There is an overview of important Czech artists. It could be sorted by name, or type.
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- ADÁMEK, Ondřej
- ADAMUS, Jan
- ÁGHOVÁ, Livia
Slovak opera singer - soprano
- ALBRECHTOVÁ, Luisa
Czech opera singer - soprano
- AMBROŠ, Miroslav
- ANČERL, Karel
- ARDAŠEV, Igor
- ARENDÁRIK, Matej
- BAČOVÁ, Martina
- BAKALA, Břetislav
Czech conductor, pianist and composer
- BAŘÁK, Lukáš
Czech opera singer - baritone
- BĚLOHLÁVEK, Jiří
(* 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).
(* 9.9.1957 Praha)
česká operní pěvkyně - soprán
She studied at the Prague Conservatory with Zdeněk Jankovský and Marie Boháčová, and later at the Academy of Performing Arts with Karel Berman. She trained in the courses for vocalists in Bayreuth, and Sienna with Paolo de Napoli. From 1979, she was engaged at the National Theatre in Prague (she debuted as Barče in Smetana´s The Kiss). Since 1998, she has been a soloist of the State Opera Prague. Originally, she performed lyrical roles, then later more dramatic ones as well. Her repertoire includes Mozart´s Zerlina and Donna Elvira in Don Giovanni, Zuzana in Figaro´s Marriage, Papagena and Pamina in The Magic Flute, Anne in Weber´s Freischütz, Elisabeth from Valois in Verdi´s Don Carlos, Nedda in Leoncavallo´s The Comediants, Lisa in Tchaikovsky´s The Queen of Spades, Giorgetta in Puccini´s The Coat, Krasava in Smetana´s Libusse, Mařenka in Smetana´s The Bartered Bride, Rusalka in Dvořák´s Rusalka, Káťa in Janáček´s Káťa Kabanová a.o. From 1987, he taught at the Prague Conservatory, and since 1997, she manages her own private School for Music and Vocalists, and since 1999, the Children´s Opera Prague.
(* 29.11.1947 Praha)
český skladatel a pedagog
František Antonín RÖSSLER-ROSETTI
(* 1.1.1850 Litoměřice - † 30.6.1792 Ludwigslust)
český skladatel, žijící v cizině
Czech composer living abroad
We don´t know the precise date of his birth (he was probably baptisted on 26. 10. 1745 in Mimoň) and he was confused with other persons of the same name. He should devote himself to the theology, but instead returned to an artistic career. From 1773, he worked as a contrabass player and later as a Kapellmeister of the Court Capella in Wallerstein where a large community of Czech musicians lived. At the end of 1770´s he ws one of the most famous musicians in Germany and his compositions were sold in many copies and prints. His music has been published in Amsterdam, Paris, Prague, Frankfurt and Mainz, Offenbach, Vienna and other countries. In 1781/82 he travelled to Paris, in 1786, he visitied Münich, 1788 and 1789, he visited Augsburg several times. In 1789, he received the prestigious position of Court Kappelmeister of the Duke of Mecklenburg-Schwerin, where he conducted a large Choir. He was cinnussuibed to compose symphonies and oratorios. He was invited to the perform his works (most notably in 1792 when he performed his oratorio Jesus in Gasemath and cantata Halleluja at the Court in erlin). On December 14th 1791, his Requiem to the Memory of death of W.A. Mozart was performed. He wrote approximately 35 symphonies, 50 concerts for many instruments especially for horn. The composer has contributed to the evolution of the performance technique. His later compositions included cantatas, oratorios, chamber compositions, music for piano and songs. He belonged among the must famous composers of symphonic music of the last third of 18th Century. His abundant melodic with signs of folklore wa a prerequisite of the Romantic style.
Jan Ladislav DUSSEK
(* 12.2.1760 Čáslav - † 20.3.1812 Saint-Germain-en-Laye)
český skladatel a klavírista
Composer and pianist
He came from the family of musicians. He studied at the Jesuit school in Kutná Hora and Prague, and studied philosophy at the Prague University (for only one year). He led a very adventurous life. He traveled as a virtuoso to Holland and Germany (here his tutor was Carl Philipp Emanuel Bach). He worked also at the Court in St. Petersbug and under Radzivill in Latvia. From the mid-1780´s , he traveled around the Europe, and also played the glass harmonica. After the French Revolution in 1789, he left London, where he was unsuccessful as an editor. Due to his debts, he fled to Germany and later to France. He wrote several piano works with charakcteristics stemming from the Romantic period. He is a precursor of Chopin, Schumann and Mendelssohn. Many of his compositions have programmatic titles, such as The Sufferings of the Queen of France (1793). He wrote piano sonatas, concerts, sonatas for violin and piano and chamber music and comic opera The Captive of Spilberg (1798 in London) that was recently staged in 1978 and 2000 in Brno.
(* 28.6.1887 Mladá Boleslav - † 1.3.1965 Praha)
He studied at the Prague University (he graduated in 1913) and at the same time the composition with Vítězslav Novák. At the beginning, he worked as a clerk and music reviewer, later as a composer in Prague. He wrote expressionist compositions similar to the style of Schönberg (i.e. song cycle Blowed Path, 1912, choir cycles Cries, 1918, 1914 in 1920, The Way from the Battlefield, 1923, piano cycle Searching, 1913, Sonata 1917). His operas Water Sprite (about Erben, 1937) and Boleslav I. (1957) have a traditional character.
(* 23.2.1882 Praha - † 9.1.1969 Praha)
Czech composer, violinist and violist
He studied Czech and German at Charles University and composition privately with Vítězslav Novák. From 1907 he was working in University Library (today National Library) where he founded the Deparment of Music in 1922 and became its first director. He directed it up to his retirement in 1942. His musical output is not large and comprises mainly vocal compositions. He played the violin and the viola in a quartet but didn´t write much instrumental music. Vycpálek´s songs and choruses are composed on the texts from Czech and German symbolist poetry, he drew inspiration from Moravian folk music. Prior to the First World War, there are e.g. Tichá usmíření (Quiet Reconciliation, 1908-9), Dívka z Lochroyanu (The Maid of Lochroyan, 1907, rev.1911), Světla v temnotách (Lights in the Darkness, 1910), Tři smíšené sbory (Three Choruses for Mixed Voices, 1911-12) or Z Moravy (From Moravia, 1910-14). During WWI Vycpálek wrote two series of arrangements of Moravian folk songs: the Moravské balady (Moravian Ballads, 1915) and Vojna (War, 1915). While working on those cycles, he had been specially attracted by the texts of two songs, which served him as poetic material for the Kantáta o posledních věcech člověka (Cantata of the Last Things of Man, 1920-22), his major vocal-symphonic work. His musical thought is primarily contrapuntal, he was attached to the tradition of Baroque music. It is obvious in his sonata Chvála houslí (Praise to the Violin, 1927-8) for violin, mezzosoprano and piano, the Duo for Violin and Viola (1929), the Suites for Solo Violin (1930) and Solo Viola (1929) and two vocal-symphonic works - the cantata Blahoslavený člověk ten (Blessed Is This Man, 1933) and the České requiem (Czech Requiem, 1940), both written on biblical texts.
Smolka, Jaroslav: Ladislav Vycpálek: tvůrčí vývoj (creative evolution), Prague, 1960 (incl. list of works to 1959, list of writings and extensive bibliography)
Cantata of the Last Things of Man
Tikalová, Řeháková, Mrázová, Šrubař, Mráz
Czech Philharmonic Chorus and Orchestra, Karel Ančerl
2 CD Supraphon
(* 25.3.1947 Bratislava)
slovenská operní pěvkyně - soprán
She studied at the Conservatory in Bratislava and Žilina, between 1967 and 1971, she continued at the University of Arts in Bratislava. From 1970 to 1981 she was engaged at the National Theatre in Prague. She debuted as Natasha in Prokofiev's War and Peace. Many roles followed: Mimi in Puccini´s Bohéma, Mařenka in Smetana's The Bartered Bride, Tatiana in Tchaikovsky's Eugen Onegin, Hedvika in Smetana's The Devil Wall, Rusalka in Dvořák's Rusalka, Jenůfa in Janáček's Jenůfa. She matured to more dramatic and psychologically demanding roles (i.e. Janáček's Káťa Kabanová). She has been seen on many prominent stages around the world (Leonora in Beethoven's Fidelio, Desdemona in Verdi's Otello, Amelia in Verdi´s Masquerade Ball, Elisabeth z Valois in Verdi's Don Carlos, Senta in Wagner's Flying Dutchman, Ariadne in Strauss's Ariadna on Naxos as well as other roles). In 1983, she returned to the National Theatre and sang Smetana's Libusse here to the occasion of the reopening of the renovated theatre, her performances in the Czech republic have remained seldom; in 2001 she performed Emily Marty in Janáček's The Makropulos Case. Beňačková recorded the atelier version of Smetana's opera The Barted Bride as Mařenka (1975), her voice was used also in the film version of Dvořák's Rusalka (1977) and in the film about the soprano vocalist Emma Destinn The Divine Emma (1979).
