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The National Theatre Opera

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  • Concert performance Other Stages

    RHEINGOLD

    23 & 26 May - concert performance of Richard Wagner's opera in Forum Karlín

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  • State Opera

    Performances of the State Opera at the Karlín Music Theatre

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12. 5. 2019

Dada vein and the playful

We are about to finish the preparations of the new production Love for Three Oranges. British conductor Christopher Ward is rehearsing with the National Theatre Orchestra. Premieres 16 and 19 of May. We are looking forward to see you in the auditorium!

 


25. 4. 2019

Brundibár, Hans Krása’s opera for children

Brundibár has been performed by the Children’s Opera Prague at least once a year in memory of the children who were murdered during the Holocaust. By staging the work, the company will celebrate the 20th anniversary of its existence.

Hans Krása composed the two-act opera, set to Adolf Hoffmeister’s libretto, in 1942 and 1943 for a Jewish orphanage in Prague. Following the conclusion of the Munich Agreement, Brundibár, just like other works by Jewish artists, was not allowed to be performed. The opera was then staged by the musicians imprisoned at the Theresienstadt camp-ghetto.

The performance of Brundibár will took place on 28 April at the Estates Theatre. Join us and feel the story’s power!

 


24. 4. 2019

Concert for Notre-Dame

On 23 April, the National Theatre Orchestra and Chorus and the State Opera Orchestra and Chorus performed at a concert in Prague for the reconstruction of Notre-Dame Cathedral, which has been damaged by fire.

The benefit event was organised by the Czech Philharmonic in collaboration with the National Theatre and State Opera, the Prague Radio Symphony Orchestra, the Prague Symphony Orchestra, the Prague Philharmonia and the Kühn Choir of Prague. The programme featured Antonín Dvořák’s Stabat Mater, conducted by Tomáš Netopil. The concert was presented by Marek Eben.


12. 4. 2019

Special tram No. 11 passed through the centre of Prague

On 17 April, a special tram No. 11 passed through the centre of Prague, shortly before 8 pm, when the New Stage of the National Theatre held the premiere of the new Czech opera Tramvestie.

Directed by Marek Bureš, Tramvestie is yet another contribution to the project within which the National Theatre has staged experimental contemporary works and motivated composers by means of commissioning new pieces. Pursuance of such activities has been entrusted to Petr Kofroň, the Artistic Director of the National Theatre Opera and State Opera. A truly unique platform for contemporary music theatre has been afforded at the Opera Nova festival, whose second edition will be hosted by the National Theatre in June.


2. 4. 2019

Eva Randová at a performance of La bohème at the National Theatre

At the beginning of April, the renowned Czech singer and music educator Eva Randová attended a performance of La bohème at the National Theatre. During the intermission, she got together with the members of the State Opera Orchestra and Chorus, and recalled her tenure as the Director of the State Opera, from 1995 to 1998. We were honoured by Mrs. Randová’s visit and look forward to seeing her again, at a concert performance of Richard Wagner’s opera Das Rheingold.


25. 3. 2019

Tramvestie invites to take a ride on the legendary tram No. 11

On 17 April, the New Stage hosted the world premiere of Tramvestie, a new Czech opera based on an eponymous collection of poems. We talked to the stage director Marek Bureš, whom we asked about how challenging his task was and to what degree is the subject abstract.

“Tramvestie is a unique project created by a very unique author. Pavel Novotný has worked on his poetic text for many years, and he has succeeded

in recasting it into a variety of forms. Consequently, I rather perceived Tramvestie as a conceptual work with the text, which is based on the conversations Pavel Novotný conducted with the passengers of tram No. 11 during the journey from Liberec to Jablonec and back. I also approached it as another evolutionary stage into which the work has metamorphosed. Bearing this in mind, I strove to respect the original text and all the other forms in which Tramvestie has so far appeared and continued to exist. Through the text and the original audio recording, we tried to visualise the individual characters, who project to us their subjective views of the landscape along the tram line. Instead of visually overloading the audience, I aimed to stimulate their imagination, while highlighting the musical component.”

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“The production components appear in minimalistic forms, supporting each other and completing the basis for the overall imaginative picture. The visual part, which dominates the stage, has been created from the material textures to be seen in the vicinity of the track. The principle is similar to the one according to which Pavel Novotný collected his texts, so as to provide each of the personages with equal initial conditions for their textual recordings, that is, the view from the tram window, which is the same for every passenger. With regard to the original concept, I place emphasis on working with the text. Yet the text also emerges in the other facets of the opera, while the audience can subjectively shape the general image of the experimental piece.

Owing to the libretto and the original concept, the opera Tramvestie makes it possible to assume an unorthodox approach, which can certainly be deemed to be a challenge for the stage director. The audience cannot expect a clearly structured story – contrariwise, while enjoying the journey, they are presented numerous fragments from the lives of the four characters, which are linked with the passing-by landscape. And even though, both in terms of the content and the visual aspect, the opera’s subject may come across as abstract, it does indeed relate to specific places and specific figures.”


23. 3. 2019

Antonie Denygrová, a long-time soloist the National Theatre Opera, passed away

It is with great sadness that we announce that Mrs. Antonie Denygrová, a long-time soloist of the National Theatre Opera, passed away on 21 March 2019. She was permanently engaged by the National Theatre from 1973 to 1991.

During her rich career, she appeared on the stage of the leading Czech scene in many roles including e.g. Janáček’s Káťa Kabanová, Liza in the Queen of Spades, the Qeenin Novák’s Karlštejn or Sophie in Cikker’s The Game of Love and Death. Prague spectators could enjoy her performances also in the roles the Foreign Princess in Rusalka, Senta in the Flying Dutchman or Vendulka, Krasava or Ludmila from operas by Smetana. After the separation of Prague’s opera theatres, she remained a member of the State Opera in Prague, where she sung Ghita in Der Zwerg, Janáček’s Kostelnička, Marja in Krása’s Verlobung im Traum, Herodias in Salome by Strauss and a number of other parts.

Our most sincere sympathy to the bereaved.


8. 1. 2019

Sternenhoch wins the Best Production of 2018 poll

SternenhochThe production of Ivan Acher’s opera Sternenhoch has won the Divadelní noviny poll.

More about the production 

 


19. 11. 2018

The National Theatre Prize goes to Daria Rositskaya

Darija RosickajaThis year too the National Theatre Opera awarded its traditional prize to a young talented singer, who has been invited to appear in one of its new productions in the next season. At the Antonín Dvořák International Vocal Competition in Karlovy Vary, the accolade was bestowed to the superb Russian mezzo-soprano Daria Rositskaya, this year’s winner of the Song category and holder of second prize in the Opera category. At the final concert, she have a dazzling account of Sesto’s aria “Parto, parto...”, for which she also received the Prize for the Best Performance of a Mozart aria. Daria Rositskaya studied at the Academy of Young Opera Singers within the Mariinsky Theatre and the State Academy of Performing Arts in St. Petersburg. At the present time, she is a soloist of the renowned Beyond the Mirror theatre in St. Petersburg, where she has performed as Angelina in Rossini’s La Cenerentola, Dorabella in Mozart’s Così fan tutte, Nicklausse in Offenbach’s Les contes d’Hoffmann, Dido in Purcell’s Dido and Aeneas, and other parts. She appeared in the title role in Bizet’s Carmen at the International Festival of Young Opera Singers in Rheinsberg, Germany. Rositskaya also sang in concert performances of operas, including at the New Stage of the Bolshoi Theatre and the Helikon Opera Theatre in Moscow.


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