlin (Theater des Westens). In 1898, she was engaged by Karl Muck to the Berlin Court Opera where she debuted in the role of Santuzza in Mascagni's Cavalleria rusticana. In 1908, she received the title of Prussian Chamber Singer [Preussische Kammersängerin]. She performed approximately 40 operas in Berlin. Between 1901-1902, she performed the role of Senta in Wagner's The Flying Dutchman in Bayreuth on the recommendation of Karl Muck. She was a guest singer at the Prague National Theatre and in 1913 sang Smetana's Libusse for first time.

    In 1908, she was pronounced an honorary member of the National Theatre. In 1904, she made her debut in Covent Garden in London as Donna Anna in Mozart's Don Giovanni. Here, she performed a total of 11 seasons, among others in the London's premiere of Puccini's Madame Butterfly. From 1908 to 1916 she worked at the Metropolitan Opera in New York where she debuted as Verdi's Aida. Here, she sang under the baton of Artur Toscanini with Enrico Caruso (1910).

    She strived to the staging of Czech operas in America, but was only successful in Smetana's The Bartered Bride in 1909 (conducted by G. Mahler). She was a guest vocalist in Chicago, Baltimore, Boston, Philadelphia and other cities. She has almost 70 roles in her repertoire. In 1916, after returning home, she was suspected of collaborating with the anti-Austrian revolt and was interned in the castle Stráž nad Nežárkou. After 1918, she succeeded in conducting three American tours. She later performed primarily concerts (in 1918–1925 in Pilsen, Brno, Ostrava, Bratislava, and Olomouc). She taught irregularly from 1913 and never acquired a permanent teaching position at the Prague Conservatory. She is one of the must famous vocalists of her time, not only due to the quality of her voice but also because of her personality. She was also active in the field of literature, and wrote several poems or novels.

  • Miloslav KABELÁČ

    (* 1.8.1908 Praha - † 17.9.1979 Praha)

    český skladatel

    In 1926 he entered Prague Technical University but did not finish his studies there. He took private piano lessons from Mikeš and from 1928 studied at the Prague Conservatory - composition with K.B.Jirák, conducting with Dědeček, counterpoint and new composition techniques with Hába and instrumentation with Schulhoff. In 1931-34 he attended V. Kurz's piano masterclass at the Conservatory.

    From 1932 to 1941 Kabeláč worked as a recording director for Prague radio. He became recognized conductor, particularly of the 20th-century music. During the WWII he had to leave the position in radio because of his wife's Jewish origin. He returned there after the war and stayed until 1957. In 1958-62 he taught composition at the Prague Conservatory - his pupils included Ivana Loudová, Jaroslav Krček, Zdeněk Lukáš, Lukáš Matoušek, or Jan Málek.

    As a protest against Czechoslovakia's occupation by Nazi Germany he composed the cantata Neustupujte (Do not Retreat!, 1939) which was his first outstanding work. He used the texts of several folk songs from K. J. Erben's collection from the time of the Prussian invasions of Bohemia in the mid-18th century, and the famous 15th-century Hussite chorale Ktož sú boží bojovníci (Ye Who Are God's Warriors). The cantata is dedicated "To the Czech people" and it is one of the most personal and most effective of Kabeláč's compositions.

    He was very interested in Gregorian chant and non-European musical culture - e.g. in the Cizokrajné motivy for piano (Motifs from Foreign Countries, 1958-59). Many of his works are inspired by folk music - but as with other sources of inspiration he used his own way of interpretation. Among these works are the Milostné písně (Love Songs, 1955), and the Šest ukolébavek (Six Lullabies, 1956).

    Kabeláč used many elements of the New Music, from twelve-tone composition and emphasis on timbre to aleatoric, specific, and electronic music. He was in active contact with contemporary music (ISCM festivals, Warsaw Autumn etc.). He was also very active head of the Committee for electronic music which was found in Czechoslovakia in 1961.

    All his life he had a special liking for percussion instruments. After the cantata "Do Not Retreat!" and the Symphony No. 1 in D for strings and percussions (1941-42), he composed his famous Eight Inventions for Percussion Instruments (six players) for the ensemble Les Percussions de Strasbourg. "Inventions" in the title refers to Bach's formal investigation and polyphonic keyboard writing. This work received its first performance by Les Percussions de Strasbourg on 22 April 1965 as the music for Manuel Parres's ballet, Le Minotaure, and then it has been very successful internationally, performed very often by many percussion-instrument groups as well as ballet ensembles (e.g. New York ballet group of Alvin Ailey). Les Percussions de Strasbourg inspired also the Osm ricercarů pro bicí nástroje (Eight ricercari for Percussion Instruments, 1966-67).

    Notable is also the Symphony No. 8 "Antiphonies" for soprano, mixed choir, percussion instruments and organ (1970). This symphony is written in five movements and four interludes on the words from the Bible and is dedicated to Strasbourg town. The title "Antiphonies" came from the special position of four performers. This work was together with 8 Inventions and two notable Kabeláč's organ compositions Dvě fantazie (Fantasia for organ G minor and D minor, 1957-58) and Čtyři preludia (Four preludes, 1963) heard at a concert entitled "A tribute to Miloslav Kabeláč" in St. Paul church in Strasbourg on 15.6.1971. This concert was organised by two Kabeláč's friends - Pierre Stoll, conductor of the Strasbourg Municipal Orchestra, and Pierre Nardin, a professor at the Conservatory and organist of St. Paul. The composer wasn't allowed to attend this concert by the Czechoslovakian regime.

    After war Kabeláč concentrated mainly on large symphonic works. From his symphonies (each of his 8 s. is written for a different combination of instruments): No. 3 for organ, brasses and timpani (1948-57), No. 4, "Chamber Symphony" (1954-58), No. 5, "Dramatic", for soprano without text, and orchestra (1960), No. 6 "Concertante", for clarinet and orchestra (1961-62), Symphony No. 7 for orchestra and reciter on the composer's text after the Bible (1967-68), written for Baden Baden orchestra. Other important orchestral works are the symphonic passacaglia Eufemias Mysterion (The Mystery of Silence, 1965) for soprano and chamber orchestra, to composer's own words in Classical Greek, Hamletovská improvizace (Hamlet Improvisation, 1962-63), reflecting the 400th anniversary of Shakespeare's birth, and Zrcadlení (Reflections, 1963-64), nine miniatures using various composition techniques.

    His last, monumental works are inspired by Czech history. The six-movement electronic composition E fontibus Bohemicis - Six tableaux from Czech annals (1965-72), with the sound of the bell Zikmund (the biggest bell of Prague), and the Proměny I, II (Metamorphoses), the first version for female speaker, barytone, male chorus and mixed chorus finished in 1978, and the second version for piano and orchestra finished in 1979. The Metamorphoses are both based on the oldest Czech chorale Hospodine, pomiluj ny (Lord, have mercy on us).

    Kabeláč composed also many chamber works - Passacaglia TGM (1937) or 8 preludes for piano (1955-56), Sonatina for oboe and piano (1955), Ballad for violin and piano (1956) or Suite for saxophone and piano (1959), choruses - 6 male choruses, 1939-40) on words by Jiří Wolker, Modré nebe (Blue Sky, 1950), children's chorus on the poetry by František Hrubín, or Přírodě (To Nature, 1957-58), children's chorus on the words of folk poetry, and also some incidental music.

    Composer and conductor Jaroslav Krček, a pupil of Kabeláč, wrote this about his teacher's music: "It is music arriving from a space pervaded by goodness and love. Such music is much needed. It inspires a search for truth because it is truthful itself. It is enchanting, because it is pure. It stimulates the taking of stands, because it takes a stand itself. This is exactly what its composer was like."

    Links: www.musica.cz

    P. Nardin and M. David: Miloslav Kabeláč ou le salaire de l'honneur


    Love Song [Milostna]
    Prague Radio Choir, Milan Maly
    Prague Radio Symphony Orchestra, Josef Hrncir

    CD Radioservis

    Love Songs [Milostne pisne], Op. 25
    Kristyna Valouskova - soprano, Edita Adlerova - alto, Petr Matuzsek - baritone, Petr Jirikovsky - piano
    Petr Bernasek - violin, Barbora Vachalova - harp, Kamil Dolezal - clarinet, artistic leader, Jiri Richter - viola, Jiri Hudec - double bass, Hanus Barton - piano, Miroslav Kejmar - percussion

    CD Oliverius

    Mystery of Time - Passacaglia for Large Orchestra, Op. 31 (1953-1957)
    Hamlet Improvisation for Large Orchestra, Op. 46 (1962-1963)

    Jiri Reinberger - organ, Bedrich Dobrodinsky - harp, Robert Mach - timpani
    Czech Philharmonic Orchestra, Karel Ancerl
    Golden Harmony Award 2002

    CD Supraphon

    Seven Compositions for Piano, Op. 14 (1946)
    Passacaglia T. G. M., Op. 3 (1937)
    Motifs from Exotic Lands, Op. 38 (1959)
    Eight Preludes,Op. 30 (1956)

    Daniel Wiesner - piano
    CD Panton

    Sonata for Cello and Piano, Op. 9
    Daniel Veis - cello, Helena Veisova - piano
    CD Panton

    Symphony No. 4 in A major, Op. 36 "Camerata"
    Euphemias Mysterion for Soprano and Chamber Orchestra, Op. 50
    Do not Retreat! Cantata for Male Chorus, Wind and Percussion Instruments, Op. 7
    6 Cradle-songs for Contralto, Female Chorus and Instrumental Ensemble, Op. 29, Reflections, 9 Miniatures for Orchestra, Op. 49

    CD Supraphon

    Two Fantasias, Op. 32
    Four Preludes, Op. 48

    Jan Hora, Petr Cech - organ
    CD Vixen

  • Jan ZACH

    (* 13.11.1699 Čelákovice - † 24.5.1773 Ellwangen)

    český skladatel a varhaník

    Czech composer

    The entire course of his life is not well known. From 1724, he lived in Prague, where he was a pupil of Bohuslava M. Černohorský. After 1725, he worked as an organist and violinist in choirs of many Prague churches, such as St. Jacob-St. Gallus, St. Martin, St. Simon and Juda. In 1737, he didn´t receive the position of choirmaster in the Metropolitan St. Vitus Cathedral, and thus moved to Germany. Between 1745 to 1750, he worked as a Kapellmeister of the Kurfürst Johann Friedrich Karl von Ostein in Mainz. Due to personal conflicts, he was suspended in 1750, and later in 1756 fired. He didn´t received more stabile employment and worked as a teacher and musician in many places and cloisters troughout Germany. He belongs to the Pre-Classicstical composers. In his work, we can discern rudiments of classical forms, abundant chromatic and inspiration in German and Czech folklore. He wrote approximately 40 masses, 4 requiems, offertories, spiritual arias, hymns, motets and 36 symphonic works – concerts, symphonies, many chamber music’s and compositions for solo instruments. His compositions were often copied. Some of these were printed prior to 1800.

