Name: Le nozze di Figaro
Start: 2027-05-08T14:00:00
Location: The Estates Theatre

Julia Jones

Kateřina Kněžíková

Jiří Brückler

Jarmila Vantuchová

Jan Šťáva

Vera Talerko

Tadeáš Hoza

Kateřina Jalovcová

Tomáš Šelc

Arnheiður Eiríksdóttir

Lukáš Bařák

Marie Šimůnková

Michal Marhold

Barbora Perná

Stanislava Jirků

Josef Moravec

Vít Šantora

Roman Vocel

Ivo Hrachovec

Pavol Kubáň

Veronika Kaiserová

Ekaterina Krovateva

Peter Malý

Marek Šedivý

Martiniana Antonie

Jan M. Hájek

Šárka Janderová

Danuše Vilímková Slachová

Yvona Jurčíková

Nikola Houdková

Renata Mužíková-Vrátná

Elli Aloneftou

Barbora Horáková Joly

Ivo Dankovič

Jan Adam

Nicole von Graevenitz

Damian Chmielarz

Národní divadlo

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

It is in a way a fairy tale about monarchy in the modern world and even though it presents the major British premiers, from Winston Churchill to David Cameron, it is theatre about politicians and everyday politics and all its attendant gimmicks, juxtaposed with a certain timeless archaic principle of control over the democratic government.

The Audience

The opera Nabucco, depicting the dramatic story of the subjugation of the Israelites by the King of Babylon, ranks among Guiseppe Verdi’s most celebrated works. Phenomenal chorus scenes, extremely impassioned virtuoso arias, as well as the perennially topical themes of expansive war, lust for power, betrayal, life and death, are the reasons why it has always been a staple of opera houses’ repertoire.

Nabucco

The book, featuring symbolism bound with nature, everyday rural life and tradition, comprises passionate and erotic tales teeming with supernatural beings and macabre phantoms. The Wedding Shirts, The Water Goblin and The Noonday Witch, magical myths of love and spine-chilling fables, was adapted for the stage of the National Theatre historical building by the SKUTR creative tandem of stage directors Martin Kukučka and Lukáš Trpišovský. The two artists have a penchant for the subjects treated by Erben – ritualised archetypal themes, such as love and death, the relationships between the mother and the child, man and woman, humans and nature, have appeared in their productions in a myriad of forms and contexts.

A Bouquet

National Theatre Prague

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

Naive Ema is dying to experience the exciting life and eternal love she only knowns from romance novels. But her dreams and rosy visions clash with the boring reality of her marriage to a prudent and caring country doctor. Ordinariness and banality suffocate her, random love encounters bring temporary excitement but cannot satisfy her fantasies. She is constantly haunted by the desire for all that’s new, better, and greater, but the glittering ideal world that lures her eventually brings her down in the crash with the ruthless reality. Permanent dissatisfaction and desire for a better life that seems at hand and purchasable on credit is a trap into which we are still falling after more than one hundred and fifty years.

Madame Bovary

The ballet adaptation of Abbé Prévost’s novel L’Histoire du Chevalier des Grieux et de Manon Lescaut shows Sir Kenneth MacMillan at his very finest, attesting as it does to his profound insight into human psychology, choreographic craft and narrative skill. The artist admirably expresses the power of fateful love in the central characters’ impassioned duets.

L'Histoire de Manon

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

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

Cupid’s arrows fly around as they please, binding the seemingly incompatible and dividing the seemingly inseparable. Mozart’s philandering Count Almaviva, his neglected wife Rosina, the Countess’s pretty maid Susanna and the crafty, albeit occasionally naïve, valet Figaro know all too well … The new National Theatre production of Le nozze di Figaro has been created by two distinguished female artists: the English conductor Julia Jones and the Czech stage director Barbora Horáková Joly.