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Cultivated music, art music, serious music … shifting from one of these messy labels   to another usually has one aim: to avoid the problematic “classical music”. Today this misleading term covers everything that was heard in medieval churches, in the course of Baroque festivities, in the age of bourgeois revolutions and at experimental concerts that saw shoes being thrown at the performers. Brno happily recalls visits here by Wolfgang Amadeus Mozart, Franz Liszt and Bedřich Smetana, short as they were. But it also remembers the Hollywood film music celebrity Erich Wolfgang Korngold, who spent his earliest years in Brno. Brno might appear to be a city of brief sojourns, were it not for Leoš Janáček, who made it his home and in the course of the past forty years has become one of the world’s most frequently performed composers. But the musical history of the city mirrored the turbulent political changes in the nineteenth century and drew on the enormous energy released by the creation of a free Czechoslovakia in 1918: never since then has its progressive character vanished completely.  more

Operetta is a wilful child that stopped obeying its parents and ran away from the opera house. Its origin is much more explicable when one considers France, where operetta emerged in the midnineteenth century as an entertaining and often very sarcastic polar opposite to the megalomaniacal productions of “grand opera”. In Brno, as was the case everywhere else in the world, operetta appealed to the broad public, offering both social satire as well as quite conventional entertainment. In the interwar period, thanks to the enlightened lead of Oldřich Nový, it took on a sophisticated polish. Later the Brno theatre scholar Ivo Osolsobě was able to give it a solid theoretical basis, and so move on from the stultified operetta to the lively musical. Today Brno boasts not only a theatre built specifically for musicals but a degree programme in Musical Acting at JAMU. Through the musical A Ballad for a Bandit the brigand Nikola Šuhaj set off from Brno into the world of theatre and film, while Brno’s Liza Doolittle made her living as My Fair Lady of Zelný trh, Brno’s ancient market square. And so we’ve come full circle: the square is the site of the Reduta theatre, operetta’s home in times past.  more

The Czech Radio Brno folklore section decided that it did not want to idle during the isolation that affected almost the entire world. In addition to "home" broadcasting taking place directly at editors' homes, it also announced a challenge. Listeners can now submit their music recordings to the radio editors; these recordings will eventually be broadcast on air.  more

“Every theatre is a madhouse, but opera is the ward for the incurable,” claimed Franz von Dingelstedt, the first director of the Court Opera House in Vienna. And he was right, for once someone’s fallen in love with opera, that’s it. Opera’s a stepchild of the Renaissance, with a Baroque wet nurse: it was on the cusp between these two great eras that the idea of purely sung theatre saw the light of day. Step by step, composers taught the art of singing to classical gods and brave women, Christian heroes and pagan enchantresses, a Seville barber, a Babylonian king and the Czech Mařenka and Jeník. But it was only here in Brno, thanks to Leoš Janáček, that truly psychological musical drama was born, drama that sees into a person’s heart. Today the Brno opera company has its home in a theatre named after Janáček, mounts a major festival devoted to the city’s most famous composer every two years, and has set its sights very high. “The more opera is dead, the more it flourishes,” pronounced the philosopher Slavoj Žižek when speaking of this fanatically loved but just as fanatically rejected genre. By this measure, opera in Brno these days must have been dead at least a dozen times.  more

To write a guide to music in Brno in the past and present means digging deep into one’s own recollections and those of others as well as into sources with varying degrees of reliability, and as far as possible not believing anything automatically but always asking “Did this really happen just like that?” And in doing so, to be very, very suspicious of one’s own memory. Two basic questions that cropped up in connection with almost every sentence were “What is it about this band or that event that makes them special? Would someone who’s never been to Brno and has no ties with the city find it interesting?”  more

Due to the impact of extraordinary measures taken because of the Covid-19 pandemic on stakeholders of the cultural and creative industries in Brno, Brno leaders and the Department of Culture of the Brno City Municipality are working intensively on a set of precautions for minimizing the damages. At the same time, communication is conducted on all levels of public administration, predominantly in collaboration with the Institut umění – Divadelní ústav [Arts and Theatre Institute], which is  mapping the situation on the nationwide level. Until 22 March 2020 you can help assess the current situation by means of an online survey (the link is provided below). Further steps will be taken according to the results of the survey.  more