  • Alena MÍKOVÁ

    (* 21.11.1928 Praha - † 26.4.2014 Praha)

    česká operní pěvkyně - soprán

    Czech soprano

    She studied singing privately and debuted as the Foreign Ducheness in Dvořák´s Rusalka at the Prague Singspiel (Pražská zpěvohra) in 1952. From 1954, she was engaged in Ústí nad Labem, and later from 1957 to 1988 in the Prague National Theatre. Her expressive soprano voice exuded its rich dark hues primarily in the dramatic roles of contemporary operas. She guested at the State opera in Berlin, the State opera in Vienna, as well as in opera houses in Marseille, Dublin and other cities. Her repertoire includes Miladana in Smetana´s Dalibor, Libusse, Jenůfa and Kostelnička in Janáček´s Jenůfa, Emilia Marty in The Macropulos Case; Tosca in Puccini´s Tosca, Senta in Wagner´s The Flying Dutchman, Brünnhilda in Walkyre; Strauss´s Salome and Elektra; Šárka in/Fibich´s Šárka, Maryša in Burian´s Marysa, Leonora in Beethoven´s Fidelio, Marie in Berg´s Woyzzek, Catherine in Shostakowitz´s Katerina Izmailova, Woman in monodrama Woman Voice by Francis Poulenc as well as role in the Schönberg´s Expectation (Brno, 1969).


    (* 28.4.1943 Plzeň)

    česká operní pěvkyně - soprán

    She studied at the Conservatory, then later at the Academy of Performing Arts in Prague with Theodor Šrubař. During her studies she performed at the Theatre in Karlín. From 1965, she also performed in the Prague Chamber Opera and from 1967 to 1970 in Liberec. From the year 1973 she was a member of the National Theatre in Prague. She asserted herself especially in coloratura and lyrical soprano roles and she created many characters such as Mozart's Zuzana in Figaro Marriage, Fiordiligi in Così fan tutte, Quenn of the Night in The Magic Flute, Rosina in Rossini's The Barber of Seville, Norina in Donizetti's Don Pasquale; her roles from Verdi operas include Gilda in Rigoletto, Violetta in La Traviata, further i.e. Karolina in Smetana's Two Widows, Olympia in Offenbach's The Tales of Hoffmann, Zerbinetta in Strauss's Ariadne on Naxos and others. She has performed at the State Opera in Berlin, and since 1975 also im Amsterdam, in Bruxelles, Salzburg, Dresden, Edinburgh, Madrid, Moscow, Strasbourg and other places. She is currently teaching at the Academy of Performing Arts in Prague.

  • Music Information Center

    (* 1.9.1998 Praha)

  • Ilja HURNÍK

    (* 25.11.1922 Ostrava - † 7.9.2013 Praha)

    český skladatel, klavírista, spisovatel a pedagog


    (* 28.4.1911 Vysoké Mýto - † 16.1.2003 Praha)

    česká operní pěvkyně - soprán


    She was the wife of Jroslav Krombholz, conductor of the National Theatre. She studied music in Vienna, singing in Milan and Prague with Professors L. Ripper and F. Carpi. During the years 1936–73, she was a fundamental personality of the ensemble of the National Theatre in Prague where she studied about fifty roles of classical authors such as Mozart, Verdi, Strauss, Smetana, Dvořák. She also sang in the operas of contemporary music i.e. operas of Pavel Bořkovec, Otakar Ostrčil and Bohuslav Martinů (Julietta in 1963). She has a flexible coloratura soprano and the attractive image. From 1933 to 1935 she played in some films. She guested in many foreign countries and sang in oratorios and song-concerts. She recorded many compositions for Supraphon label and a Radio.

  • Leopold KOŽELUH

    (* 26.6.1747 Velvary - † 7.5.1818 Vídeň)

    český skladatel a pedagog

    Czech composer and pedagogue

    He came from a musical family. He studied high school and philosophy in Prague, music with his cousin Jan Antonín Koželuh and also with František Xaver Dušek. After his first successes with ballet music he left his law studies and settled in Vienna (1778) where he asserted himself very early as a pianist, teacher and composer. In 1792 after Mozart´s death, he was named a court composer and chamber Kapellmeister. He also worked as a pedagugue. He wroted approximately 40 piano concerts, 60 sonatas, 30 symphonies, serenades, songs, choir compositions, 2 oratorios, 6 operas (mostly have not survived). His compositions have been published in smaller collections.

  • Karel ANČERL

    (* 11.4.1908 Tučapy - † 3.7.1973 Toronto)

    český dirigent

    At the Conservatory in Prague he studied conducting with P. Dědeček and V. Talich, the composition with J. Křička and A. Hába (in 1931 he prepared the world premiere of Alois Hába´s Mother with Hermann Scherchen in Munich and received an award for the production from the International Society for Contemporary Music. From 1931 to 1933 he worked as a conductor at the Prague Free Theatre (Osvobozené divadlo), from 1933 to 1938 he was a conductor of the Prague Radio Orchestra. From 1942 to 1945 he was deported to the Theresienstadt´s Ghetto for racial reasons. Here, he belonged to the most active organisers of culture life. In 1944, he survived the transport to Auschwitz in 1944. From 1945 to 1947 he worked in the newly established ensemble of the Great Opera of 5th May in Prague. Here, he conducted the Czech premiere of Hába´s opera Mother. In 1947 he became a conductor of the Prague Radio Orchestra, form 1950 to 1968 he remained the artistic director and chief-conductor of the Czech Philharmonic Orchestra. After 1968 he worked as the chief-conductor of the Toronto Symphony Orchestra. His conducting style was modern and matter-of-fact; the music of 20th Century (Schönberg, Bartók, Stravinsky, Prokofiev, Britten) preoccupied him. He enriched the repertoire of the Czech Philharmonic Orchestra. He became a devoted performer of Janáček´s and Martinů´s works. He worked with orchestra very intensively and at great length. He helped to establish the prestige of the Czech Philharmonic Orchestra in foreign countries such as Australia, China, India to name a few. He recorded many albums for the Supraphon label.

  • Břetislav BAKALA

    (* 12.2.1897 Fryšták - † 1.4.1958 Brno)

    český dirigent, klavírista a skladatel

    He studied conducting at the Brno Conservatory with František Neumann, composition with Leoš Janáček at the organ school, from 1922 to 1923 he continued his studies at the Master school at the Conservatory. From 1920 to 1925 and from 1929 to 1931 he worked as a conductor of the National Theatre in Brno. From 1925 he worked for a short time as an organist in Philadephia in USA, from 1926 he became a pianist and conductor of the Czech Radio Orchestra in Brno (from 1937, he was the chief-conductor). In 1951 he began teaching at the newly founded Janáček Academy of Performing Arts. From 1956 he worked as a director and conductor of the Philharmonic Orchestra Brno. Bakala's interest was concentrated on the works of Janáček. In 1921 he staged the premiere of The Diary of a Man Whom Disappeared, in 1930 he conducted the premiere of the opera From the Death House in Brno. He finished this opera in cooperation with Osvald Chlubna. He studied also Janáček's seldom performed operas The Beginning of a Novel (1931) and Fate (1934). He made the piano abstracts of his works. He edited the arrangements of Moravian folk songs. His wife, soprano Marie Bakalová-Šíšová (1904-1992) was a member of the Brno Opera (1918-1925) as well as a concert singer.

  • Libuše MÁROVÁ

    (* 24.12.1943 Sušice)

    česká operní pěvkyně - mezzosoprán, alt

    Czech mezzo-soprano

    She studied at the Prague Academy of Performing Arts with Přemysl Kočí, and later privately. From 1965 to 1966, she performed in Pilsen (she debuted as Vlasta in Fibich´s Šárka). From 1966, she was engaged in the National Theatre in Prague. She studied the repertoire of many different styles and has performed roles such as Radmila in Smetana´s Libusse, Panna Róza in Smetana´s The Secret, Cherubin in Mozart´s Figaro´s Marriage, Dorabella in Mozart´s Cosi fan tutte; Wagner´s Fricka and Erda in The Ring of Niebelung, Olga in Tschaikovsky´s Eugen Onegin, Carmen in Bizet´s Carmen, Eboli in Verdi´s Don Carlos, Witch in Dvořák´s Rusalka, Donna Isabela in Fibich´s The Bride of Messina, Judith in Bartok in The Castle of the Blue-Beard and others. She has been guest performer on stages including among others in the Komische Oper in Berlin (1970–77), Oslo (1969–72), Amsterdam (1975–79), Madrid (1997), and Lisbon (2000) and many other places.