(* 6.2.1942 Čáslav)
český operní pěvec - tenor
He studied at the Prague Conservatory, the Academy of Performing Arts, and later privately. From 1966, he was engaged in Liberec, from 1983 in Ostrava, and from 1985 at the National Theatre in Prague. He is currently engaged at the theatre in Liberec.
He is successful in the lyrical and buffo roles i.e. Don Ottavio in Mozart's Don Giovanni, Tamino in the Magic Flute, Almaviva in Rossini´s Barber from Sevilla, Alfréd in Verdi´s La Traviata and others.
(* 2.8.1967 Brno)
(* 11.2.1912 Napajedla - † 19.7.1994 Staatsburg, NY)
From 1919 he toke piano lessons with L. Janáček, after he studied at Brno Conservatory with Růžena Kurzová and Prague Conservatory with Vilém Kurz and composer Rudolf Karel. Privately, he continued with Josef Suk (1929-30). Firkušný's compositions included especially compositions for piano (Piano Concerto, 1930). His debut in Prague was in 1922, in England in 1933, in USA in 1930, in South America in 1943, in Australia in 1959.
His repertoire includes especially the work of Martinů, Janáček, Kaprálová or Dvořák. He recorded complete piano music of Janáček.
(* 8.3.1927 Brno - † 26.2.1971 Brno)
skladatel a spisovatel
(* 25.11.1922 Ostrava - † 7.9.2013 Praha)
český skladatel, klavírista, spisovatel a pedagog
František Xaver BRIXI
(* 2.1.1732 Praha - † 4.10.1771 Praha)
český skladatel a varhaník
He came from a large music family. From 1744 to 1749 he studied at the famous Piarist School in Kosmonosy. In 1749, he became an organist in the church of St. Gallus and later in other temples in Prague. In 1759, he was awarded a prestigious position as an organist and regenschori in the cathedral of St. Vitus Cathedral in Prague. He died prematurely. The transcriptions of his compositions have appeared in many Czech choirs as well as in Bavaria, Austria, Poland and Hungary. He wrote approximately 400 works – about 290 spiritual works (100 masses), music to school dramas, music to the Latin plays, which are currently performed (Erat unum cantor bonus, Luridi scholars), chamber and organ compositions and few sinfonies. He belongs to the must important Czech composers of 2nd half of 18th Century.
(* 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.
(* 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.
(* 9.12.1862 Praha - † 6.12.1920 Praha)
český dirigent a skladatel
Czech conductor and composer
He studied clarinet, harp, piano at the Prague Conservatory, as well as singing privately. He also later studied composition with Zdeněk Fibich from 1879 to 1882. From 1879 to 1885, he was a harpist in the Provisional Orchestra of the National Theatre in Prague. From 1885 to 1886, he was a conductor in Brno, and later in Pilsen from 1886 to 1887. From 1890, he worked as a répétitor of the Pivoda School of Singing, and later became director of this school from 1808-1900. In 1895, he founded and conducted the Orchestra of the Ethnographical Exposition in Prague. Here he attracted attention as a conductor and later became the chief of Opera of the National Theatre in Prague from 1900 to 1920, where he applied many modern interpretation methods and created an ensemble of outstanding qualities. As a conductor and composer he was orientated toward a French and Italian repertoire. He also interpreted Czech music including the works of Smetana, Dvořák, Fibich, Foerster, Ostrčil, Novák, Křička and others. In 1916, he premiered Janáček´s famous Jenůfa, but with his own corrections (with the consent of author). He performed the Czech premieres of Wagner´s operas such as Tristan and Isolde, Parsifal, The Rheingold, Walkyre, Strauss´s Electra and Rose Cavalier, Charpentier´s Louise and Julien, Musorgsky´s opera Boris Godunov and others. In 1919, he embarked on an important tour of the National Theatre´s Orchestra to London and Paris. As a composer he created orchestral works, scenic musics, ballets as well as several successful operas including Fiancés (1884), The Way throut the Window (Cesta oknem) (1886), The Night of Šimon and Juda (1892), The Dogheads/Psohlavci (1898), At the Old Bleach (1901) and others. His parody of opera Edip King (1894) was performed by many amateur ensembles.
(* 15.9.1930 Strašice - † 9.12.2012 Praha)
He studied at the Prague Conservatory, and later conducting with Alois Klíma. In 1951 he became a violinist in the orchestra of the National Theatre in Prague, from 1953 to 1955, he worked as conductor of the Army Opera, from 1955 to 1960, he performed in the Music Theatre in Karlin, between 1960 and 1962 he worked in the opera in Ostrava, and from 1962 to 1973 he was a conductor and chief of Opera in Ústí nad Labem. Here, he prepared many operas including Vostřák´s The Borken Jug (premiere 1969), Leoncavallo´s Gypsies, Czech prem. in 1972, Wagner´s Tristan and Isolde, first performing after 1945. From 1974 to 1980 and in 1985 and 1992 he worked in the National Theatre in Prague. During the period between 1979 and 1985, he conducted the Orchestra of the Czech Radio, 1992-93 he was a chief conductor of the State Opera in Prague. He devoted himself also to the concert activities as an art leader of the ensemble Collegium musicum Pragense (1968–94) and chief conductor of the Philharmonic Orchestra Hradec Králové (1991–2001). He is a versatile opera´s and symphonic conductor with large repertoire. He performed in the Czech Philharmonic Orchestra and at the opera´s theatres in Germany, Austria, Italy, Suisse, Irland and Australia. Since 1974 he is teaching at the Prague Academy of Performing Arts.
(* 18.4.1937 Točná)
český kytarista, zpěvák a muzikolog
(* 7.5.1947 Praha - † 18.8.2009 Praha)
(* 14.1.1927 Plzeň)
česká klavíristka, cembalistka a pedagožka
(* 27.1.1942 Praha)
český flétnista, skladatel a dirigent
(* 13.2.1937 Teplice)
český houslista a pedagog
(* 18.4.1899 Uherské Hradiště - † 4.3.1962 Praha)
He began to study law inVienna and philosophy at the University in Prague. He later devoted himself to music. He attended courses of František Neumann and Leoš Janáček at the Brno Conservatory (1925–26). He received vital experiences in opera and found his own Romantic and expresive style of conducting. From 1925 to 1936, he worked as a second conductor, and later as conductor in Brno. Here, he created a tradition of Czech and Russian repertoire. During the period between 1936 and 1945, he worked as a music advisor in the National Theatre in Prague, but however, rarely conducted. From 1945 to 1947, he worked as a Chief of Opera in Ostrava and after a short period in Prague, he returned again to Ostrava. From 1949 to 1951, he worked as the Chief of Opera in Brno, from 1951 to 1953, the Chief of Opera at the Slovakian National Theatre in Bratislava. From 1956 to 1959, he worked in the Grand Theatre in Moskow and guested in Leningrad. Here, he studied many Czech works, such as Janáček´s Jenůfa in 1958 and Dvořák´s Rusalka in 1959. He was also an excellent conductor of concerts. He represented one of must important personalitis of his generation in the enre of opera.
