Chamber music for voice and instruments will be represented in Series I by a grand concert featuring works by Bohuslav Martinů and Jiří Gemrot. The shared theme draws inspiration from Czech traditions, especially those rooted in the Vysočina region. Mikeš of the Mountains is one of several cantatas by Martinů celebrating his native land. Gemrot continues this theme with a piece based on the customs of the region's historic glassmakers.

Czech Chamber Music Society • Martinů Voices

Dvořák Hall Rudolfinum

Mozart’s illustrious operatic oeuvre is rounded off by a work providing both copious entertainment and food for thought, affording a fantastic spectacle and presenting a magical ritual of initiation of the human spirit. All that is encompassed in Die Zauberflöte, and all that can be found in Vladimír Morávek’s colourful production, featuring a thrilling atmosphere and teeming with mysterious symbols. There is something for everyone – adults and children, including, if fear hasn’t consumed them, the very youngest.

Die Zauberflöte

The Estates Theatre

Giuseppe Verdi’s La traviata, to the libretto based on Alexandre Dumas’s novel La Dame aux camélias, about Marie Duplessis, the famous courtesan and idol of Parisian society in the 1840s, is actually the very first major opera treating a contemporary social theme. The work’s premiere in 1863 in Venice was a flop: the audience was appalled that the lead role had been assigned to a courtesan who, what’s more, was portrayed in a positive light. Yet Verdi’s opera soon started garnering plaudits and is now one of the most popular repertoire titles the world over.

La traviata

State Opera

The fruit of the collaboration between the two great creators, Antonín Dvořák and Jaroslav Kvapil, who were close as artists and friends alike, was a magical, dreamy story of the great, unfulfilled desire of the water nymph Rusalka, a work in which Dvořák’s musical genius reached its apex. The fairy-tale atmosphere inspired the composer to create singular, impressionistic music replete with melodic imagination and masterful instrumentation, a suggestive expression of the play of waves and the reflection of moonlight on the surface of a lake, as well as the overwhelming magic of a fairy-tale dream.

Rusalka

Antonín Dvořák’s two most successful operas, The Devil and Kate, and Rusalka, are based on fairy-tale motifs. Blending folk and humorous with lyrical and fantasy elements is one of the typical (and still very popular) traits of Czech drama. Dvořák created a masterly patchwork of contrasting scenes – folksy, breezy, fiendishly fervent and courtly noble.

The Devil and Kate

National Theatre Prague

Carmen is actually one of the first verismo operas that preceded the “manifesto” of the Italian artistic movement. Its style, and the death of the title heroine, which were at variance with the established opéra comique conventions, seem to have been the reason why the work did not give rise to much public enthusiasm at and in the wake of the world premiere in Paris in 1875. Yet Carmen soon triumphed in other European cities.

Carmen

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

The powerful story of The Dogheads, one of Alois Jirásek’s most celebrated works, seems destined for the operatic stage. In 1897, the experienced composer and conductor Karel Kovařovic took on the challenge and created an opera that triumphed in the competition for a new Czech opera, surpassing Fibich and Foerster. Soon after, The Dogheads spread to opera houses across the Czech lands and won the hearts of a wide audience.

The Dogheads

Theater of JK Tyl New Stage

Composed by one of the major figures of 20th-century musical theatre – the creator of 16 musicals and hundreds of songs, who launched his career writing the lyrics for Leonard Bernstein’s West Side Story – it is an iconic work of its genre. SWEENEY TODD: The Demon Barber of Fleet Street is a riveting synthesis of dark humour, horror and melodrama, imbued with brilliant musical irony.

SWEENEY TODD: The Demon Barber of Fleet Street

The Secret is Bedřich Smetana’s seventh, and penultimate, opera. It is also the second fruit of the composer’s collaboration with the librettist Eliška Krásnohorská. Completed in May1878, the piece received its premiere the on 18 September at the New Czech Theatre in Prague. The National Theatre first staged the opera on 12 May 1885, on the first anniversary of Smetana’s death. Yet it only attained wide popularity after the post of the opera company’s director had been assumed by the conductor Karel Kovařovic, who was fully aware of the qualities of the mature Smetana work. Krásnohorská furnished Smetana with an exquisite libretto, whose themes may bring to mind William Shakespeare’s Romeo and Juliet or the Czech author Ladislav Stroupežnický’s play Our Uppish and Defiant Fellows, dating from a later time.

The Secret

Engelbert Humperdinck’s Hänsel und Gretel is one of the most frequently performed operas in Germany. Inspired by the Grimm brothers’ popular fairy tale, the libretto was written by the composer’s sister Adelheid Wette, who modified the rather macabre story, adding the characters of the Sandman and the Dew Fairy, as well as the instrumental dream pantomime scene in the forest, and concluding it with the resurrection of the witch’s victims and the happy reunion between the children and their parents. With the music written in the grand Wagnerian romantic style, Humperdinck’s opera also contains folk rhythms, songs for children and old melodies. The world premiere, in Weimar on 23 December 1893, was conducted by Richard Strauss, totally enraptured by the piece. Enraptured too was the audience, and Humperdinck’s Hänsel und Gretel has ever since remained extremely popular in Germany, where every December it has been performed at more than 35 opera houses. In 1905, the piece was first shown at the Metropolitan Opera in New York, where it has often been staged during Christmas.

Hänsel und Gretel

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

The German composer Richard Strauss based Salome, one of his most celebrated operas, on Oscar Wilde’s eponymous tragedy. The first to portray the title role in the play was the famed French actress Sarah Bernhardt (her company gave four performances at the National Theatre in Prague), whose art also contributed to the popularity of other dramas  (Tosca and Madame Sans-Gêne), subsequently adapted as operas.

Martin Šrejma

Events

Upcoming events

Aug 26, 2026 - Feb 14, 2027

Die Zauberflöte · Národní divadlo

Aug 29, 2026 - Jan 24, 2027

La traviata · Národní divadlo

Sep 1 - Dec 11, 2026

Rusalka · Národní divadlo

Sep 3, 2026 - Mar 21, 2027

The Devil and Kate · Národní divadlo

Sep 4, 2026 - May 5, 2027

Carmen · Národní divadlo

Past events

Mar 2, 2026

Czech Chamber Music Society • Martinů Voices · Czech Philharmonic

Future and recently performed repertoire

Alfredo Germont in La traviata by Verdi

Národní divadlo

Prince in Rusalka by Dvořák

Národní divadlo

Narraboth in Salome by Strauss

Národní divadlo

Remendado in Carmen by Bizet

Národní divadlo

Tamino in Die Zauberflöte by Mozart

Národní divadlo

Adolfo Pirelli in Sweeney Todd by Sondheim

Národní divadlo

Count Almaviva in Il barbiere di Siviglia by Rossini

Národní divadlo

Witch in Hänsel und Gretel by Humperdinck

Národní divadlo

Singer in Five Czech Madrigals by Martinů

Czech Philharmonic

Singer in Mikeš of the Mountains by Martinů

Czech Philharmonic

Skřivánek in The Secret by Smetana

Národní divadlo

Jan Sladký Kozina in The Dogheads by Kovařovic

J.K. Tyl Theatre

Shepherd Jirka in The Devil and Kate by Dvořák

Národní divadlo

Jarek in The Devil's Wall by Smetana

Národní divadlo

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