  • Zdeněk KOŠLER

    (* 25.3.1928 Praha - † 2.7.1995 Praha)

    český dirigent

    Czech conductor

    He came from a musical family. From 1944 to 1945, he was imprisoned in the Theresinestadt Ghetto. From 1947, he studied music theory and composition with Otakar Jeremiáš, piano with Erna Grünfeldová, composition with Jaroslav Řídký, conducting with Pavel Dědeček and from 1948 tp 1952 with Metod Doležil, Karel Ančerl and Robert Brock at the Academy of Performing Arts From 1948 to 1958, he was engaged at the National Theatre, first as a répétiteur, later as a conductor. During this time, he conducted his first concerts in Prague with the Prague Symphony Orchestra FOK. In 1956, he was awarded in a conducting competition in Besançon. From 1958 to 1962, he worked as a chief of Opera in Olomouc, from 1962 to 1966 in Ostrava. As a result of his award in the competition of Dimitri Mitropoulos in New York in 1963, he worked for one season as Leonard Bernstein´s assistent in the New York Philharmonic. From 1965, he guested at the Komische Oper in Berlin and later bacame chief conductor from 1967 to 1968. From 1971 to 1976, he worked as a chief conductor of the Slovakian National Theatre in Bratislava. He was a conductor of the Czech Philharmonic Orchestra (from 1976), the head of the opera department of the National Theatre in Prague (1980-85), the chief conductor (1987-92) and later guest conductor of this theatre. He guested in many European, North American and Japan cultural centres. He became noticed due to his detailed work with orchestra, and with his attentive conducting of singers towards a realistic dramatic expression. He studied new works very quickly yet conscientiously (he performed many premiere of Czech contemporary music). He had an extraordinary memory, which helped him to retain a large repertoire, primarily the entire operatic work of Smetana, Dvořák, Fibich and Janáček). He belonged to the must famous conductors of his generation.


    (* 28.6.1933 Praha)

    česká operní pěvkyně - soprán

    Czech soprano

    She studied at the Prague Conservatory and at the Academy of Performing Arts. During her studies in 1953, she was a guest performer in the National Theatre in Prague as Barče in Smetana´s The Kiss. From 1954 to 1956, she performed in Ostrava and from 1956 to 1991 in the National Theatre in Prague. Due to her slim figure and artistic talent, she was also able to perform also boys´s and physically demanding roles such as Bystrouška in The Cunning Little Vixen, Aljeja in From the Death House; Little Cook in Dvořák´s Rusalka, Petřík in Novák´s The Small Devil from Zvíkov. Her soft soprano voice has provided her with opportunity to perform coloratura and lyrical roles such as Mozart´s Zuzana in The Figaro´s Marriage, Zerlina in Don Giovanni, Despina in Cosi fan tutte, Papagena in The Magic Flute, Blonda and Constance in The Abduction from Serail; Sophie in Strauss´s Rose Cavalier, Anička in Weber´s Der Freischütz, Rosina in Rossini´s The Barber from Sevilla, Violetta in Verdi´s La Traviata, Karolina in Smetana´s Two Widows. She has performed in some films (the 1962 adaptation of Dvořák´s Rusalka). Since 1971, she has been teaching at the Prague Conservatory.

  • Milada MARKOVÁ

    (* 24.5.1913 Brno - † 29.10.1986 Olomouc)

    česká operní pěvkyně - soprán

    Czech soprano

    She studied singing at the Conservatory in Brno with Marie Fleischerová from 1929 to 1935. She was engaged in Olomouc practically almost her entire life (from 1935 to 1971) with a short interruption in the 1930´s, when she was engaged in the Slovakian Theatre in Bratislava. She sang primarily dramatic soprano roles such as Strauss´s Salome, Kostelnička and Kabanicha in Jenůfa, Emilia Marty in The Macropulos Case and others). She also worked as a teacher.

  • Martin TURNOVSKÝ

    (* 29.9.1928 Praha)

    český dirigent

    Czech conductor

    From 1947, he studied piano and conducting at the Conservatory and at the Academy of Performing Arts in Prague with Pavel Dědeček, Karel Ančerl, Robert Brock and Metod Doležil and with Georg Széll for a few months abroad from 1956. From 1952 to 1960, he worked in the army music ensembles. In 1958, he received the first prize in the Besançon competition in France. From 1959 to 1962, he was engaged as a conductor of the Philharmonic Orchestra in Brno, from 1963 to 1966 in the Pilsen Radio Orchestra, from 1966 to 1968 as a chief conductor in the Dresdner Staatskapelle and Dresdner Staatsoper. In 1965, he went on tour with Czech Philharmonic Orchestra to the U.S.A. After the occupation in 1968, he immigrated to Austria where he later received his Austrian citizienship. He worked in Norway as a chief conductor of the Norwegian National Opera in Oslo from 1975 to 1980, and as a chief conductor of opera in Bonn from 1979 to 1982. He has been guest conductor in many European and foreign orchestras and opera theatres. After 1989, he returned to Prague and renewed his professional activities. He guested in the State Opera and from 1992 to 1995 he has worked as a chief conductor of the Prague Symphony Orchestra. In 1997, he became a conductor of the Gumma Symphony Orchestra in Japan. From 1990 to 1995, he taught conducting at the High Music School in Austrian Graz. In 1999, he received an Austrian Honorary Cross for the Science and Arts. He recorded music for Supraphon and Schwann. Several of his recordings from the time before his emigration were destroyed. He published his memories Pondělníci (2003).

  • Livia ÁGHOVÁ

    (* 7.10.1963 Šaľa)

    slovenská operní pěvkyně - soprán

    Slovakian soprano from the Hungarian family. She studied at the Conservatory in Bratislava with Prof. M. Fidler. She has been successful in many competitions (in Karlovy Vary, Prague Spring Festival, Munich). From 1985 she was engaged at the Slovakian National Theatre in Bratislava (Mimi in Puccini's La Bohème, Donna Elvira in Mozart's Don Giovanni), from 1988 she began performing at the State Opera in Prague (Lia in Puccini's Turandot, Pamina in Mozart's Magic Flute) and at the National Theatre, where she is currently performing (Bystrouška in Janáček's Cunning Little Vixen, Jenůfa in Jenůfa, Juliette in Gounod's Romeo and Juliette, Sophie in Strauss' Der Rosenkavalier, Fioerdiligi in Mozart's Così fan tutte, Nedda in Leoncavallo's Cavalleria rusticana, Phoebé in Rameau's Castor and Pollux and others). She is a guest performer abroad in such cities as Munich and Paris. She performs as a soloist with many orchestras including Czech Philharmonic, Wiener Philharmoniker, Bamberger Phiharmoniker, Orchestre de Paris.

  • Rudolf DAŠEK

    (* 27.8.1933 Praha - † 1.2.2013 Praha)

    český jazzový kytarista a skladatel

  • Miloslav IŠTVAN

    (* 2.9.1928 Olomouc - † 26.1.1990 Brno)

    český skladatel a pedagog

  • Viktor ULLMANN

    (* 1.1.1898 Těšín - † 18.10.1944 Osvětim)

    německý skladatel, narozený a žijící v Čechách

    German composer born and living in Czech lands

    He studied High School in Vienna, later was in the voluntary service during the 1st World War. Between 1918 and 1919, he attended the composition seminar of Arnold Schönberg in Vienna. From 1920 to 1927, he worked as a conductor of the German Theatre in Prague (under the chief of opera Alexander Zemlinsky). From 1928 to 1929, he headed the opera in Ústí n. Labem, From 1929 to 1931, he was the conductor of the Theatre in Geneve, and he worked at antroposophical liberary in Stuttgart until 1933. From 1933 to 1939, he lived in Prague and worked as a teacher and composer. He remained in contact with Alois Hába and the circle of the International Society for Contemporary Music. He worked for the German broadcasting division in the Czech Radio and for the International Society for Music Education. He wrote many reviews. After 1939, he lost the opportunity to have his work performed in public. In 1942, he edited his works to print them himself. On September 9th 1942, he was deported to the Theresienstadt Ghetto where he was significantly active in the organization of the camp´s culture life. On October 16th 1944, he was deported to Osvetim. He wrote orchestral Variationen über Schönberg (which received the Universal Edition prize in 1934), Neo-Classicist Symphonische Phantasie, concerts for piano and saxophone, piano sonatas and some collections of songs with expressive Post-Romantic melodic. He completed three operas: Der Sturz des Antichrist (1935, performed in 1995), one-act opera Der zerbrochene Krug (1942, performed in 1996) and Kaiser von Atlantis Der Kaiser von Atlantis oder Die Tod-Verweigerung (1943, performed in 1975 Amsterdam).


    (* 22.7.1958 Bruntál)

    česká zpěvačka, houslistka, herečka

  • Osvald CHLUBNA

    (* 22.7.1893 Brno - † 30.10.1971 Brno)

    český skladatel

    Czech composer

    He originally studied engineering and Commercial Academy in Brno. Between 1914 and 1924, he continued to study composition with Leoš Janáček. Until 1953, he worked as a clerk. He also taught at the Organ School in Brno and later at the Conservatory (1919–35, 1953–59) and at the Janáček Academy of Performing Arts (1956–58). He worked in many art organisations in Brno, such as the Club of Moravian Composers (1919-48). He was very prolific composer. He evolved from Romanticism, Impressionism to the Modern Constructivism. He also expressed his relationship to the Symbolism. He used the texts of symbolic Czech poets, such as Otakar Březina, Jaroslav Vrchlický, Jaroslav Durych and others. He wrote several cycles of compositions for piano and organ, as well as instrumental concerts, symphonies, ouvertures and cantatas. He wrote many operas, often using his own librettos, such as The Revenge of Catullus based on the work of Vrchlický, comp. in 1917, 1921 in Brno), Alladina and Palomid (based on the work of Maeterlinck, 1925 Brno), Ňura (1932 Brno), How the Death came in the World (a scenic mystery, 1936 Brno), Jiří from Kunštát and Poděbrady (based on the work of Alois Jirásek, composed 1941-42), Cradle (composed on the work of Jirásek, composed 1951-52), Eupyros (comp. 1960-62). He also wrote texts and articles primarily about Janáček.