(* 19.3.1932 Zdice)
muzikolog a publicista
(* 11.2.1957 Praha)
(* 9.9.1947 České Budějovice)
česká hráčka na lesní roh
(* 22.3.1932 Kladno)
(* 1.4.1947 Dýšina)
(* 5.1.1872 Ostřihom - † 2.7.1939 Praha)
český operní pěvec - tenor
He studied at the Art Academy, singing with Olga Paršová-Zikešová, and later in Paris in 1907. In 1899, he debuted in Brno with Faust in Gounod´s Faust. From 1899 to 1901 and from 1903 to 1907, he was engaged at the National Theatre in Prague. From 1909 to 1934, as a permanent guest. He spent the major of his career abroad and in 1918 he became an American citizen. He guested in must of the important cultural centres in Europe, in particular in Frankfurt (1901/02), In 1903, he was invited by Gustav Mahler to sing in the Curt Opera in Vienna. From 1906 to 1912, he performed at the Berlin Komische Oper an der Weidendammer Brücke, from 1910 to 1912, at the Municipal Theatre of Vinohrady, in 1911 in Berlin Kurfürstenoper, in 1913 in London (i.e. in Strauss´s Ariadne on Naxos, in English premiere). He created many Wagnerian roles in the USA including in particular Parsifal in Chicago (1914). In the National Theatre in Prague, he cooperated with chief conductor Karel Kovařovic and Otakar Ostrčil. He studied approximately 75 roles from the Czech and world repertoires including Jeník in Smetana´s The Bartered Bride, Lukáš in The Kiss, Dalibor in Dalibor, Šťáhlav in Libusse; Tamino in Mozart´s The Magic Flute, Don Ottavio in Don Giovanni; Radames in Verdi´s Aida, Alfréd in La Traviata, Manrico in Troubadour; Wagnerian roles Tannhäuser and Lohengrin; Dimitrij in Dvořák´s Dimitrij, Florestan in Beethoven´s Fidelio, Hoffmann in Offenbach´s Hoffmann´s Stories, Werther in Massenet´s Werther, Don José in Bizet´s Carmen, Cavaradossi in Puccini´s Tosca. From 1934 he lived as a teacher in Chicagom and in 1937, with the help of his compatriots, he returned to Prague as an ill man.
Josef (Jožka) ČERNÝ
(* 14.3.1942 Čejč)
český zpěvák lidových písní
(* 14.8.1915 Moravské Budějovice - † 10.5.1987 Praha)
He studied musicology at Prague Charles University, and also studied music under the privateguidance of Josef Bohuslav Foerster. From 1938 to 1939, he lived in Italy. He worked in Prague as an organist, a choir-director, and a teacher. Between 1939 and 1950, he conducted the boys´ later mixed choir Schola cantorum and performed many works of the time of vocal polyphony or folk plays with them. He worked as a choirmaster of children choir Hlahol and editor of music journals. In 1956, he founded the New Madrigal-Singers (from 1965 the Prague Madrigalists), an ensemble specializing in old music. Many contemporary European composers dedicated their works to the ensemble. Venhoda also wrote the theoretical study Introduction to the Study of Gregorian Chant (1946) and edited some collections of old music (Monteverdi, Hand-Gallus, Harant). The ensemble recorded many compositions for various music labels and Radio.
(* 8.2.1927 Kotvrdovice - † 18.11.2011 Brno)
český skladatel, pedagog a muzikolog
(* 18.4.1932 Ostrava)
česká operní pěvkyně - soprán, pedagožka
(* 21.7.1937 Jablonné nad Orlicí)
Pavel NOVÁK (ZEMEK)
(* 14.10.1957 Brno)
český skladatel a pedagog
composer and pedagogue
He studied the oboe and composition at the Brno Conservatory of Music, then he continued his studies with M. Ištvan at the Janáček Academy of Music (JAMU, graduated in 1988), and later completed his education on a scholarship in London (1992-3, with G. Benjamin), and in Paris (1997-8, with G. Grisey). He was employed as a first oboist of the orchestra at Janáček’s Theatre in Brno. Nowadays he is on the staff of the Brno conservatory as well as the JAMU, where he teaches composition as a major subject. He wrote a lot of chamber and orchestral instrumental works for various combination, but his most characteristic works are those exploring the monophonic method of composing. His conviction resulted in writing many remarkable solo compositions for various instruments. A touch of Christian spirituality remains one of most conspicuous characteristics of most of his works, although they are largely conceived as standard concert pieces. Nevertheless, some of his works were composed since the very beginning with the medieval cathedral acoustics in mind. He received for one of his most contemplative and spiritual work the L. Janáček Prize (Passion after St. John, 1990-1997). Selection of compositions: Cairos and Cronos for oboe solo (2001); Seven Last Words of Christ for clarinet solo (2002); L´Adoration du Sacré-Coeur (Litanies) for 1 percussionist (2000); From the Kingdom of Fish („O Christ.....“) – parable for organ (1993); Canto semplice for viola d´amore solo (1997); 4 sonatas for violoncello (1987-2000), Decameron from Moravia, ten pieces for oboe and piano (1988-9); The View of the Other World (Hommage à H. v. Bosch III) (1988-90); Five Seasons for bassoon, piano and recitator (Five movements, texts from Old and New Testament) (1989-90); Three Demonstrations of Esteem in the Talk of St Paul the Eremit in the year 342 for flute and marimba (1995); À Paul Klee. Seven movements for bass clarinet and harp (1996-7); The Garden of Delights (Hommage à H. v. Bosch) for oboe, violoncello and piano (1984); Lord, We Seek the Song of Chosen for violin, cello and piano (1989-90); 9 String Quartets (1993-2001), Waltzes – Hommage to St Francesco d´Assisi for zymbalon, harp, harpsichord, percussion and cello (1991-2); Seven Last Words of Christ – Chamber Symphony No 1 for 10 string instruments (1985-6); Hommage to St Francesco d´Assisi – Chamber Symphony No. 2 for clarinet and 10 string instruments (1988); Hommage to Lord Jesus I. Concerto for cor anglais and chamber ensemble (1995); 5 symphonies (1987-2004), Je t´aime (after the words by St Bernadette Soubirouse) for solo baritone (1997); Requiem (1997); Requiem (version for mixed choir); O Haupt voll Blut und Wunden (version for mixed choir) The Garden of Love for soprano and 2 percussionists (1987-8); I Am Afraid of Your Judgement. Transcription of a Moravian Folk Song for soprano, 2 clarinets, viola, double bass and zymbalon (1991); Three Marian Prayers for soprano, two clarinets, viola, cello and contrabass (1993-4); Silent Hymn for soprano and chamber orchestra (1997); Dartington Gardens for mixed choir and brass ensemble (2004)
(* 7.6.1952 Rožmitál pod Třemšínem)
(* 12.5.1957 Prostějov)
(* 21.7.1927 Brno - † 12.10.2010 Brno)
český klavírista, skladatel a pedagog
(* 23.11.1942 Praha)
český multiinstrumentalista a skladatel
(* 24.5.1932 Praha)
(* 28.10.1927 Lomnice nad Popelkou)
(* 28.4.1932 Praha)
český klavírista a skladatel
(* 12.4.1932 Praha)
česká operní pěvkyně - alt
After her private studies (1955-57) she performed in Pilsen, and from 1960 to 1963 in the National Theatre in Prague. From 1963, she was a soloist of the Czech Philharmonic Orchestra, and from 1980 to 1992, she performed in the National Theatre in Prague. She created many roles of the Czech opera repertoire including Smetana´s Panna Róza in The Secret, Radmila in Libusse, Foreign Duchess in Dvořák´s Rusalka (also in the film), Káča in The Devil and Kate, Mešjanovka in Foerster´s Eva, Kabanicha in Janáček´s Káťa Kabanova, Donna Isabela in Fibich´s The Bride from Messina but also in another repertoire such as Countess in Tschaikovsky´s Queen of Spades, Amneris in Verdi´s Aida, Carmen in Bizet´s Carmen, 1961 in Bordeaux as Dalila in Saint-Saëns´s Samson and Dalila, 1966 in Bayreuth as Erda in Wagner´s The Ring of Niebelung, between 1968 and 1973 in Hamburg as Preziosilla in Verdi´s Power of Fate, just to name a few. She performed as a concert singer in France, England, Austria, Sweden, Suisse and South America and Japan.
(* 2.12.1930 Vídeň - † 5.9.2002 Praha)
česká operní pěvkyně - mezzosoprán
She studied privately in Brno with Marie Fialová and at the Conservatory with Bohumil Soběský, in Olomouc with Konstantin Karenin, and later in Prague with Renata Židová. From 1950, she was engaged in Olomouc, in 1953 in Ostrava, from 1956 to 1988 in the National Theatre in Prague. She studied approximately 50 roles of a diverse repertoire. She was able to utilize her attractive appearance in the roles as Orfeus in Gluck´s Orfeus and Eurydice, Dorabella in Mozart´s Cos? fan tutte, Cherubin in Mozart´s The Figaro´s Marriage, Eboli inVerdi´s Don Carlos, Witch in Dvořák´s Rusalka, Kate in Dvořák´s The Devil and Kate, Duchess in Tchaikovsky´s The Queen of Spides, Oktavian in Strauss´s The Rose Cavalier, Herodias in Salome, Klytaimnestra in Electra). She performed Volumnia in the premiere of opera Coriolan by Ján Cikker (1974). The role that was the highlight of her career was Bizet´s Carmen (for first time in 1966 at the National Theatre, directed by Václav Kašlík). She also performed at the State Opera in Berlin (1964–73), in Hannover (1965–70), at the festival in Wexford (1965), in Moskow, Frankfurt am M. and other places.