Last year, after several years of stagnation, Brno's folklore enthusiasts woke up again and began organizing gatherings with dulcimer music, folklore parties, etc. at several different venues. This is certainly gratifying. However, motivation, experiences and concepts differ. One of them is We <3 folklore in the Metro music bar.  more

Spontaneous joy of dancing is hiding behind the mysterious cry Šej-Haj-Hop! That is why the new school of Slovak folk dance in Brno chose it as its name. There are three friends behind it – Michal Janšto, Edita Borščová and Ondrej Mišík, who all met a few years ago at VSĽPT Poľana.  more

We know several singing cello players from the domestic music scene: Olin Nejezchleba, who recorded his first solo album at the age of fifty; Tara Fuki, which even consists of two singing cellists; and Natálie Velšmídová, who shone out bright with her folk song remakes at the end of the millennium. However, Pavel Čadek is the only true singer-songwriter in the sense that he writes his own songs and uses cello as his main (or even the only) accompanying instrument. Moreover, thanks to his classical music training and his past with The Eclipse, a harder cello group, he is able to work with the cello freshly and, above all, in a non-folk manner, and that is why his instrument sometimes plays more than just an accompanying role. Although his debut album would be sufficiently varied even with cello only, Pavel decided to work with more sophisticated arrangements and invited accordionist Ondřej Zámečník, cajon player Jakub Špiřík and some other guests in episode roles to the studio.  more

The cellist Josef Klíč, concert master of the Janáček Theatre in Brno, is close to classical music as well as underground, works together with poets and wrote several essential compositions exploring the border between contemporary and alternative music. His new solo album, Josef Klíč & His One Man Cello Squad, contains songs without words, which is, as Klíč pointed out in an interview last year for our server, a form that "existed already in the Renaissance times". And he explains: "A song without words is a composition that you can put your own lyrics into. It has a melody and you can sing the lyrics to it for yourself. Therefore, it must be a song with a powerful melody."   more

If a band releases a new album after ten years and calls it Dej si čas [Take Your Time], it sounds like a pleasant self-irony. But what is ten years against delays of other bands, whose fans had to wait for new albums for eighteen (AG Flek) or even thirty years (Progres 2). For Mošny, it was said that the new album started to emerge a few years ago, but the group wanted to include some brand new songs, which they needed to rehearse and finish.  more

That evening was not only festive, with an extraordinary list of performers, but especially from many points of view valuable and significant. The bright and shiny ballet gala show of the ensemble of the National Theatre Brno showed many important things at the Janáček Theatre yesterday. On the one hand, the gala concert celebrated the respectable one hundred years' anniversary of the ballet ensemble in Brno, and on the other hand also presented the city as a respected focal point of dance art, where the greatest stars of these days do not hesitate to arrive. And in this first-league competition, the domestic ensemble was successful in its match with the European best and brightest. If you add to this the truly storming and crowded auditorium of the Janáček Opera, meaning more than a thousand satisfied spectators, the above-mentioned artistic gains are accomplished.  more

Several years ago, a miracle happened to Jura Hradil. This devotee of the electronic nu jazz alternative came to the hilly Carpathian landscape somewhere on the border between Moravia and Slovakia and heard a song, firstly one, then two, then hundreds. It wasn't a blurry echo of old times, but the bright tone of a Horňácko song.  more

Originally, it was supposed to be the third part of the YM project, in which the individual members of the group Květy make records of their solo albums of different genres, and their colleagues from the band accompany them. After Lorenzovi hoši [Lorenzo´s Boys] by Martin Kyšperský in country style and after the electronic Japonec [The Japanese Guy] by Aleš Pilgr, Ondřej Kyas´s Solárium [The Sunbed] was hard to classify concerning its genre category. As a solo record, with only an episode contribution by Aleš Pilgr and without any playing participation of Martin Kyšperský.  more

The small Ponava music club has been renowned in Brno last several years for its very high quality music production. Here and there, its diverse programme also features folklore projects. On Thursday, a duo of the well-known multi-instrumentalist Marian Friedl and the Lachian vocalist Sabrina Pasičnyk performed on this stage.  more