  • Lubomír HAVLÁK

    (* 27.2.1958 Praha)

    český houslista

  • Karel NEDBAL

    (* 28.10.1888 Dvůr Králové nad Labem - † 20.3.1964 Praha)

    český dirigent

    Czech conductor and composer

    The nephew of the composer and conductor Oskar Nedbal was a pupil of Vítězslav Novák and Josef Bohuslav Foerster. He worked as a conductor at the Vinohrady Theatre from 1914 to 1920. In 1920 he became chief conductor at Olomouc Opera Theatre. In 1928 he replaced his uncle Oskar in Slovak National Theatre in Bratislava. In 1938-40 he conducted in Brno, in 1941-45 he returned to Olomouc, from 1945 to 1947 he worked as a conductor at the Prague National Theatre.

  • Jiří HLAVÁČ

    (* 12.10.1948 Zlín)

    český klarinetista, saxofonista, pedagog, hudební organizátor

  • Lukáš MOŤKA

    (* 18.12.1983 Šternberk)

    český trombonista

  • Iša KREJČÍ

    (* 10.7.1904 Praha - † 6.3.1968 Praha)

    český skladatel

    Czech composer and conductor

    He died in Prague on March 6th 1968. He was the son of an important Czech philosopher František Krejčí. He studied aesthetics, history and musicology at Charles University (1923-27). In the same time he also attended Prague Conservatory where he studied composition with K.B.Jirák, piano with A.Šíma and conducting with P.Dědeček and V.Talich. In 1927-28 he studied composition in Vítězslav Novák´s masterclass. From 1928 to 1932 he worked as a répétiteur in the Slovak National Theatre in Bratislava. He gained his first experiences as a conductor there as well as in the Prague National Theatre (1933-34). From 1934 to 1945 Krejčí worked as a conductor and producer in the Czechoslovak Radio and from 1936 also as a conductor of the Orchestral Association in Prague. In 1945-58 he was head of the Olomouc Opera, in 1959 he became dramaturgist of the National Theatre in Prague. During the 1964-65 season he was head of an opera company in České Budějovice. Krejčí composed in the style of Neoclassicism. He admired Mozart, together with Bořkovec, Ježek, Holzknecht and Martinů founded the Mánes group. This group of czech composers was interested in contemporary French music of Les Six and Stravinsky. His most successful work is the opera Pozdvižení v Efesu (An Uproar in Ephesus, 1939-43), based on Shakespeare's Comedy of Errors. He wrote another opera (or stage cantata) Antigona (after Sophocles, 1933, rev. 1959-62), and "dramatic scenes" after A.Jirásek Temno (The Darkness, 1944, rev. 1951). From his orchestral works there are four symphonies (1954, 1956, 1961, 1966), Symfonietta-divertimento (1929), Concertino for cello a orchestra (1936), 20 Variations on an Original Theme in the Style of a Folksong (1946), Serenade for orchestra (1948), or 14 variací na píseň "Dobrú noc" (14 Variations on the Song "Goodnight", 1951). His chamber music is represented by Divertimento "Cassation" (1925) for flute, clarinet, trumpet and bassoon, Trio-Divertimento (1935) for oboe, clarinet and bassoon, Trio (1936) for clarinet, doublebass and piano, 3 scherzini (1953) for piano, or string quartets (No.2,1953, No.3, 1960). From Krejčí´s vocal works are 6 písní (6 Songs, 1931) for baritone and piano or orchestra on words by J. Neruda, Antické motivy (Motives from Antiquity, 1936, orch.1940) for a low male voice and piano after J.V.Sládek, 5 písní (5 Songs, 1938) on words by J. A Komenský, or 4 madrigaly (4 Madrigals, 1936) on words by K.H.Mácha for a smaller mixed choir, tenor solo and piano.
    LINKS www.musica.cz www.operone.cz

  • Leoš JANÁČEK

    (* 3.7.1854 Hukvaldy - † 12.8.1928 Ostrava)

    český skladatel a pedagog

    Janáček was born in a small moravian village. He was the ninth of the village schoolmaster's 13 children. At the age of eleven, Janáček came to Brno to study. He was sent to a foundation of the Augustinian 'Queen's' Monastery in Old Brno which took poor but musically gifted boys and trained them in music. Janáček's talent was nourished by the prominent choirmaster Pavel Křížkovský there. After completing his basic schooling he trained as a teacher at the pedagogical institute and, except for a period at the Skuherský Organ School in Prague, he spent 1872-79 largely as a schoolteacher and choral conductor in Brno. In 1879 he attended the Leipzig Conservatory to study composition under the supervision of Leo Grill. He also attended the Vienna Conservatory but left after three months because of an argument with his music supervisor. Janáček's entire activity was centred on Brno. He became a music teacher at the pedagogical institute, in 1881 he founded a college of organists which he directed until 1920. In 1884 Janáček founded a musical journal Hudební listy. He extended his experience as a choirmaster in the Brno Beseda, where he built up the great tradition of that musical body. He was a cofounder of the Russian Club and the Friends of Art Club in Brno; he was also Conservator of the museum. He was also musical editor of Moravské listy (Moravian Folia), contributed to Lidové Noviny (People's News), and published theoretical studies and articles. In 1881 he married one of his piano students, Zdenka Schulzová, but this marriage was not easy - mainly because of Janáček's interest in other women (Gabriela Horvátová, Kamila Stösslová). Janáček also devoted himself to collecting and publishing Moravian folk songs and dances for which he wrote original arrangements, and composed a range of valuable studies. His interest in ethnography led him to study popular speech and create "melodies of speech". He was studying and recording common speech not only for their musical content, but with an eye for all which might affect the speaker: environment, age, experience of life, grief, joy, a hard life. Janáček didn't really come into his prime until very late on in his life. He was 50 when his first really successful opera Její pastorkyňa (Her Stepdaughter), better known as Jenůfa which is his third opera after Šárka (1887, rev. 1888, 1918-19, 1925) and Počátek románu (The Beginning of a Romance, 1891, rev. 1892) was performed in Brno. But outside Moravia he was almost unknown. He was unsuccessful at getting Jenůfa performed in Prague until 1916 and as such it wasn't until he was into his sixties that Janáček really became famous. The head of the opera section of the Prague National Theatre refused the work for twelve years. But when, finally, he decided to produce Jenůfa, he did so splendidly, and thus at least partly compensated Janáček for his undeserved disappointment during the most painful years of his life. During the long period of composition of Jenůfa (1894-1903, rev. 1907, 1908, 1915), he sought his own musical expression in composition, and finished it under extremely tragic circumstances, when his young daughter Olga was dying. With Jenůfa, inspired by Gabriela Preissová's play of the same name, Janáček rethought his approach to opera and to composition in general. He largely abandoned the number opera, integrated folksong firmly into his music and formulated that theory of "speech-melody", based on the natural rhythms and the rise and fall of the Czech language, which was to influence all his ensuing works and give them a particular colour through their jagged rhythms and lines. For the first time Janáček, encouraged by his Prague success, really began to compose. The last years of his life were imbued with a fever of creative, always personal and original, activity. He received public acclaim, was nominated the first honorary doctor of Brno University and the Professor at the Prague Conservatoire. His organ school was also made into a conservatoire, his works came to be known abroad. After Jenůfa he finished his opera Osud (Fate, 1903-5, rev. 1906, 1907), the satiric opera of two parts Výlety pana Broučka (The Excursions of Mr. Brouček, 1917, rev. 1918, 1920) - do Měsíce (to the Moon, separately 1908-13, rev. 1916) and do 15. století (to the 15th century). The next opera Káťa Kabanová (1920-21) is based on a play by Ostrovski, the opera Příhody Lišky Bystroušky (The Cunning Little Vixen, 1922-23, rev. 1924) is composed after Rudolf Těsnohlídek. The inspiration for the next opera Věc Makropulos (The Makropulos Affair, 1923-25) came from Karel Čapek. Janáček's creative development was crowned by his final opera Z mrtvého domu (From the House of the Dead, 1927-28), after Dostojevsky. Vocal music predominates in Janáček's output. Janáček also invented an entirely new way of writing for male and female voice choirs. From the Slezské písně (Silesian Songs, 1918) of Petr Bezruč he chose three poems, Maryčka Magdonová (1906-07), Kantor Halfar (Halfar the Schoolmaster, 1906) and Sedmdesát tisíc (Seventy Thousand, 1909, rev. 1912), and set them to music as a protest against social and national oppression. From other choruses are notable Říkadla (The Nursery Rhymes, 1925/26) and Potulný šílenec (The Wandering Madman, 1922). His most important choral work is Glagolská mše (The Glagolitic Mass, 1926-7) written to an Old Slavonic text demonstrates his Slavism. Notable are the cantatas Amarus (1896-97, rev. 1901, 1906) and Věčné evangelium (The Eternal Gospel, 1913-14). The most outstanding Janáček's symphonic compositions are the Laššské tance (Lachian Dances, 1889-91) and the rhapsody Taras Bulba (1915-18), which shows up his Russophilism, the "balad for orchestra" Šumařovo dítě (The Fiddler's Child, 1913) and the symphonic poem Balada blanická (Ballad of Blaník, 1919) where he expressed his joy at the emergence of the new republic in 1918. His Sinfonietta (1926) took its inspiration from Janáček's love for the town of Brno. Notable among the chamber compositions are the two piano cycles Po zarostlém chodníčku (On the Overgrown Path, 1910-11) and V mlhách (In the Mists, 1912), 1.X.1905 (From the Street, 1 October 1905) for piano (1905-6), the cantata for chamber orchestra Zápisník zmizelého (The Diary of One Who Dissapeared, 1917-20), the two string quartets, First (1923), based on Tolstoy's novella The Kreutzer Sonata, and mainly the Second Listy důvěrné (Intimate letters, 1928), the Concertino (1925) and the Capriccio (1926), and the sextet for wind instruments Mládí (Youth, 1924). Janáček died on 12th August, 1928, in the sanatorium at Ostrava, where he had been taken in a fever from his native Hukvaldy. Janáček is regarded not only as a Czech composer worthy to be ranked with Bedřich Smetana and Antonín Dvořák, but also as one of the most substantial and original opera composers of the 20th century. Even today the world may find originality of thought, a sense of the dramatic, and new values in his work. And the stimulus which the interpretational challenge of his works gives ensures that his creative legacy will live on.