Jiří Antonín BENDA
(* 30.6.1722 Staré Benátky - † 6.11.1795 Bad Köstritz)
skladatel a dirigent českého původu
He studied at the School of Piarist Convent in Kosmonosy and Jesuit School in Jičín. In 1742 he settled in Postupim with his parents and brothers where they lived withe their two other brothers, František and Jan Jiří. They were the members of the Court Royal Band. In 1750 he became a Kapellmeister of Friedrich III., Duke of Saxe Gotha. There was a great milieu for the love of art at this Court. Benda composed spiritual cantatas, instrumental compositions and music for theatre. In 1774, he began to compose stage-melodramas, a new form that was inspired by the Seyler Theatre Society, which visited the Roayl Court. Melodramas such as Ariadne auf Naxos, Medea, Der Dorfjahrmarkt, Walder (1775), Romeo and Juliette (1776) and Der Holzhauer (1777) have brought him fame. In 1778 he resigned for the controversy at the Court and he returned to Saxe Gotha. He received the life-long pension from the Duke and was able to devote himself to composing new works. He lived in several small German villages during the last years of his life. His work includes approximately 30 symphonies, instrumental concerts, chamber compositions, Italian stage-compositions and melodramas.
(* 26.12.1937 Nové Dvory (okr. Kutná Hora))
He studied at the Academy of Performing Arts in Prague. His career as a conductor started in 1964 in Pilsen. Only a year later, he drew attention as laureate of the International Conducting Competition in Besançon. In 1969 Jiří Kout was forced to leave Pilsen, as he publicly protested against the invasion of Czechoslovakia by Warsaw Pact soldiers in August 1968. He was allowed to work more systematically again in 1972, when he took up the post of Conductor at the National Theatre in Prague. After a series of successful guest appearances at the Deutsche Oper am Rhein in Düsseldorf, he finally decided to go into exile, and became Permanent Conductor at the Düsseldorf Opera. In 1985 he became Music Director of the Saarbrücken Opera. In 1990, he was appointed Principal Conductor of the Deutsche Oper in Berlin and, in addition to that, in 1993 he became Music Director of the Leipzig Opera. Jiří Kout has won international fame particularly as an excellent conductor of the works of Wagner, Strauss and Janáček whose operas he has conducted at the most prestigious opera houses around the world. In Berlin, Janáček´s opera Katya Kabanova under his direction was awarded as the best production of the year. In 1998 Jiří Kout became Chief Conductor of the St. Gallen Symphony Orchestra, where he now lives with his family. From the 2006/2007 concert season on, he has been holding the position of Chief Conductor of the Prague Symphony Orchestra.
(* 23.9.1907 Praha - † 9.2.1994 New York City, NY)
česká operní pěvkyně - soprán
She performed small roles at the stage of the National Theatre from her 15 years. She studied by Ema Destinn and Hilbert Vávra, in her 18 years she shined in the role of Mařenka in the National Theatre. From 1927 she studied in Italy and debuted there in the role of Gilda, she received the engagement in Berlin. In 1931 she married the noble Jiří Daubek and lived in Liteň near Beroun. After the line up of Fascism in Germany she worked in Vienna and Prague. In Mars 1939 she emigrated in USA and worked in New York as a soloist in Metropolitan Opera (to the year 1956). She inspired the translation of the opera The Bartered Bride in English. Her castle in Líšeň was confiscated in 1948. She received many awards. She shined especially in the roles of Mařenka, Violetta, Mimi or Gilda, and due to her charm she was many more engaged in the film (Devotees to Sun, Fire in the Opera, The Bartered Bride, Frasquita, Last Waltz, Famous Caruso and others).
(* 16.11.1932 Praha)
český skladatel a pedagog
(* 31.7.1942 Frenštát pod Radhoštěm)
He studied piano, oboe, composition and conducting at the Conservatory in Brno. He continued at the Janáček Academy of Performing Arts in Brno with František Jílek. From 1968, he worked at the Brno Opera as correpetitor and choirmaster. From 1979 to 1985, he was the conductor of Opera in Ústí nad Labem. From 1985 to 1992, he returned again to Brno, from 1992 to 1994 , he worked at the Slovakian National Theatre in Bratislava. In 1994, he returned ti the Opera in Brno, and since 2005, he has conducted at the Pilsen Opera. Since 1988, he has been a pedagogue at the Janáček Academy of Performing Arts in Brno.
(* 9.5.1987 Košice)
(* 8.6.1894 Praha - † 18.8.1942 Wülzburg)
český skladatel a klavírista německého původu
Czech composer and pianist of German origin
He came from a German-speaking Jewish family. Although his parents were not musical themselves, they fully supported his talent. By a recommendation of Antonín Dvořák he commenced his musical studies at the Prague Conservatory (1904-6) - recognized as a child prodigy Schulhoff was already accepted at the age of 10 to study piano. He continued his studies with Willi Thern at Horák´s Musikinstitut in Vienna (1906-8). From 1908 to 1910 he studied in Leipzig (composition with Max Reger, piano with Robert Teichmüller and theory with Stephan Krehl). In 1910 he made his first one-year concert tour in Germany. He completed his successful studies in Cologne (1911-14) under Fritz Steinbach, Lazzaro Uzielli, Carl Friedberg, Franz Bölsche and Ewald Strasser. In Cologne he also took some lessons from Debussy. He won the Wüllner Prize at the conservatory in 1913. He also won the Mendelssohn Prize twice - in 1913 as a pianist and in 1918 as a composer for his Piano sonata. Compositions of his first creative period are mostly written in the late Romantic expressive style (Joyful Overture,1913). As an excellent pianist he performed the classical repertoire and also the avant-garde music of his time - works of Scryabin, Schoenberg, Berg, Webern, Hindemith, Bartok and also the quarter-tone piano music of Alois Haba and his pupils. He was considered as a specialist for jazz. The promising start of his career was interrupted by the outbreak of the First World War. He spent a full four years as a soldier in the Austrian army on the eastern front. After the war Schulhoff lived in Germany from 1919 to 1923. The war experience marked his vision of the world and the art. He began his way in Dresden. He was attracted by the German left-wing avant-garde. He founded the group "Werkstatt der Zeit" with his friends-artists. He was interested in Expressionism and atonality, he initiated a series of concerts to give a performance to the music of the Second Viennese School. Among his works written under its influence are Zehn Klavierstücke (1919), Fünf Gesänge mit Klavier (1919), 32 Variationen über ein achssliges eigenes Thema for orchestra (32 Variations on an Original Eight-Bar Theme,1919), Musik für Klavier in vier Teilen (1920) or Elf Inventionen (1921). Then he joined the Berlin Dada art movement of painters Grosz and Dix. Under the Dada influence he wrote many jazz-inspired compositions. Key works from this period are Fünf Pittoresken (1919), dedicated to Grosz, a three-movement Symphonia germanica (1919) for voice with an accompaniment of an unnamed instrument or a one-movement Sonata erotica (1919) for female voice, imitating coital sighs and cries, then Ironies for piano (six pieces for four hands,1920), a jazz Suite (1921) for chamber orchestra, a dance grotesque Die Mondsüchtige (The Sleep-walker,1925). He was also influenced by Stravinsky, he used successively or in parallel impressionism, expressionism and neo classicism. Schulhoff´s next creative period started when he returned to Prague in 1923. He was successful composer and an internationally appreciated pianist (particularly in Germany). He became a pianist of the Prague Radio Orchestra, and he composed some works especially for live radio broadcast, as well as studio work involving the making of recordings (e.g. The Second Symphony or Concerto for String Quartet, both 1932). It is in this period he became an interpreter of the Hába´s quarter-tone works and other contemporary piano music. As a composer he worked closely with the Zika quartet. He maintained the style of avant-garde but returned to classical music tradition. He was influenced by czech and slavonic folklore and especially by Janáček. He also worked as a publicist. From his works of this period are notable the String Sextet (1920-24) - the first movement still atonal, other from later period neo-classical, with folk elements, the ballet Ogelala (1922-4), the First String Quartet (1924), the First Symphony (1924-5), the Double Concerto for flute, piano and orchestra (1927) and the Concerto for String Quartet and Wind Orchestra (1930). Various musical styles can be found in the musical tragicomedy (opera) Plameny (Flames, 1927-29). He also wrote some jazz compositions - the jazz oratorio H.M.S. Royal Oaks (1930) for speaker, jazz singer, mixed chorus and jazz orchestra, and the famous Hot Sonate (1930) for altsaxophone and piano. In 1930´s Schulhoff turned ideologically and artistically to the socialism. He was influenced by the beggining of the Nazi regime, which caused the end of his career in Germany (for his Jewish origins) and evoked his war memories. He rejected all his previous work and in 1932 he even set the communist manifesto of Marx and Engels to music, as a cantata Das Manifest for four soloists, double mixed chorus, children´s chorus and wind orchestra. He began writing flat and unimaginative transparent music in the style of socialist realism (Symphonies No. 3-6, 1935-42, No.6 from 1940-1 called Symphony of Freedom). Although he continued as a jazz pianist - 1933-35 in Jaroslav Ježek´s jazz orchestra in the avant-garde Osvobozené Divadlo (Free Theatre), and 1935-39 in Ostrava radio. He became a Soviet citizen in 1939. Following the tragic events (occupation of Czechoslovakia) in 1939 he decided to emigrate to the Soviet Union. He was awaiting his Soviet visa when he was arrested in Prague and deported to the Bavarian concentration camp Wülzburg where he died on August 18th 1942. His Symphonies Nos.7and 8 from prison remained unfinished.
