An attractive concert offering a selection of the most famous choral scenes from operas by Bohuslav Martinů, Leoš Janáček, Antonín Dvořák, and from no fewer than six stage works by Bedřich Smetana.

Smetana: Opera Choruses… AND MORE!

Litomyšl Castle

Few orchestras can currently boast in their dramaturgy an opera premiere by the great Czech composer Bohuslav Martinů. The previously unplayed and unpublished version of the opera Mariken von Nimègue will be a gift for all of us lovers not only of his music. Chief conductor Tomáš Netopil will take over the performance.

Beethoven – Pastoral Symphony

Municipal House

Mozart – Requiem in Municipal House

The first half of the concert will be of Russian Romanticism music. Concerto for Piano and Orchestra No. 3 in D Minor by Sergei Rachmaninov is one of his most technically demanding piano concertos. The young British artist Isata Kanneh-Mason will be presented to the audience in Prague. The second part of the evening will be of Russian music of the 20th century. The chief conductor of the Czech Radio Symphony Orchestra, Petr Popelka, will present the neo-classical oratorio-opera Oedipus Rex by Igor Stravinsky. The libretto was written by the French poet and playwright Jean Cocteau, based on Sophocles' tragedy of the same name. The title roles will be played by: Ester Paulů (mezzo-soprano), Jiří Brückler (baritone), Pavel Švingr (bass) and Daniel Matoušek (tenor), with Igor Bareš as the narrator. The artists will be accompanied by the Prague Radio Symphony Orchestra and the male part of the Prague Philharmonic Choir.

EPSG:4326

Rachmaninov's Third Piano Concerto

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

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

And if we were to name the places at which Mozart in person premiered an opera of his and which still function as theatres, the one and only candidate in the world would be the Estates Theatre in Prague. The National Theatre Opera has proudly cherished this unique tradition for decades.

Don Giovanni

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

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

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 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

The singer Floria Tosca, who is even invited to the royal court, and the painter Mario Cavaradossi are respected and adored artists, yet their standing does not safeguard them against the malicious police chief Baron Scarpia. Cavaradossi dies not only because he, a Voltairean, tries to save the life of Cesare Angelotti, the former Consul of the Roman Republic, but also for being Tosca’s lover, Scarpia’s rival. Giacomo Puccini had mulled over Victorien Sardou’s La Tosca ever since 1889, when he saw in Milan a performance of the drama, starring the celebrated actress Sarah Bernhardt.

Tosca

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

Czech Christmas Mass

Church of Saints Simon and Jude

Dvořák – Stabat Mater

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.

Pavel Švingr

Events

Upcoming events

Aug 26, 2026 - Feb 14, 2027

Die Zauberflöte · Národní divadlo

Aug 27, 2026 - Jun 27, 2027

The Bartered Bride · Národní divadlo

Aug 28 - Nov 27, 2026

Don Giovanni · Národní divadlo

Aug 29, 2026 - Jan 24, 2027

La traviata · Národní divadlo

Sep 3, 2026 - Mar 21, 2027

The Devil and Kate · Národní divadlo

Past events

Jun 23, 2026

Smetana: Opera Choruses… AND MORE! · Prague Philharmonia

17 - 18 Jun, 2026

Beethoven – Pastoral Symphony · Prague Symphony Orchestra

Future and recently performed repertoire

Doctor Grenville in La traviata by Verdi

Národní divadlo

Kecal in The Bartered Bride by Smetana

Národní divadlo

Singer in The Bartered Bride by Smetana

Prague Philharmonia

Singer in Oedipus Rex by Stravinsky

Prague Radio Symphony Orchestra

Singer in Requiem by Mozart

Prague Symphony Orchestra

Singer in Rusalka by Dvořák

Prague Philharmonia

First Nazarene in Salome by Strauss

Národní divadlo

Singer in Stabat Mater by Dvořák

Prague Symphony Orchestra

Sarastro in Die Zauberflöte by Mozart

Národní divadlo

Cesare Angelotti in Tosca by Puccini

Národní divadlo

Leporello in Don Giovanni by Mozart

Národní divadlo

Basilio in Il barbiere di Siviglia by Rossini

Národní divadlo

Singer in Dalibor by Smetana

Prague Philharmonia

Singer in The Two Widows by Smetana

Prague Philharmonia

Bonifác in The Secret by Smetana

Národní divadlo

Singer in The Secret by Smetana

Prague Philharmonia

Singer in Czech Christmas Mass by Ryba

Prague Symphony Orchestra

Singer in Jenůfa by Janáček

Prague Philharmonia

Son of God in Mariken de Nimègue by Martinů

Prague Symphony Orchestra

Singer in The Plays of Mary by Martinů

Prague Philharmonia

Singer in The Brandenburgers in Bohemia by Smetana

Prague Philharmonia

Singer in Hubička by Smetana

Prague Philharmonia

Devil Marbuel in The Devil and Kate by Dvořák

Národní divadlo

Lutobor in Libuše by Smetana

Národní divadlo

Rarach in The Devil's Wall by Smetana

Národní divadlo

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