    Janáček´s writings

    ed. J. Racek a L. Firkušný: Janáček´s feuilletons from the Lidové noviny (Prague, 1938, 2/1958, Germ.transl. 1959, 2/1962, abridged Engl.transl. in Tausky, 1982)
    ed. T. Straková: Leoš Janáček: Musik des Lebens: Skizzen, Feuilletons, Studien (Leipzig, 1979)
    ed. and transl. V. a M. Tausky: Leoš Janáček: Leaves from his Life (London, 1982)
    ed. and transl. M. Zemanová: Janáček´s Uncollected Essays on Music (London, 1989)
    ed. J. Procházková: Leoš Janáček: Památník pro Kamilu Stösslovou (Album for Kamila Stösslová) (Brno, 1994, Germ.transl. 1994, Engl.transl. 1996)

    B. Štědroň: Dílo Leoše Janáčka: abecední seznam Janáčkových skladeb a úprav (Janáček's works: an alphabetical catalogue of Janáček´s compositions and arrangements) (Prague, 1959, Engl. transl. 1959 as The Works of Leoš Janáček)
    N. Simeone: The First Editions of Leoš Janáček: a Bibliography (Tutzing, 1991)
    N. Simeone, J. Tyrrell and A. Němcová: Janáček's Works: a Catalogue of the Music and Writings of Leoš Janáček (Oxford, 1997)
    Z. E. Fischmann, ed. and transl.: Janáček-Newmarch Correspondence (Rockville, MD, 1986)
    C. Susskind: Janáček and Brod (New Haven, CT, and London, 1985)
    B. Štědroň, ed.: Janáček ve vzpomínkách a dopisech (Janáček in reminiscences and letters) (Prague, 1946, Engl.transl. 1955)
    J. Tyrrell, ed. and transl.: Intimate Letters: Leoš Janáček to Kamila Stösslová (London, 1994)
    J. Tyrrell, ed. and transl.: My Life with Janáček: the Memoirs of Zdenka Janáčková (London, 1998)
    M. Černohorská: Leoš Janáček (Prague, 1966, in Engl., Fr., Ger., Russ.)
    G. Erismann: Janáček, ou La passion de la vérité (Paris, 1980)
    H. Hollander: Leoš Janáček: his Life and Works (London, 1963, Germ.orig. 1964)
    K. Honolka: Leoš Janáček: sein Leben, sein Werk, seine Zeit (Stuttgart and Zurich, 1982)
    I. Horsbrugh: Leoš Janáček: the Field that Prospered (Newton Abbot and London, 1981)
    D. Muller: Leoš Janáček (Paris, 1930)
    J. Procházková a B. Volný: Narozen na Hukvaldech (Born in Hukvaldy) (Brno, 1994, Engl. transl. 1995)
    F. Pulcini: Janáček: vita, opere, scritte (Turin and Florence, 1993)
    J. Racek: Leoš Janáček: Mensch und Kunstler (Leipzig, 1962, 2/1971)
    J. Vogel: Leoš Janáček: Leben und Werk (Kassel, 1958, Engl. transl. 1962, 3/1997)



    Fate [Osud]
    Vilem Pribyl, Magdalena Hajossyova, Vladimir Krejcik, Richard Novak
    Brno Janacek Opera Chorus and Orchestra, Frantisek Jilek

    CD Supraphon

    From the House of the Dead [Z mrtveho domu]
    Richard Novak, Vilem Pribyl, Jaroslav Horacek, Beno Blachut, Ivo Zidek a. o.
    Czech Philharmonic Chorus and Orchestra, Vaclav Neumann
    Grand Prix audiovisuel de L'Europe del Academie du disque Francais

    2 CD Supraphon

    Gabriela Benackova, Nadezda Kniplova, Anna Barova, Vilem Pribyl, Vladimir Krejcik, Karel Berman, Vaclav Halir, Kveta Belanova, Jindra Pokorna, Daniela Suryova, Cecilie Stradalova, Jaroslava Janska
    Brno Janacek Opera Chorus and Orchestra, Frantisek Jilek
    Orphee d'or de L'Academie Nationale du disque lyrique

    2 CD Supraphon

    Elisabeth Soderstrom, Eva Randova, Marie Mrazova, Wieslav Ochman, Petr Dvorsky, Vaclav Zitek, Dalibor Jedlicka, Ivana Mixova, Lucia Popp, Vera Soukopova, Jindra Pokorna, Jana Jonasova, Vera Soukopova
    Wiener Staatsopernchor, Norbert Balatsch
    Wiener Philharmoniker, Sir Charles Mackerras

    2 CD Decca

    Kata Kabanova
    Capriccio, Concertino

    Jitka Pavlova - mezzo-soprano, Zdenek Svehla - tenor, Dalibor Jedlicka - bass, Peter Dvorsky - tenor, Gertrude Jahn - mezzo-soprano, Elisabeth Soderstrom - soprano, Libuse Marova - mezzo-soprano, Nadezda Kniplova - contralto, Vladimir Krejcik - tenor, Jaroslav Soucek - baritone, Hedwig Drechler - mezzo-soprano, Adolf Tomaschek - tenor, Paul Crossley - piano
    Wiener Philharmoniker, Wiener Staatsopernchor, London Sinfonietta, Sir Charles Mackerras, David Atherton

    2 CD Decca

    Kata Kabanova
    Drahomira Tikalova, Beno Blachut, Bohumir Vich, Ludmila Komancova, Zdenek Kroupa a. o.
    Prague National Theatre Chorus and Orchestra, Jaroslav Krombholc

    2 CD Supraphon

    Kata Kabanova
    Ludek Vele, Peter Straka, Eva Randova, Miroslav Kopp, Gabriela Benackova, Josef Kundlak, Zdenek Harvanek, Martina Bauerova, Dana Buresova
    Chorus of the Prague National Theatre
    Czech Philharmonic Orchestra, Sir Charles Mackerras

    2 CD Supraphon

    Opera Suites
    Prague Symphony Orchestra, Jiri Belohlavek
    CD Supraphon

    The Beginning of a Romance [Pocatek romanu]
    Jaroslava Janska, Anna Barova, Jindra Pokorna, Vladimir Krejcik, Vilem Pribyl, Frantisek Caban, Jan Hladik, Richard Novak
    Brno Janacek Opera Chorus, Josef Pancik
    Brno Janacek Opera Orchestra, Frantisek Jilek
    World premiere on CD

    CD Multisonic

    The Cunning Little Vixen
    Orchestral Suite

    Dalibor Jedlicka, Eva Zigmundova, Vladimir Krejcik, Richard Novak, Vaclav Zitek, Beno Blachut, Ivana Mixova, Lucia Popp, Libuse Marova, Gertrude Jahn, Eva Hribikova, Zuzana Hudecova, Peter Saray, Miriam Ondraskova, Eva Randova
    Wiener Staatsopernchor, Helmut Froschauer, Bratislava Children's Choir, Elena Sarajova
    Wiener Philharmoniker, Sir Charles Mackerras

    2 CD Decca

    The Cunning Little Vixen [Prihody Lisky Bystrousky]
    Magdalena Hajossyova, Gabriela Benackova, Richard Novak, Miroslav Frydlewicz, Karel Prusa a. o.
    Kuhn Childerns Chorus, Czech Philharmonic Chorus and Orchestra, Vaclav Neumann

    2 CD Supraphon

    The Excursions of Mr. Broucek [Vylety pana Broucka]
    Vilem Pribyl, Richard Novak, Jana Jonasova, Miroslav Svejda, Bohuslav Marsik, Vladimir Krejcik a. o.
    Czech Philharmonic Chorus and Orchestra, Frantisek Jilek

    2 CD Supraphon

    The Fate [Osud]
    Peter Straka, Livia Aghova, Marta Benackova, Stefan Margita, Peter Mikulas, Ivan Kusnjer, Ludmila Novakova
    Prag Chamber Choir
    Czech Philharmonic Orchestra, Gerd Albrecht
    Live recording

    CD Orfeo

    The Makropulos Case
    The Lachian Dances

    Elisabeth Soderstrom, Peter Dvorsky, Vladimir Krejcik, Anna Czakova, Vaclav Vitek, Zdenek Svehla, Dalibor Jedlicka, Beno Blachut
    Wiener Staatsopernchor
    Wiener Philharmoniker, Sir Charles Mackerras (The Makropulos Case)
    London Philharmonic Orchestra, Francois Huybrechts (The Lachian Dances)
    This recording was awarded the special prize by Diapason and Le Mande de la Musique

    2 CD Decca

    Eva Urbanova - soprano, Peter Straka - tenor, Ivan Kusnjer - baritone, Jaroslav Brezina - tenor
    Prague Philharmonic Choir, Jaroslav Brych
    Czech Philharmonic Orchestra, Sir Charles Mackerras
    world premiere recording

    CD Supraphon

    Other vocal and orchestral music

    Folk Ballads
    Dagmar Peckova - mezzo-soprano, Ivan Kusnjer - baritone, Marian Lapsansky - piano
    Prague Philharmonic Chorus members, Pavel Kuhn

    CD Supraphon

    From the House of the Dead, Mladi / Youth, Rikadla / Children's Rhymes
    Jiri Zahradnicek, Ivo Zidek, Vaclav Zitek, Dalibor Jedlicka, Antonin Svorc, Jaroslava Janska, Vladimir Krejcik, Richard Novak, Beno Blachut, Zdenek Svehla, Eva Zigmundova, Zdenek Sousek, Jaroslav Sousek
    Wiener Staatsopernchor
    Wiener Philharmoniker, Sir Charles Mackerras (From the House of the Dead)
    London Sinfonietta and Chorus, David Atherton (Youth, Children's Rhymes)

    2 CD Decca

    Glagolitic Mass [Glagolska mse]
    Elisabeth Soderstrom, Drahomira Drobkova, Frantisek Livora, Richard Novak
    Jan Hora - organ
    Czech Philharmonic Chorus and Orchestra, Charles Mackerras