J.Bek: Erwin Schulhoff: Leben und Werk (Hamburg, 1994)
J.Bek: "Erwin Schulhoff", Musik in Theresienstadt (Berlin, 1991)
Concerto for Piano and Small Orchestra, Concerto for Piano and Orchestra, Op. 11
Jan Simon - piano
Prague Radio Symphony Orchestra, Vladimir Valek
Ogelala - Ballettmysterium nach einem antik-mexikanischen Original
Beate Bilandzija - soprano
Staatsphilharmonie Rheinland-Pfalz, Michal Jurowski
Symphonie No. 2
Czech Philharmonic Orchestra, Gerd Albrecht
Philharmonia Hungarica, George Alexander Albrecht
Symphonies Nos. 1 and 2
Prague Radio Symphony Orchestra, Vladimir Valek
Symphonies Nos. 3 and 5
Prague Radio Symphony Orchestra, Vladimir Valek
Symphonies Nos. 4 and 6
Prague Radio Symphony Orchestra, Vladimir Valek
Hanny Schmid Wyss - piano
CD Swiss Pan
5 Pitoresken, Partita fur Klavier, 5 Etudes de Jazz, Hot Music (10 Synkopierte Etuden), Suite dansante en jazz pour piano
Tomas Visek - piano
Complete String Quartets
Concertino for Flute (Piccolo), Viola and Double Bass; Divertissement for Oboe, Clarinet and Bassoon; Bassnachtigall, 3 Vortragsstucke fur Kontrafagot-Solo; Symphonia germanica; Sonata erotica
Pavel Foltyn - flute, Pavel Perina - viola, Emanuel Kumpera - double bass, Novak Trio, Lubos Fait - double bassoon, Ivan Kusnjer - baritone, Tomas Visek - piano, Diana Stone
Petr Matuzsek - baritone
Ludmila Peterkova - E flat carinet, Jaroslav Kubita - bassoon, Ondrej Roskovec - double bassoon, Svatopluk Zaal - trumpet, Petr Holub and Miroslav Kejmar - percussion
Esquisses de jazz (1927), Rag-Music (1922)
Peter Toperczer, Jan Vrana, Emil Leichner, Jan Marcol, Milos Mikula - piano
Piano Cycles 1919 - 1939
Tomas Visek - piano
Piano Sonata No. 3
Jan Simon - piano
Sextet for 2 Violins, 2 Violas and 2 Cellos; Divertimento for String Quartet, Op. 14;
Duo for Violin and Cello
Kocian Quartet, Jan Talich - viola, Evzen Rattay - cello
Sonata for Cello and Piano, Op. 17; Sonata for Flute and Piano; Hot-Sonata (Jazz-Sonata) for Alto Saxophone and Piano
Jiri Barta - cello, Pavel Foltyn - flute, Stepan Koutnik - alto saxophone, Jan Cech, Tomas Visek - piano
Sonatas and Suites for Piano
Tomas Visek - piano
Sonatas for Violin and Piano No. 1, Op. 7, No. 2; Sonata for Solo Violin; Suite for Violin and Piano, Op. 1; Melody for Violin and Piano
Ivan Zenaty - violin, Josef Hala - piano
Olga Cerna - mezzosoprano, Frantisek Kuda - piano, Jan Jouza - violin
(* 10.6.1894 Praha - † 22.7.1972 Praha)
český skladatel a pedagog
He studied philosophy (unfinished), composition with J. B. Foerster and J. Křička, 1925-27 in the masterclasses of the Prague conservatory by J. Suk. His first compositions have a late Romantic orientation. At the end of 20s he interested in modern music trends. He bekame a member of Mánes Music Group in Prague associated with composers such as Martinů. 1946-64 Bořkovec has working as a professor of composition at the Prague Academy of Musical Arts. In the 1930s he was ranked into avant-garde. He combines the style of neo-classicism, constructivism with an expressive lyricism.
The most important works are the ballet Krysař (The Ratkiller, 1939), the Nonet (1940), Concerto grosso (1941), opera Paleček (Tom Thumb, 1947), String Quartet No. 4 (1947), String Quartet No. 5 (1961), Sinfonietta in uno movimento (1963-64), Silentium turbatum (1965).
J. Kasan ed.: Pavel Bořkovec: osobnost a dílo (Pavel Bořkovec. Personality and Work), Praha-Bratislava, 1964.
V. Holzknecht: Hudební skupina Mánesa (The Music Group Mánes), Praha 1968
J. Havlík: Česká symfonie 1945-80 (Czech Symphony 1945-80), Praha 1989.
A. Burešová: Pavel Bořkovec. Život a dílo (Pavel Bořkovec. Life and Work), Olomouc 1994.
(* 26.3.1889 Určice - † 6.4.1947 Brno)
český skladatel, klavírista a pedagog
He studied composition with Leoš Janáček in his Brno Organ School (1908-10) and with Vítězslav Novák (1919-20) in Prague. Later he studied piano interpretation with Alfred Cortot in Paris (1923-24).
Kaprál was an excellent pianist. Together with Ludvík Kundera he played concerts of music for two pianos (1921-30). They two also initiated founding of the Moravian Composers' Club in Brno in 1922. Kaprál worked as a piano teacher and in 1911 he founded his own private music school in Brno-Královo Pole. He also worked as choirmaster and music theoretician and critic.
Kaprál married singer Viktorie Uhlířová, in 1915 their daughter Vítězslava who later became successful composer was born.
In 1927 Václav Kaprál was appointed reader in music at the university in Brno. In 1935 he became member of the Czech Academy of Arts and Sciences, in 1936 he was elected vice-president of the Czech Section of the International Society for Contemporary Music (ISCM). From 1936 he was professor of theory at the Brno Conservatory.
During the German occupation of Czechoslovakia his left-wing political opinions caused him to be arrested by Gestapo in 1942. He was imprisoned in the concentration camp Svatobořice until April 1945. In 1946 he was elected the first chairman of the Syndicate of Czechoslovak Composers but his health had broken and he died soon.
Kaprál composed about fifty opuses. He concentrated on works for his instrument piano and on vocal and chamber compositions. Piano music - four Sonatas (1912, 1921, 1924, 1939), three Sonatinas, Suita romantica (1918), atonal Miniatures (1922), Lyrica (1927) and Fantasy in Es (1934). Chamber music - two string quartets, his last composition Balad for violoncello (1946). Vocal compositions - Pro ni (For her, 1927) for voice and piano quartet, Píseň podzimu (Song of Autumn, 1929) for voice and string quartet, Uspávanky (Lullabies, 1932) for voice and chamber orchestra, Milodějné kvítí (Flowers of Love, 1942) dedicated to the memory of his daughter Vítězslava who died in 1940, Svatobořické lidové písně (Folksongs from Svatobořice, 1944). From the music from the concentration camp - Hradišťská idyla (1944) and Česká mše (Czech Mass, 1943).
