Smetana and the librettist Karel Sabina masterfully mocked all those who expected the “national opera” to be an idyllic picture of the Czech countryside, with its inhabitants being virtuous and governed by high morals. The Bartered Bride is thus far more humorous than “national”. Nonetheless, its humour is precisely of the type Czechs so love, and hence Smetana’s opera, abounding in irony, scathing, occasionally even cynical, wit, as well as tenderness and simple joie de vivre, has ultimately become “national” in the best sense of the word ...

The Bartered Bride

National Theatre

An awkward and somewhat unhappy churchwarden quits his job at a big city church to find a new life in a remote mountain village. By a tragicomic coincidence, he is considered the new parish priest whom the forlorn community desperately searches for and needs. Having tried in vain to explain and escape the part in a ‘miracle’, the churchwarden eventually accepts the role of the accidental saviour. His unorthodox ways and understanding for all human sins and weaknesses capture the hearts of the peculiar villagers. However, he clashes with the local teacher, who used to be the local celebrity and authority and who promotes ‘non-spiritual’ education. The faith of a man who has humbly assumed the desired task thus stands in juxtaposition to the self-confident ‘common sense’. But what if not everything is as it seems?

End of a Priest

National Theatre Prague

For over two centuries, Gioachino Rossini has been one of the most celebrated opera composers, and it might even have been the case if he had written nothing but Il barbiere di Siviglia. Both its genesis and premiere were connected with all kinds of twists and turns, which accompany many a play and opera. The piece had to be completed hastily, rehearsed and staged even more hastily; it was a setting of a literary work that had been used several times; the premiere was poorly received and affected by scandal, etc. In hindsight and knowing the fates of other creations, such circumstances would seem to be the best prerequisite for future success. Four years after the opera’s world premiere, in 1816 at the Teatro Argentino in Rome, Il barbiere di Siviglia was first presented, in German translation, at the Estates Theatre in Prague, which in 1825 staged the piece in Czech, owing mainly to the composer and conductor František Škroup (known primarily for creating the melody of the Czech national anthem), who would later on also give Czech premieres of operas by Wagner and others. The Provisional Theatre included Il barbiere di Siviglia in its repertoire during its very first season. Later on the opera was also undertaken by the National Theatre, which to date has adapted it in more than ten productions.

Il barbiere di Siviglia

Strange tidings come from the mysterious land of Illyria! Duke Orsino, a music lover, is tormented by his unrequited love for the beautiful Countess Olivia. Sadly, Olivia mourns the death of her brother and refuses to accept love from anyone until seven years have passed. Meanwhile, a merry group runs her court: the drunkard Sir Toby, Olivia’s cunning gentlewoman Maria, the irresistibly ridiculous suitor Sir Aguecheek, and the pompous puritan Malvolio, all overseen by Feste (or Clown), the witty royal jester. But one day, beautiful Viola is shipwrecked on the coast by the rough seas and starts a new life disguised as a young man named Cesario ... The plot thickens, taking unexpected twist and turns and spinning a whirlwind of misleading and mistaken identities. Yet one thing becomes clear: love knows no limits, though one can easily fall in hopeless love with the wrong person.

Twelfth Night

The Estates Theatre

The speculations about whether Libuše is Bedřich Smetana’s most mature work within the context of his opera oeuvre, or even within the context of Czech opera in general, whether and how it can stand its ground as against the airiness of The Bartered Bride, the lyricism and absorptive power of Dvořák’s Rusalka, or the emotion and drama of Leoš Janáček’s operas, do not result in definitive conclusions – it will always depend on the angle from which Libuše and any other renowned Czech opera is viewed.

Libuše

A gem of Baroque music, one of the oldest still widely performed and popular operas, the first world-class English opera ... These are among the attributes of Henry Purcell’s best-known work, whose genesis is not yet clear, a work that has not survived in its entirety. The opera was probably first performed in 1689 at the dance master and choreographer Josias Priest’s boarding school for young gentlewomen in Chelsea, London. Some scholars have, however, argued that Purcell wrote the piece for the English court, either for James II or, even earlier, for Charles II. Still others claim that the opera bears within a covert allegory, veiled in a mythological story, with the witches symbolising the Catholic Church, highly unpopular in the England of the time ...

Dido and Aeneas

Bedřich Smetana’s last completed opera, The Devil’s Wall, the fruit of collaboration with Eliška Krásnohorská, who penned the librettos for his previous operas The Kiss and The Secret, bears both its originally intended comic nature and, more significantly, a final lyrical tone. The composer evidently identified with the character of the ageing nobleman Vok, projecting his own feelings, perhaps ever more so than before. This remarkable work can thus be interpreted as, among other things, a reflection on Smetana's life, one fraught with emotional upheavals.

The Devil’s Wall

Elizabeth Hunter, a woman who used to be the pivotal point of her little universe, lives a solitary life in a suburban house in Sydney. Once a stunning and spirited beauty controlling others with her iron will, she now faces the ills of old age and the ghosts of her own past. The former star and patron, celebrated for her sarcasm, is left with the entourage of nurses, a housekeeper and a lawyer, sitting as a silent queen in a beehive and desperately scheming to control and torment her relatives even at her deathbed.

Kateřina Štefková

Events

Upcoming events

Aug 27, 2026 - Jun 27, 2027

The Bartered Bride · Národní divadlo

Sep 8, 2026 - Feb 27, 2027

End of a Priest · Národní divadlo

Sep 13 - Dec 31, 2026

Il barbiere di Siviglia · Národní divadlo

Sep 26, 2026 - Feb 10, 2027

Twelfth Night · Národní divadlo

Oct 28, 2026

Libuše · Národní divadlo

About

Kateřina Štefková hasn't added a bio