    CD Supraphon

    Glagolitic Mass [Glagolská mše], Amarus - Cantata for Soloists, Mixed Chorus and Orchestra
    Gabriela Benackova, Eva Randova, Vilem Pribyl, Sergej Kopcak, Kvetoslava Nemeckova, Leo Marian Vodicka, Vaclav Zitek
    Czech Philharmonic Chorus, Brno State Philharmonic Orchestra, Frantisek Jilek
    Czech Philharmonic Orchestra, Charles Mackerras

    CD Supraphon

    Glagolitic Mass [Glagolská mše] for Soloists, Chorus, Orchestra and Organ after an Old Slavonic text
    The Eternal Gospel [Vecne evangelium] - Legends for Soloists, Chorus and Orchestra

    Eva Drizgova, Hana Stolfova-Bandova, Vladimir Dolezal, Jiri Sulzenko
    Martin Jakubicek - organ, Pavel Wallinger - violin solo
    Czech Philharmonic Chorus of Brno, Leos Svarovsky

    CD Ultraphon

    Glagolitic Mass for Soloists, Mixed Choir, Organ and Orchestra after an Old Slav Text (1926, rev. 1929)
    Taras Bulba. Rhapsody for Orchestra after N. V. Gogol's novel (1915-1918)

    Libuse Domaninska, Vera Soukupova, Beno Blachut, Eduard Haken
    Jaroslav Vodrazka - organ
    Prague Philharmonic Choir, Josef Veselka
    Czech Philharmonic Orchestra, Karel Ancerl
    Golden Harmony Award 2002

    CD Supraphon

    Good Night [Dobrou noc] - part 7 from piano cycle On the overgrown path
    Our Evenings [Nase vecery] - part 1 from piano cycle On the overgrown path
    On the overgrown path [Po zarostlem chodnicku] - part 11 from the piano cycle On the overgrown path

    Iva Bittova - voice, violin, viola
    Nederlands Blazers Ensemble

    CD Indies Records

    Idyll for String Orchestra, Suite for String Orchestra
    Norwegian Chamber Orchestra, Iona Brown
    CD Chandos

    Lachian Dances, Suite for Strings, Idyll for Strings
    Brno State Philharmonic Orchestra, Frantisek Jilek
    CD Supraphon

    Little Queens, Folk Poetry from Hukvaldy, Folk Nocturnes, Nursery Rhymes [Rikadla]
    E. Struplova - sopran, S. Predota - tenor, A. Skoumal, H. Barton - piano
    Severacek - childrens choir, Milan Uherek / Lukas Cerny
    Chamber Ensemble

    CD Studio Matous

    Moravian Folk Poetry in Songs
    Magdalena Kozena - mezzosoprano, Graham Johnson - piano
    CD Deutsche Grammophon

    Moravian Folk Poetry in Songs [Moravska lidova poezie v pisnich]
    Dagmar Peckova - mezzo-soprano, Ivan Kusnjer - baritone, Marian Lapsansky - piano
    CD Supraphon

    Nursery Rhymes [Rikadla], Kaspar Rucky, The 70,000, The Wolf's Trail [Vlci stopa], Elegy on the death of my daughter Olga [Elegie na smrt dcery Olgy], Songs of Hradcany [Hradcanske pisnicky], Ave Maria, Our Father [Otce nas]
    New London Chamber Choir
    The Critical Band, James Wood

    CD Hyperion

    Josef Suk - violin
    Prague Chamber Orchestra, Josef Suk

    CD Lotos

    Karolina Dvorakova - soprano, Ivan Zenaty - violin
    Brno State Philharmonic Orchestra, Frantisek Jilek

    CD Supraphon

    Brno State Philharmonic Orchestra, Frantisek Jilek
    CD Supraphon

    Sinfonietta, Taras Bulba, Lachian Dances, Suite for string orchestra, Mladi (Youth) for wind sextet, Capriccio, Concertino
    Antony Pay - clarinet, Janet Craxton - oboe, Martin Gatt - bassoon, Michael Harris - bass clarinet, Phillip Eastop - french horn, Sebastian Bell - flute, Paul Crossley - piano
    Wiener Philharmoniker, London Philharmonic Orchestra, Los Angeles Chamber Orchestra, Piccolo, London Sinfonietta, Sir Charles Mackerras, Francois Huybrechts, Neville Marriner, Sir Neville Marriner, David Atherton

    2 CD Decca

    Sinfonietta, Glagolitic Mass
    Libuse Domaninska - soprano, Marie Jurenova - contralto, Josef Valka - tenor, Jaroslav Hromadka - bass, Frantisek Michalek - organ
    Moravan Academic Singing Association, The Vach Moravian Lady Teachers' Choir, Josef Veselka
    Czech Philharmonic Orchestra
    Brno Radio Symphony Orchestra, Bretislav Bakala

    CD Supraphon

    Sinfonietta, Taras Bulba - Rhapsody for Orchestra
    Czech Philharmonic Orchestra, Vaclav Neumann
    CD Supraphon

    Sinfonietta (1926)
    Czech Philharmonic Orchestra, Karel Ancerl
    CD Supraphon

    Suita for String Orchestra
    Czech Chamber Orchestra, Ondrej Kukal
    CD Waldmann

    Suite for Strings
    Suk Chamber Orchestra, Josef Suk
    CD SKO

    Taras Bulba
    Brno State Philharmonic Orchestra, Frantisek Jilek
    CD Supraphon

    Taras Bulba, Rhapsody for Orchestra
    The Cunning Little Vixen [Prihody Lisky Bystrousky], Suite from the Opera
    Czech Philharonic Orchestra, Vaclav Talich

    CD Supraphon

    Taras Bulba (Rhapsody for Orchestra), Amarus (Cantata for Soli, Mixed Chorus and Orchestra), Sinfonietta
    Soloists and choruses
    Brno Radio Symphony Orchestra, Bretislav Bakala

    CD Panton

    Taras Bulba - Rhapsody for Orchestra, Sinfonietta, Dunaj - Symphonic Fragment
    Brno Radio Symphony Orchestra, Prague Radio Symphony Orchestra, Bretislav Bakala
    CD Multisonic

    The Diary of One Who Disappeared [Zapisnik zmizeleho] for Tenor, Contralto, 3 Female Voices and Piano
    Nicolai Gedda - tenor, Vera Soukupova - contralto, Beno Blachut - tenor, Stepanka Stepanova - contralto
    Prague Radio Chamber Female Chorus, Miroslav Kosler
    Czech Singers' Chamber Female Chorus, Jan Kuhn
    Josef Palenicek - piano

    CD Supraphon

    The Diary of One Who Disappeared [Zapisnik zmizeleho] for tenor, contralto, three female voices and piano on poetry by Ozef Kalda
    Piano Sonata 1. X. 1905, "From the Street" in E flat minor
    Peter Straka - tenor, Dagmar Peckova - contralto
    Marian Lapsansky - piano
    Members of the Prague Chamber Choir

    CD Supraphon

    The Wandering of a Little Soul [Putovani dusicky] (Violin Concerto)
    Sinfonietta, Taras Bulba - Rhapsody for Orchestra, Schluck und Jau

    Josef Suk - violin
    Czech Philharmonic Orchestra, Vaclav Neumann

    CD Supraphon

    Chamber instrumental music

    Capriccio, Concertino, 1. X. 1905
    Daniel Wiesner - piano
    CD Panton

    Concertino for Piano, Two Violins, Viola, Clarinet, French Horn and Bassoon
    Capriccio for Piano Left Hand and Wind Ensemble

    Rudolf Firkusny - piano
    Members of Czech Philharmonic Orchestra, Vaclav Neumann

    CD Supraphon

    In the Mist, Sonate 1. X. 1905, On an Overgrown Path I, On an Overgrown Path II, On an Overgrown Path (Paralipomena), A recollection
    Andras Schiff - piano
    CD ECM

    In the Mist [V mlhach]
    Hana Dvorakova - piano
    CD MusicVars

    In the Mists, Sonata for Piano "1st October 1905 - Street Scene"
    Martin Kasik - piano
    CD Ultraphon

    Intimate Sketches, Moravian Dances
    Marian Lapsansky - piano
    CD Supraphon

    Quartet No. 1 after Tolstoy´s "Kreutzer Sonata"
    Quartet No. 2 for two violins, viola and cello - "Intimate Letters"

    Orpheus Quartet (Charles-Andre Linale - violin, Emilian Piedicuta - violin, Emile Cantor - viola, Laurentiu Sbarcea - cello)
    CD Emergo Classics

    Sonata, On An Overgrown Path, In the Mist
    Ivan Klansky - piano
    CD Kontrapunkt

    Sonata 1. X. 1905 "Z ulice", V mlhach / In the Mists
    Ivan Moravec - piano
    CD Hanssler

    Sonata for Violin and Piano
    Ivan Straus - violin, Walter Haley - piano
    CD Clarton

    Sonata for Violin and Piano
    Ivan Zenaty - violin, Josef Hala - piano
    CD Multisonic

    Sonata for Violin and Piano
    Pavel Sporcl - violin, Petr Jirikovsky - piano
    CD Supraphon

    Sonata for Violin and Piano (1914-1922)
    Josef Suk - violin, Jan Panenka - piano
    CD Supraphon

    String Quartet No. 1 "Inspired by Tolstoy's Kreutzer Sonata"
    Epoque Quartet (Martin Valek - violin, Vladimir Klansky - violin, Vladimir Kroupa - viola, Vit Petrasek - cello)
    CD Radioservis

    String Quartet No. 1 "Kreutzer Sonata" , String Quartet No. 2 "Intimate Pages" , On a Overgrown Path
    Talich Quartet (Petr Messiereur, Jan Kvapil - violins, Jan Talich - viola, Evzen Rattay - cello)
    Radoslav Kvapil - piano
    special prize by Le Grand Prix du Disque

    CD Calliope

    String Quartet No. 1 "Kreutzer Sonata", No. 2 "Intimate Pages", Youth [Mladi], Wind Sextet
    Talich Quartet, Prague Wind Quintet, Petr Cap - bass clarinet
    CD Supraphon