Ukolébavka / Lullaby
Martina Caithamelova - soprano
Bambini di Praga, B. Kulinska / B. Kulinsky
(* 22.1.1929 Žamberk - † 24.10.2007 Praha)
český skladatel, varhaník a klavírista
Petr Eben is one of the leading composers of the Czech Republic. After the war, he entered the Prague Academy of Music (piano with F. Rauch and composition with Pavel Bořkovec). As early as 1955 he took up a teaching post in the History of Music Department at Prague's Charles University. In 1978-79 he was professor of composition at the Royal Northern College of Music Manchester. From 1990 he became professor of composition at the Academy of Performing Arts in Prague and President of the Prague Spring Festival. He is active as a performing artist, especially as an improviser on piano and organ (concerts in London - RFH and Westminster Cathedral, Paris - Notre Dame and Festivals in Melbourne, Edinburgh, Vienna, Berlin, USA), but his main activity is composing. Two main sources of his inspiration are the plain chant and the folk songs. He has written a large number of varied works in all genres, the oratory Apologia Socratus, the ballet Curses and Blessings, written for the Holland Festival 1983, the concert symphony Noční hodiny (Night Hours) for Leipzig, Prague Nocturne for the Vienna Philharmonic, the 2nd Organ Concerto for the opening of the new organ of Radio Vienna, Missa cum populo for the Avignon Festival, the oratory Sacred Symbols for the Salzburg Cathedral, the Church-Opera Jeremiah and more. He was awarded many prizes for his works: 1990 - by the Czech Government for his organ cycle Job, 1991 - he received the Order Chevalier des Arts et des Lettres from French Minister of Culture, in 1992 he was nominated Professor H. C. of the Royal Northern College of Music in Manchester, in 1993 - he received the Stamitz Prize of the German Kunstlergilde, and in 1994 - the doctor's degree h. c. of Charles University in Prague.
(* 22.3.1852 Horažďovice - † 18.1.1934 Písek)
český houslový pedagog
Czech violinist and pedagogue
He studied singing, playing piano and violin. He absolved the Prague Conservatory with violinist Antonín Bennewitz. He became a violin-virtuoso and absolved many tours to Poland, Russia. In 1870-73 he worked as a concertmaster of Mozarteum in Salzburg, in 1873 in the Temporary Theatre in Prague, 1873-74 in the Comic Opera in Vienna. In 1875-92 he taught in Charkov and Kiev in Ukraine. In 1892-1906 he worked at the Prague Conservatory, 1909-18 he headed the master-class in Academy of Vienna, in 1919-21 he was a head of violin master-class at the Prague Conservatory. From 1907 he lived in Písek, but he has many private disciples around the world (e.g. Jan Kubelík, Jaroslav Kocian or Ševčík Quartet). He wrote many pedagogical books: School of Violin Technique, School of String Technique. He composed also one composition: Czech Dances including popular "song" Holka modrooká (The Blue-eyed Girl).
(* 2.5.1904 Proskovice - † 16.1.1977 Brno)
sbormistr, folklorista a hudební pedagog
František Lýsek dedicated his life to children's choirs and choral music. He was the founder of modern children's singing in the former Czechoslovakia, and based on his lifelong teaching activities, he developed a didactic conception of children's choirs and musical education in which theory was perfectly integrated into practice. While teaching in Jistebník nad Odrou he formed the Jistebník Little Singers (1929-1938), in Baťov he set up the Baťov Children's Choir (1938-1945), and as a university lecturer in Brno he led the Brno Children's Choir from 1945 to the year of his death in 1977. Professor Lýsek's work lives on in the audio, film and television recordings of his choirs, his academic monographs and studies (particularly Cantus choralis infantium, 1968 and Vox liberorum, 1976), all of which bear witness to his immense contribution to Czech culture. He also left a living legacy in the form of the eleven thousand children who sung in his choirs, the hundreds of teachers who were his students at Brno University's Department of Musical Education, and many others who were influenced by his ideas of musical education at numerous seminars both in Czechoslovakia and abroad. Nowadays we can see a renewed relevance in Lýsek's lifelong quest to make music, in the sense of active musical participation, accessible to everybody, especially children. He believed that "all good things begin their development in childhood". František Lýsek was also a diligent collector of folk songs and dances from the region of Lachia. He recorded over 1250 of these melodies, which are now the property of the Brno Institute for Ethnography and Folklore Studies and are regularly brought to life by Ondřejnica, a group of Lachian folk musicians founded in 1977. Out of the numerous a capella arrangements of folk songs from Bohemia and Moravia, Lýsek gradually compiled two collections which were published by the Brno-based Pazdírek company with the titles Forget-Me-Nots (1937) and Dandelions (1941). After the war, both collections were re-published as part of the Melpa series, by Melantrich of Prague and Pazdírek of Brno, in 1945 and 1947. In 1950 a third collection, Daisies, was added to the first two, published by the Czechoslovak Composers' Association. This collection contains arrangements of folk songs which Lýsek selected from Ludvík Kuba's collections The Slavic World in Song. Due to the fact that Lýsek's collections have long been sold out in the shops, and in the light of continuing interest from choirmasters, the František Lýsek Foundation has published this collection of the most popular of Lýsek's arrangements for children's choirs. Many of the songs have earned a firm place in the core repertoire of school choirs and beginner's choirs.
(* 23.1.1894 Lechovice - † 28.4.1982 Praha)
český hudební spisovatel, autor monografie o B. Martinů
Czech music writer and publicist
He studied at the Philosophical Faculty, from 1919 he worked at the Ministry of Foreign Affaires. In the years 1927-38 he worked as a diplomat in Paris where he promoted Czech music. He aided to Martinů make it in U.S.A., where he spent more years between 1939-45. In 1946 he returned to Prague. He participated in the establishing of the Theatre of Music in Prague. As a close friend of Martinů he wrote about him many articles and books: i.e. Bohuslav Martinů - The Man and his Music, 1944; Bohuslav Martinů - Život a dílo, 1961 (Life and Work) and he edited his literary heritage in the book Bohuslav Martinů - Domov, hudba a svět (Home, Music and World, 1966).
(* 1.12.1992 Nymburk)
(* 1.1.1987 Opočno)
Bohuslav Matěj ČERNOHORSKÝ
(* 16.2.1684 Nymburk - † 5.2.1742 Štýrský Hradec/Graz)
skladatel, varhaník, představitel české barokní hudby
He became from music family. In 1700-02 he studied philosophy at Prague University, he was an organist of the Týn Church. In 1704 he was admitted to the Fransciscan's order. In 1710-15 he works as a chief organist in the basilica of St. Francesco in Assisi (here he composed i.e. Regina coeli 1712), he received a master´'s degree in theology. He was ostracized for 3 years. In this years he stay and work at Horažďovice convent (he composed here in 1739 his best known work Laudatus Jesus Christus). He returned to Prague in 1730, he worked also in Padua. He died in Graz 1742 during his travel to Prague.
In his music evolution he was probably influenced by the music theorist and lexicographer J. B. Janovka. German musicologist Kretzschmar titled him "Czech Bach".
K. Šulcová:B. M. Černohorský, biography, diss. University of Brno, 1979
K. Šulcová:Impulsy studio o hudbě baroka (Spurs to the Study of Baroque Music), Opus musicum 1988, pp. 161-178.
(* 2.6.1834 Kostelec nad Labem - † 22.8.1902 Milán)
česká operní pěvkyně - soprán
She was from musical family. Her twin sisters Francesca and Ludmila were also sopranos. Tereza studied at the Prague Conservatory. In 1856 she joined her twins and her husband composer Ricci to Trieste. She made her opra debut in Tbilisi in 1857. For some time after, she sang in Constantinopole, Odessa and again Tbilisi. From the year 1863 she performed at the Italian stages. In 1872 Stolzová was the first Italian Aida (and subsequently in Paris, London and Vienna), she was also the first soprano of the Verdi Requiem. She became the prominent heroine of Verdi´s operas. Her last engagement was in St. Peterburg in 1876-77).
Andrew Yin SVOBODA
(* 4.2.1977 Burlington (Ontario) - † 29.12.2004 Burlington (Ontario))
skladatel česko-čínského původu
Composer of czech-chinese origin
More information here.
(* 8.12.1982 Banská Bystrica)
(* 1.1.1982 Ostrava)
Erich Wolfgang KORNGOLD
(* 29.5.1897 Brno - † 29.11.1957 Los Angeles, CA)
rakouský skladatel z českého původu
(*29.5.1897 Brno †29. 11. 1957 Hollywood).