    String Quartet No. 1 - Inspired by L. N. Tolstoy's Kreutzer Sonata (1923)
    String Quartet No. 2, "Intimate Letters" (1928)

    Janacek Quartet (Jiri Travnicek - 1st violin, Adolf Sykora - 2nd violin, Jiri Kratochvil - viola, Karel Krafka - cello)
    CD Supraphon

    String Quartet No. 1, after Tolstoy's Kreutzer Sonata
    M. Nostitz Quartet (Petr Bernasek - 1st violin, Vaclav Vacek - 2nd violin, Pavel Horejsi - viola, Petr Sporcl - cello)
    CD Ultraphon

    String Quartet no.1, String Quartet no.2
    Hagen Quartett - String Quartet
    CD Deutsche Grammophon

    Youth [Mladi], Wind Sextet
    The Brno Wind Quintet and J. Sedlacek - bass clarinet
    The Brno Wind Quintet (P. Pomkla - flute, piccolo, L. Bartonik - oboe, V. Spilka - clarinet, R. Novozamsky - bassoon, T. Kopecky - french horn)

    CD Artimus

  • František SUŠIL

    (* 14.6.1804 Rousínov - † 31.5.1868 Bystřice pod Hostýnem)

    český sběratel lidových písní, filosof a teolog

    Moravian priest, folksong collector and literary scholar

    He was educated at Kroměříž, Baroque music centre. In 1827 he settled to Brno. He was interested in Moravian and Silesian folklore. By 1835 he published the first folksong collection in Moravia Moravian Folksongs (Brno 1835, rev. And enlarged in 1840). It contains 2091 tunes and 2361 texts. It includes all kind of folksongs: dances-songs, ballads, ceremonial songs and others. He use the abstract metres used in Classical music - mostly 2/4 or 3, but it is not real time organisation of the Moravian folklore. This collection became regardless a good source for other musicologists in future (Dvořák, Janáček, Martinů, Novák).

  • Sláva VORLOVÁ

    (* 15.3.1894 Náchod - † 24.8.1973 Praha)

    česká skladatelka

    Czech composer

    Nee Miroslava Johnová, Sláva Vorlová grew up in a musical family - her mother was pianist, her father founded a small community orchestra in Náchod. She started her formal studies of music (voice) at the Academy of Music in Vienna, but in 1915 she moved to Prague where she took private music lessons with Václav Štěpán (piano) and Vítězslav Novák (composition). In 1919 she married entrepreneur Rudolf Vorel, and for the next 15 years she had to give up her dream of becoming a composer in order to help her husband build a successful family business. She returned to music in 1933 when she composed her first opus, String Quartet "Bezkydy". The following year Vorlová participated in the masterclasses of Jaroslav Řídký at the Prague Conservatory of Music. Other works soon followed: Three Songs, op. 2, premiered in 1935; Three Songs, op. 4,(1939), premiered in Brussels in 1947; String Quartet 2, op. 5, (1939), premiered in 1941; Fantasy for violoncello and orchestra, op. 6, (1940), premiered in 1945; and White Clouds, op. 8 - a cycle of ten songs for women's choir and orchestra, (1942-43) premiered in 1944. Her patriotic cantata A Little Country, op. 7, that Vorlová composed during the war (1941-42), was premiered in 1948. The same year, Vorlová completed her graduation work, Symphony for Large Orchestra, op. 18, dedicated to Jan Masaryk. The year 1948 also marks the beginnings of Vorlová's collaboration with poet-librettist V.H. Roklan (- a pseudonym of Dr. Vladimír Hloch who was to become Vorlová's life-long companion). The two collaborated on her symphonic poem Songs of Gondwana, op. 19, for soli, mixed choir and orchestra. Other examples of their collaboration include Vorlová's opera-fairy tale Golden Bird, op. 27, (1949-1950), and orchestral suite "Bozena Nemcova," op. 24, (1950-51), premiered in 1952. In 1951 Vorlová also composed Symphonic Overture and popular instructive music Animals in a Piano, op. 26 - twenty-four piano miniatures for children. During the ten years that followed, Vorlová wrote a number of instrumental concertos. During the decade she also composed four symphonic works: Three Bohemian Dances, op. 29, (1952-53), for which she received an award in 1953; Dances from Doudleby, op. 36, (1953-54), another award winning piece (1955); Sarady for two pianos and symphonic orchestra, (1956); and Thuringian Dances, op. 44, (1957).. Other stage works from the period include the composer's one-act opera Two Worlds, op. 45, (1958), We, People of the Twentieth Century, op. 46 - a symphonic ode for children's voices, mixed choir and orchestra, (1959), and New Age Oratorio, op. 49, (1960). In sixties she devised her own method for serial music (7-tone serial music) with which she produced some of her best works. The compositions in styles of dodecaphony, serial and aleatoric music include Dedications, op. 64, (1965); Bhukhar, op. 67, (1965), premiered in 1968 and published in 1970 (Panton); Model Kinetic, op. 69, (1967) or Correlations for bass clarinet, piano and strings, op. 75, (1968), premiered in 1969. She continued writing serial music compositions during the seventies (Spectra, Polarisations, Esoterica, Perspectives). Vorlová died in summer 1973, after a prolonged battle with a terminal illness.

    V. H. Roklan: Konfese S. Vorlové (1973)
    Cohen: International Encyclopedia of Women Composers (NY 1981, 2/1987)

  • Jakub JUNEK

    (* 6.5.1988 Praha)

    český houslista

  • Jan KAPR

    (* 12.3.1914 Praha - † 29.4.1988 Praha)

    český skladatel, režisér, redaktor a publicista

    He graduated at the Prague Conservatory and master class with professors Jarolav Řídký and Jaroslav Křička. After graduation he worked as a music producer of Radio Prague. In 1950-52 he was the chief editor of the publishing house Orbis, in 1961-70 he taught composition at Janáček Academy of Performing Arts. Milan Slavický or Evžen Zámečník was among his pupils. He is an author of 10 symphonies, his 8th Symphony "Campanae Pragenses" (1971, 77) have a world premiere in EBU.

    In 60th he started to be interested in avant-garde composition techniques, especially in the colour. He started to investigate the articulatory possibilities of the human voice or various instruments (Oscillation, 1966, Exercices for Gydli, 1967, Rotation 9, 1967, a.o.), he combined the electronic with acoustic sounds (Ciphres for piano, percussion and electronic sounds, 1966). Kapr's work of last decades has become an internationally known.

    He is also an author of theoretical essays and the book Konstanty (Constants, 1967).

    J. Bártová: Jan Kapr: nástin života a díla (Brno, 1994)


  • Jan Křtitel VAŇHAL

    (* 12.5.1739 Nechanice - † 20.8.1813 Vídeň)

    český skladatel

    Czech composer and music teacher

    His signature Johann Baptist Wanhal resulted to mistake that the composer had a Dutch origin. He was appointed organist at Opočno in 1752, after a choirmaster at Nemyčeves by Jičín. 1961 he moved to Vienna. After studying with Dittersdorf, Vaňhal soon made a reputation as composer and teacher. 1761-63 he lived and worked in Italy thanks to support by Baron Riech. In Roma he composed inspired by the music of Gluck and Gassmann his opera Il trionfo di Clelia (1761) and Il Demofonte. Both these operas didn´t preserved. About 1763 he returned to Vienna where he came forward also as a composer of symphonies (3 symphonies op. 10, 1767) and pedagogue. He is an author of more that 100 symphonies, 100 string quartets, piano sonatas and sonatinas, organ fugues. Favorite concert is his Concert in C for Viola and Orchestra, Concert for DoubleBbass, Concert F Major for Organ and Flute Concerto I. From the mass compositions there were especially 20 masses, Stabat Mater, 2 Requiems.


    (* 21.1.1934 Praha - † 10.8.1993 Praha)

    česká jazzová zpěvačka

    Czech jazz singer

    She started with A. Kafka Orchestra and with Prague Dixieland. After she continued in the popular theatre Semafor where she performed in the stages Zuzana, Six Women of Henry VIII. He sang in them the songs Láska nebeská (Celestial Love), Blues samotářky (Blues of Solitary) and other songs composed by J. Suchý and J. Šlitr. In 1966 she was awarded in the inquiry of popularity Czech Nightingale. She was inspired by jazz. At the beginning of 70th she recorded two albums with gospels and evergreens. The second of them called Eva Olmerová (1969-72) was produced for export, but it was, due to political reasons, withdrawed from the Czech market. Only at the beginning of 80th she returned to the scene. She recorded album Zahraj i pro mne (Play for Me too, 1981), which for the half of all songs were written by young composer Michal Kocáb. In 1983 she recorded albums: Čekej tiše (Wait Quietly), Vítr je rváč (Wind is an Agressor), later the album Dvojčata (Twin, 1987). He performed in the clubs Parnas, Metro, Reduta, especially with the Metropolitan Jazz Band. She solved her life problems with alcohol and drugs. Not after 1989 she wasn't appropriately appreciated.

  • Barbora KUBÍKOVÁ

    (* 18.5.1998 České Budějovice)

    česká kytaristka


    (* 29.12.1983 Praha)

    český violoncellista

  • Matyáš NOVÁK

    (* 20.6.1998 Hradec Králové)

    český klavírista a houslista

  • Jana LAHODNÁ

    (* 1.1.1983 Praha)

    česká klarinetistka

  • Michaela ŠPAČKOVÁ

    (* 5.7.1993 Praha)

    česká fagotistka

  • Rudolf KUBÍN

    (* 10.1.1909 Ostrava - † 11.1.1973 Ostrava)

    český skladatel

    Czech composer, editor and organiser from Silesia

    He was born in the family of folk musician, who from 1912 he became a bandmaster of the cloth factory in Okay and after his return from Russian war internment he became a bassist of German Opera in Ostrava. Little Rudolf played violoncello, in 1924 he started to study Prague Conservatory. In 1925-27 he absolved Hába´s composition courses. In1927 he interrupted his studies for the reason of want of money. In 1929 he was engaged as a violoncellist to the Prague Radio Orchestra, conducted during the time by O. Jeremiáš. 1933-35 Kubín worked as a music editor in Radio Brno, after in Ostrava. In Ostrava region he studied Lachian folklore, after also the songs of miners. In 50th he accepted the ideology of Socialist Realism. He became vice-president of the Association of Czechoslovak composers. Owing to this function, he founded many music organisations in the region (Ostrava Conservatory, Ostrava symphony orchestra, Miner's Art Ensemble). He was composing in many genres from 20th: i.e. symphonical Prolog (Prologue, 1929), Symfonieta for large orchestra and organ (1936), instrumental concerts, cycle of symphonic poems Ostrava (1951-52), symphonic poem Ostravian Variations, many choirs, song cycles. He is also an author of the 1st radio opera Letní noc (Summer Night, 1930-31), opera Naši furianti (Our Loudmouth, 1942-49) four melodramas, socialistic songs or music to films.