Austrian composer born in Czech country
He was the son of the well-known Austrian reviewer Julian Korngold (1860–1945). He was a prodigy child (in 1910, his ballet Der Schneemann was performed at the Wiener Hofoper). He studied composition and piano in Vienna among others with Alexander Zemlinsky, from 1927 1934, he taught at the Vienna Academy for Music. From 1934, he began working in athe USA, where he settled in 1938 and devoted himself to composing and conducting film scores. He received world recognition with his one-act operas in Late-Romantic style such as Ring des Polykrates and Violanta (performed in Münich in 1916, in Prague in 1916, cond. by Alexander Zemlinsky), Die tote Stadt (performed in Hamburg in 1920, in Prague in 1922, cond. by A. Zemlinsky) and Das Wunder der Heliane (1927). We wrote many symphonies, violin concert, chamber and piano compositions. He had an extraordinary feeling for theatre and he arranged some Strauss´s and Offenbach´s operettas in cooperation with the director Max Reinhardt.
(* 23.7.1982 Brno)
(* 27.8.1882 Kelč - † 23.1.1969 Praha)
český skladatel, dirigent, pedagog, organizátor a publicista
Czech composer, conductor, organiser, pedagogue and publicist
He studied the Prague Conservatory with K. Knittl and K. Stecker, 1905-6 he finished his study in Berlin. After, he was living in Russia (Dnepropetrovsk) where he promoted Czech Music -i.e. he founded and conducted new symphony orchestra, wrote to the music journals about Czech music life. From 1909 after his return to Prague he became a choirmaster of Hlahol, the choir premiering the work by Janáček, Novák or Jeremiáš. From the year 1918 he was designed professor of composition and in the difficult time of occupation rector of Conservatory. After 1945 he devoted himself to composition. Early compositions are influenced by Russian style: i.e. 1st String Quartet "Russian" (1907), Severní noci (North Nights, 1910), Tři bajky pro soprán a klavír (Three Fables for soprano and piano, 1917), Elegie na smrt Rimského-Korsakova (Elegy to the Death of Rimskij-Korsakov, 1918). Modrý pták (Blue Bird) orchestral ouverture to the Maeterlinck play (1911), opera Hipolyta (1910-16) or opera Bílý pán (White Gentleman) became more known around the world, especially in England. Křička composed in all genres including the music for film or for children. He edited many popular publications.
(* 1.1.1987 Praha)
český klavírista a dirigent
(* 1.1.1992 Valašské Meziříčí)
český operní pěvec - baryton
Biography: He works in České Budějovice. Guest performances – South Bohemian Theatre. Cooperation – Moravian Philharmonic Olomouc, Bohuslav Martinů Female Choir, composer Milan Báchorek and others.
Studies: Grammar School in Ostrava; Janáček Conservatory in Ostrava (Zdeněk Krulikovský); Academy of Performing Arts in Prague (Ivan Kusnjer); master courses with Bernd Weikl, Regina Köbler, Margit Klaushofer.
Repertoire (selection): W. A. Mozart, A. Dvořák, B. Smetana, G. Donizetti, L. Janáček, B. Martinů, P. Eben.
Competitions: Rudolf Petrák singing competition (2009, 1st prize), Bohuslav Martinů songs competition (2010, 1st prize, absolute winner), Conservatory competition (2010, 3rd prize).
Festivals: Janáček May International Festival (2010).
YouTube: W. A. Mozart: Se vuol ballare / Le nozze di Figaro (2014); P. Eben: Písně z Těšínska (2014) and others.
Reviews, articles: "Lukáš Bařák seems to have a big comedic talent as coarse Papageno, who raised a laugh in the audience – and at the same time, he brought off his arias and ensembles, especially the last when where he complains he is not able to find a nice girl." (Helena Havlíková’s Opera Panorama, April 8, 2014).
(* 19.6.1987 Strakonice)
(* 1.1.1982 Bohumín)
česká operní pěvkyně - soprán
Biography: She works in National Theatre in Prague.
Cooperation - J. K. Tyl Theatre in Pilsen, National Moravian-Silesian Theatre in Ostrava, F. X. Šalda Theatre in Liberec, National Theatre Brno, Le Théâtre de Caën, L'Opéra Royal du Château de Versailles, Le Théâtre de la Monnaie / Brussels, Opéra de Dijon, BBC Symphony Orchestra, Camerata Salzburg, Collegium 1704, Czech Philharmonic, Hessischer Rundfunk Frankfurt am Main, PKF – Prague Philharmonia, Prague Symphony Orchestra, Prague Radio Symphony Orchestra and others.
Studies: Prague Conservatory (Jiřina Přívratská); Academy of Performing Arts in Prague (Jiřína Přívratská).
Repertoire (selection): J. S. Bach, M. Báchorek, F. M. Bartholdy, L. Boccherini, B. Britten, G. Donizetti, A. Dvořák, G. Fauré, Ch. Gounod, G. F. Händel, G. Mahler, B. Martinů, W. A. Mozart, J. Mysliveček, J. Offenbach, C. Orff, J. J. Ryba, G. Scarlatti, K. Slavický, B. Smetana, R. Strauss, G. Verdi, J. D. Zelenka.
Competitions: Antonín Dvořák International Singing Competition in Karlovy Vary (2005, 1st prize in the junior category), National Theatre in Prague Award, National Moravian-Silesian Theatre Award, Conservatory Competition of the Czech Republic (2004, 1st prize), Dušek Vocal Competition (2002).
Festivals: Dvořák Prague Festival (2010, 2012), Janáček May (2011, 2013), Prague Spring (2008, 2009, 2010, 2012), Smetana’s Litomyšl (2007, 2008, 2009, 2013), St. Wenceslas Music Festival (2009, 2010, 2011, 2012, 2014), Music Summer Kuks (2013), Strings of Autumn (2013), Festival de La Chaise-Dieu (2009), Rencontres Musicales de Vétzelay Festival (2009), Baroque de Pontoise Festival (2011), Music Bridge Prague–Dresden (2009, 2014), Uckermärkische Musikwochen, Tage Alte Musik Regensburg (2010).
CD - B. Smetana: The Bartered Bride /Esmeralda (harmonia mundi 2012);
DVD - G. Scarlatti: Dove è amore è gelosia / Vespetta (Opus arte 2013).
YouTube: G. Verdi: Tutte le feste al tempio... Si vendetta / Rigoletto, 2013 https://www.youtube.com/watch?v=DgX9j9GM49k ;
G. F. Händel: La resurrezione, 2012 https://www.youtube.com/watch?v=CzdzFBUR7HA ;
W. A. Mozart: La Finta giardiniera, árie Serpetty, 2010 https://www.youtube.com/watch?v=shZXUEe_qDw;
G. Scarlatti: Dove è amore è gelosia, 2012 https://www.youtube.com/watch?v=n8Img1KDtPU
Awards: Commercial Bank (CR) Award for the best performance in 2010; Thalia Award 2007 - long-list nomination for the role of Barče / B. Smetana: The Kiss; Thalia Award 2008 - long-list nomination for the role of Nannetta / G. Verdi: Falstaff.
"Soprano Kateřina Kněžíková does magic with her voice and her personal charm. You see her once on the stage and you will not forget about it and make sure you see her in other roles." (Hudební rozhledy, 2013, No. 2).
"Four soloists - Lenka Máčiková, Kateřina Kněžíková, Aleš Briscein and Jaroslav Březina - sang excellently with clear knowledge of the Italian text and they brilliantly in recitatives; however, they provided their characters with human comicality as well. Their interpretation will stand up in tough competition of contemporary specialists in the historically faithful interpretation." Lidové noviny September 12, 2011 - G. Scarlatti: Dove è amore è gelosia).
"…she performed such a great role /of Aristea/ in the clearly defined acting-based form for the first time. She sang her part precisely with her silver timber, natural musicality and the sense for the style of interpretation and subtle varieties in her expression, which was the most important feature interconnecting singing and acting and is a basis of the whole performance." (Theatre Newspaper, May 29, 2013).
Agency: Camerata Ass.
e-mail: email@example.com; firstname.lastname@example.org
Lívia OBRUČNÍK VÉNOSOVÁ
(* 1.1.1982 Košice)
slovenská operní pěvkyně - soprán
Biography: She works in F. X. Šalda Theatre in Liberec.
Cooperation – National Theatre Prague, State Theatre Košice, J. K. Tyl Theatre in Pilsen, Opera Mozart Prague, Czech Ensemble Baroque, Prague Symphony Orchestra, Czech Radio Symphony Orchestra, Czech National Symphony Orchestra, Karlovy Vary Symphony Orchestra, Hradec Králové Philharmonic Orchestra and others.
Studies: Prague Conservatory (Brigita Šulcová), Academy of Performing Arts in Prague (Ivan Kusnjer, Helena Kaupová).