  • Magdalena KOŽENÁ

    (* 26.5.1973 Brno)

    česká pěvkyně - mezzosoprán

    Czech mezzo-soprano

    She studied piano and singing at the Brno Conservatory, from 1991 to 1995 singing at the Academy of Performing Arts in Bratislava with Eva Blahová. She was awarded at the International competition of W. A. Mozart in Salzburg (1995), and consequently received an offer to create a recording for the Deutsche Gramophongesellschaft and to perform in concerts. She was engaged shortly as a mezzo-soprano in the Wiener Volksoper. She performed many roles on many stages primarily with an old music repertoire such as Isabella in Rossini´s L’italiana in Algeri (Brno, 1996), as Idamante in Mozart´s Idomeneo (Antwerpen, Gent, 1998-99), in Gluck´s Paride and Helene (Drottmigholm, Paris, 1998), as Orfeus in Gluck´s Orfeus (Paris, 1999), and as Nerone in Monteverdi´s L’incoronazione di Poppea (Aix-en Provence). In 2002, she debuted as Cherub in Mozart´s Figaro´s Marriage at the Festival in Salzburg and at the Metropolitan Opera in New York in 2003. She performed in operas of 20th Century including the role of Mélisanda of Debussy´s Pelleas and Mélisande in Leipzig in 2001. She is a very cultivated song´s interpreter.

  • František KOVAŘÍČEK

    (* 17.5.1924 Litětiny - † 7.1.2003 Praha)

    český houslista a pedagog


    (* 1.1.1624 Horšovský Týn - † 31.3.1693 Praha)

    český barokní skladatel

  • Ivan KLÁNSKÝ

    (* 13.5.1948 Praha)

    český klavírista a pedagog

  • Jan HRUBÝ

    (* 3.12.1948 Praha)

    český rockový multiinstrumentalista a skladatel, houslista


    (* 1.1.1988 Praha)

    česká operní pěvkyně - soprán


    e-mail: eliska.gat@seznam.cz

  • Petr ŠPAČEK

    (* 1.1.1988 Třebíč)

    český violoncellista

  • Jakub TYLMAN

    (* 29.12.1983 Praha)

    český violoncellista

  • Vilém VLČEK

    (* 26.4.1998 Říčany)

    český violoncellista

  • Jiří VODIČKA

    (* 10.2.1988 Havířov)

    český houslista


    (* 1.1.1978 Praha)

    česká operní pěvkyně - mezzosoprán

    www.barbora-martinkova.cz, www.barbora-polaskova.cz, www.triartmanagement.cz, www.moravskedivadlo.cz

    Agency: Triart Management agency

    e-mail: b.polaskova@gmail.com


    (* 1.1.1983 České Budějovice)

    česká operní pěvkyně - mezzosoprán

    Reviews, articles:
    "...Václava Krejčí Housková was a great lady of the evening playing the male role of Smeton. Her mezzo-soprano has a darker timber and sounds balanced. Her deep tones would surpass world-class singers (speaking of Anna Bolena in Vienna two years ago). Her performance was sophisticated, fervent in tones and soulful." (Opera Plus, June 8, 2013).


    e-mail: krejcihouskova@gmail.com

  • Michaela KAPUSTOVÁ

    (* 1.1.1983 Brno)

    česká operní pěvkyně - mezzosoprán

    Soloist of the National Theatre in Prague.
    Guest performances – National Moravian-Silesian Theatre in Ostrava, National Theatre Brno, J. K. Tyl Theatre in Pilsen.
    Cooperation – various orchestras and ensembles in the Czech Republic and abroad.

    Conservatory in Brno (Josef Škrobánek); private lessons with Antonie Denygrová; courses with Peter Dvorský; Prague Conservatory (Yvona Škvárová).

    Repertoire (selection):
    W. A. Mozart, G. Rossini, G. Donizetti, G. Puccini, G. Verdi, G. Bizet, A. P. Borodin, P. I. Tchaikovsky, R. Wagner, B. Smetana, A. Dvořák, L. Janáček, B. Martinů.

    Leoš Janáček Award competition (2005), Prague Singer (2007), competition of Czech conservatories in Pardubice (2007), 44th Antonín Dvořák International Singing Competition in Karlovy Vary (2009), Thalia Awards 2013 – long-list nomination for the role of Jane Seymour / G. Donizetti: Anna Bolena.

    Glyndebourne on Tour (2012), Vivat Amadeus festival Kroměříž (2013), International Festival Český Krumlov (2013), Budapest festival (2014), Janáček – Brno (2014).

    CD – her profile (at her own expense, 2010), participation in Simona Šaturová´s CD DECADE (NIBIRU, 2014).

    G. Verdi: O don fatale / Don Carlos (2010); O. Ostrčil: Osiřelo dítě (2013).

    Reviews, articles etc:
    "Michaela Kapustová playing Zaida, the Gypsy, was the more distinctive one out of two main female characters. Her clear mezzo-soprano fully filled the space of the Great Theatre very easily. The nomination for the Thalia Award 2010 for the performance of Angelina in Rossini´s Cinderella was not a coincidence and Michaela Kapustová will eventually get her glass award." (The Turk in Italy, J. K. Tyl Theatre in Pilsen, Hudební rozhledy 2012).


    Opera Vision Management agency

    e-mail: kapustovam@seznam.cz; bledarzajmi@seznam.cz

  • Jan ŠŤÁVA

    (* 1.1.1988 Brno)

    český operní pěvec - bas

    Reviews, articles: "Czech bass Jan Stava made chauffeur liveried Osmin a charming, positive presence with just a hint of menace. Stage director Arias' choreography allowed none of the classic schtick. The young bass attacked his mindboggling 'O, wie will ich triumphieren' with confident bravado and succeeded as well as anyone with its coloratura and range challenges." (Opera Today, Feb 2013)
    "His bass is voluminous, full, and colourful, with very good diction and a steady scale of two tricky octaves of Kecal, which he masters in an admiring way. His acting is not pretentions, but I have to emphasize it is very original. He is not Kecal, who longs for comicality such as restless bass singers Hanuš Thein or Karel Berman; however, he is not an Eduard Haken type despite getting close to his interpretation in moderation on the stage. He is himself and this is what makes him special. He does not strive for comicality and it comes on its own accord. Those who try very hard in other passages are not able to reach this effect. Bravo! It is Kecal, who brings joy of convincing interpretation, which follows the spirit of Smetana: it is sophisticated interpretation free from vulgar hyperboles." (Opera Plus, June 9, 2014).

    Links: www.janstava.com

    Agency: Italartist Austroconcert Kulturmanagement, Vienna

    e-mail: honza.stava@gmail.com, info@janstava.com

  • Alžběta VOMÁČKOVÁ

    (* 1.1.1988 Frýdek-Místek)

    česká operní pěvkyně - mezzosoprán

    Biography: Guest performance — State Opera Prague, J. K. Tyl Theatre in Pilsen, F. X. Šalda Theate in Liberec, North Bohemian Theatre of Opera and Ballet in Ústí nad Labem, South Bohemian Theatre in České Budějovice — revolving stage in Český Krumlov.
    Cooperation — Karlovy Vary Symphony Orchestra, Musica Florea.

    Studies: Clothing High School; Prague Conservatory (Brigita Šulcová); Academy of Performing Arts in Prague (Roman Janál); master courses with Dagmar Pecková, Antonio Carangelo, Nikolaus Hillebrand, Magdaléna Blahušiaková and others.

    Repertoire (selection): J. S. Bach, A. Dvořák, Ch. Gounod, B. Martinů, W. A. Mozart, B. Smetana, J. Offenbach, G. B. Pergolesi, G. Verdi.

    Competitions: International singing competition Ferruccio Tagliavini (2012, 2nd prize); Antonín Dvořák International Singing Competition in Karlovy Vary (20102012, 2nd and 3rd prize), Junior Award, National Theatre Brno Award, the award for the best interpretation of Antonín Dvořák’s opera aria, Jarmila Novotná Award, Beno Blachut Award; Imrich Godin International Vocal Competition Iuventus Canti (2012, 3rd prize).

    Festivals: Jarmila Novotná Festival (2012), international music festival Young Prague (2013).

    Awards: Thalia Award 2013 long-list nomination for the role of Preziosilla / G. Verdi: La Forza del Destino.

    YouTube: G. Verdi- Condotta ell´era in ceppi /Azucena, Il Trovatore, 2014. https://www.youtube.com/watch?v=fzj79YWx8MU

    Reviews, articles: "A storm of applause of the sold-out auditory rightfully rewarded her performance, which was indeed on a very high interpretation level. Apart for the cultivated technique of singing and the ability to experience her role, the artist also highlights her charm. If she continues to raise the bar, we will definitely hear about her in the future." (Opera Plus, March 19, 2013).
    "Alžběta Vomáčková as young Siebel caught our attention in the re-run in March. The competitors in the main quartet were bigger than in March, but she did not pass unnoticed! Her Siebel is very masterful and it almost approximates the ideal singer in this role." (Opera Plus, June 13, 2013).

    Links: www.alzbetavomackova.com

    e-mail: vomackova.alzbeta@gmail.com

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