Repertoire (selection): L. van Beethoven, V. Bellini, G. Bizet, S. Bodorová, P. I. Tchaikovsky, G. Donizetti, A. Dvořák, G. Fauré, J. B. Foerster, J. Haydn, G. F. Händel, I. Hurník, L. Hurník, Ch. W. Gluck, L. Janáček, T. Johnson, F. Lehár, R. Leoncavallo, P. Mascagni, J. Massenet, S. Moniuzsko, E. Morricone, W. A. Mozart, G. B. Pergolesi, F. Poulenc, G. Puccini, H. Purcell, B. Smetana, R. Straus, M. Steigerwald, E. Suchoň, M. S. Trnavský, P. Trojan jr., P. Trojan, M. Vacek, G. Verdi, A. Vivaldi, R. Wagner, C. M. von Weber.
Competitions: Antonín Dvořák International Singing Competition (2003), Karlovy Vary Theatre Award (2004), Czech Radio Award (1st prize in the song category, 3rd prize opera junior, 2005), Ostrava Theatre Award, Liberec Theatre Award; Imrich Godin International Vocal Competition (2003, 1st prize); M. Sch. Trnavský International Vocal Competition 2004, 3rd prize); Czech Conservatory Competition (2004, 1st prize); International Stanislaw Moniuzsko Vocal Competition (2007, semi-finals); Veronica Dunne International Singing Competition (2013).
Festivals: Music Festival Znojmo (2006, 2008, 2009, 2010), Smetana’s Litomyšl (2009, 2010), Prague Proms (2008, 2011), Prague Spring (2013).
Recordings: M. Steigerwald, P. Forest: Antigona, Rock Opera – Kněžka (2008); Bohuslav Martinů: The Day of Good Deeds (ArcoDiva, Czech Radio Plzeň and HAMU, 2010).
Awards: Thalia Award 2011 – long-list nomination for the role of Lisa / V. Bellini: La sonnambula; Thalia Award 2013 – long-list nomination for the role of Violetta / G. Verdi: La traviata.
Youtube: Antonín Dvořák- Te Deum, op. 103 (Hudbou k výročí sametu, 2009, 1. a 2. part, 3. a 4. part); Pavel Trojan jr.- Julie - Jane (2014, 1st movement, 2nd movement, 3rd movement); Ennio Morricone- Once Upon A Time In The West (2011).
Reviews, articles: "The theatre in Liberec welcomed the attractive and passionate Foreign Princess (Vénosová) in Dvořák’s Rusalka followed by various different characters which enabled her to perfect her voice from a lyrical to dramatic soprano... Santuzza was one of Vénosová’s early characters where she modelled her type of a passionate and ardent woman, who can perform love or happiness with expression. Similar characters can be found in her repertoire as well. Her last big win is the main character in Foerster’s Eva, one of the great heroines, who fascinates with her womanliness, sensuality, reality of experience, tragicality and the arrangement of her voice – her final decision to commit suicide rises to fragile and pianissimo celestial heights in the opera, where she basically does not leave the stage - " (Hudební rozhledy, 2014, No. 11).
(* 25.2.1992 Nové Dvory u Polné)
český operní pěvec - tenor
Biography: Workplace - Bayrische Staatsoper / Opernstudio.
Cooperation - Children’s Opera Prague, Coro Filarmonico Veneto and Orchestra Regionale Filarmonia Veneta, Teatro Nuovo di Torino, Barocco sempre giovane, Czech Philharmonic, J. K. Tyl Theatre in Pilsen.
Studies: Basic School in Polná (Arnoštka Zemanová); Pedagogical High School in Čáslav; Conservatory Pardubice (Jarmila Chaloupková); private and master courses with Antonio Carangelo.
Repertoire (selection): G. Rossini, F. X. Brixi, A. Dvořák, B. Smetana, A. Scarlatti, G. Caccini, G. Verdi, W. A. Mozart, R. Straus, B. Britten, O. Respighi, F. Schubert, G. Donizetti, V. Bellini, A. Vivaldi, G. F. Händel, C. Monteverdi, M. P. Mussorgsky, P. I. Tchaikovsky, L. Janáček, B. Martinů.
Competitions: Singing competition Olomouc (2012, absolute winner and the laureate); Antonín Dvořák International Singing Competition in Karlovy Vary (2012, 1st prize in the song category and 2nd prize in the junior category; 2013, 2nd prize in the junior category, the award of the international music festival Prague Spring and others); Concours international de chant / Toulouse (2014, 2nd prize); international singing competition Ljuba Welitsch /Wien (2014, winner).
Reviews, articles: "The voice and looks of the twenty-year-old Czech tenor predestine him to the lyrical discipline; he sings easily and pleasantly with exceptional sophistication and sensitive talent for acting. If he continues to focus on coloratura accuracy and guard his discipline, he can soon rank among the elite." (Hudební rozhledy, 2013).
"Nekoranec fascinates with a nice timber of his voice, perfect technique and effort; he knows his text and accomodates his performance to the content including impressive facial expressions. His performance was rightly appreciated by a long applause. The audience in Pardubice probably witnessed the start of the career of a future star." (Opera Plus, 2014).
Agency: Nachtigall Artists Management agency
Jana ŠREJMA KAČÍRKOVÁ
(* 24.6.1982 České Budějovice)
česká operní pěvkyně - soprán
Reviews, articles: "...Jana Šrejma Kačírková gave an impression as if she was born Anne Boleyn..." (Opera Plus, June 2013)
"Coloratura soprano with silver easiness, swiftness and flexibility, which Jana Šrejma Kačírková is able to develop into a dramatic force; it acquires homogeneity embracing the role of Anne Boleyn up to the three-line octave and timbres in the deeper and mezzo-soprano tessitura. The singer knows exactly what she sings about." (Thalia Award magazine 2013).
Agency: Camerata agency
(* 5.9.1909 Čakovice u Prahy - † 16.5.1992 Praha)
česká operní pěvkyně - soprán
She studied at the Prague Conservatory with Doubravka Branbergerová, Pavel Dědeček and direcktor Ferdinand Pujman. From 1935 to 1937, she was engaged as a soprano in Brno (she debuted as Martin in Musorgski´s Boris Godunov). From 1937 to 1978, she was engaged at the National Theatre in Prague, where she matured into a great artist under the conducting of Václav Talich and Zdeněk Chalabala. She was more that twenty years the main interpreter of dramatic roles such as Milada in Smetana´s Dalibor, Anežka in Two Widows, Hedvika in The Devil Wall; Foreign Duchess in Dvořák´s Rusalka, Armida in Dvořák´s Armida; Kostelnička in Janáček´s Jenůfa, Emilia Marty in The Case Macropulos; Venus in Wagner´s Tannhäuser, Senta in The FlyingDutchman, Ortruda in Lohengrin; Šárka in Fibich´s Šárka, Leonora in Beethoven´s Fidelio, Aida inVerdi´s Aida, Santuzza in Mascagni´s Cavalleria rusticana, Tosca in Puccini´s Tosca and others. She had a strong dramatic soprano voice, natural musicality, ab impressive appearance and dramatic talent. Her beest-known role after 1938 and after the Second World War on the stage of the National Theatre in Prague was the role of Smetana´s Libusse.
(* 22.7.1962 Boskovice)
česká operní pěvkyně - soprán
She studied at the Brno Conservatory. In 1983, she was engaged in Olomouc, and since 1985 has performed in Ostrava. She is currently a vocalist at the National Theatre in Prague and the State Opera in roles of Czech operas as well as a classic Italian repertoire: Pamina in Mozart's The Magic Flute, Verdi's Violetta in La Traviata, Desdemona in Otello, Elisabeth from Valois in Don Carlos, Mimi in Pucinni's La Bohème, Butterfly in Madame Butterfly, Tatiana in Tchaikovsky's Eugen Onegin, Mélisanda in Debussy's Pelléas and Mélisande.
(* 20.12.1937 Brno)
He absolved Conservatory in Brno (1959), Janáček Academy in Brno (1963). In the years 1959-93 he became a member of Czechoslovak Radio Orchestra in Brno. He worked shortly in State Opera in Brno (1968) in Philharmonic in Bejrut (1968-75). He has created Duo di Praga with harphist H. Muller-Jouza, after a group Trio camerale (fl., vn., vcl.). He cooperates with quitarist L. Brabec. He worked as a profesor at the Lebanon National Music Conservatory in Bejrut (1968-75), at the Conservatory in Brno (1979-80) and in Janáček Academy in Brno (1979-93). He registred more than hundred composition in Czech Radio, many premieres of Czech contemporary composers.