We met with conductor Gabriela Tardonová in Kabinet Múz where the Ensemble Opera Diversa used to sometimes play in their nomadic times. However, we were not really discussing the history of one of her home ensembles. Rather, we talked about its near and more distant future. We started, of course, with Miloš Štědroň's opera Chameleon, the premiere of which is approaching. We did, however, not forget about the Young Symphony Orchestra of Brno led by Gabriela Tardonová or her own ambitions and wishes.
You and Diversa are heading toward another premiere, the opera Chameleon by Miloš Štědroň. How is the work coming along?
The work continues in the pre-premiere spirit. We have a very intense weekend ahead of us, so singers are rehearsing, we have ensemble rehearsals and everything is heading towards a successful finish.
Will the finish really be successful?
We all hope so.
Actually, us sitting in the Kabinet múz is somewhat meaningful. You premiered Štědroň's play Palackého truchlivý konec here nearly three years ago. Is the Chameleon again about disrespect to the "Czech national treasures"?
It is a very similar perspective but it refers to the French Revolution, specifically the period when Napoleon took the throne. The commons took over the government, the chaos and intrigue are outlined in a beautiful picture created by Miloš Štědroň.
Sometimes, you also play in the Janáček-based mystification piece Věc Cage, to which Miloš Štědroň also contributed. What is your relationship to his music?
I also did one of Štědroň's works with the Brno Philharmonic Orchestra and the Dama Dama ensemble, and like I said, it is very beautiful music. He constantly returns to the practice à la Monteverdi, à la Baroque – they are very nice in the context of theatre plays which he sets to music.
What differences do you see between Věc Cage, Palackého truchlivý konec and Chameleon? Is Štědroň's compositional style shifting in any direction?
I feel that in terms of theatre, his approach is very similar in all cases. But when it comes to concert music, it is far bolder, more contemporary. It is not as melodic, there is a lot of rhythm, tempo colour and contrast.
So, you cannot say that Miloš Štědroň is looking, in Wagner's sort of way, for his own unique musical world for each topic. Instead, he chooses topics that fit into his world.
Probably so. I would say that he does not address specific authors, his starting point is always the mannerist transition between the 16th and 17th centuries. Triple metre, minuets, light treading and a rough libretto. Fouche, proscription lists, the contrast is amazing. That should be most impressive.
The current home of Diversa is mainly Reduta, how do you feel there – you personally and the entire ensemble?
Very good, stage manager Mr. Vrbka is very fond of us, it is very easy to make arrangements with him and he accommodates our needs. The Mozart Hall is beautiful; it is an excellent environment for concerts and we are glad that we can play there. We have all the comfort that we did not have before and we were actively looking for spaces where our concerts could be held. Now, it is becoming complicated due to the reconstruction of the National Theatre. Some performances have been moved to Reduta and sometimes they coincide with our sessions. It is difficult for us to reschedule them because people, who cooperate with Diversa, have other jobs. We are managing organisationally and sometimes it is a challenge.
However, these are operational issues. It does not mean that nobody wants you...
Definitely not. Our recent two concerts in the House of Art were no return to our old location. For Shostakovich's 14th Symphony we wanted to find a place that would be somewhat rougher for the music. We spent a long time thinking about it, but we did not come up with anything and eventually ended up in the House of Art anyway.
When you played Shostakovich's 14th Symphony, I had a strong feeling that it may have been a little too much for some players in the orchestra. How do you address contradictions between the dramaturgical desire and interpretative capacities?
I do not think it was too much for them, but part of the orchestra was on tour with another ensemble during rehearsals, they were alternating at rehearsals. If I had all people there during those six or seven rehearsals, I think it would have been different. The music is really so difficult, each of the musicians played a solo at some point, the strings are divided up into ten parts. And they also dimmed the lights terribly and we were not ready for that. I needed to see the score, after the first part, I had to ask for light. I did not even see the contrabass players, let alone the score. It made us a little nervous because it is the hardest thing we have ever played and we all really cared about it.
I do not want to criticise too much, the result was very impressive, but let's talk some more about how busy the performers are. When I look at the artists performing in the Chameleon and the recently premiered student Mirandolina performance Mirandolina in the Orlí Theatre, several names overlap. How do people manage to rehearse for two things at once, some of them perhaps during their studies?
This is probably not a question for me, but they are at rehearsals and do what they can. It is an opportunity for them and this play is for eight singers which is a large cast. Director Tomas Tomáš Studený looked everywhere. The old bards, who started with Diversa, are at a different level, so we searched among the young ones who could jump in quickly. The music is not too difficult, nothing atonal, they do not need to look for where to find the correct tones, as was the case of Shostakovich. It is easy to navigate.
It seems to me that the eternal alternation and excessive utilisation of musicians, which is everywhere, is one of the things that keeps our operatic life at a very average level – to say it mildly...
If one ensemble could stage one work and then play it, it would be a dream, an amazing thing. Recently, we toured with the opera Dýňový démon ve vegetariánské restauraci (Pumpkin Demon in a Vegetarian Restaurant). People were alternating, but everyone had played with us before and they knew the performance. It was such nice work, when I already knew who to watch, who struggles where and who does not struggle at all, it was just a beautiful harmony. Then it is about nuances, you do not have to watch for fundamental things like tempo, contrasts, entrances and much more.
You speak quite quietly; do you ever yell at the orchestra?
When I dislike something, I raise my voice and I am unpleasant. But I do not do it often, so the orchestra members are perhaps quite surprised. And then I have a problem to continue because it emotionally swallows me up so much that I would prefer to leave everything behind.
You have been with Diversa since 2006, where do you see the biggest change in the ensemble over the nine years and what do you consider the greatest success?
The biggest success is a shift in how the ensemble approaches work. These are no longer some random events like at the beginning: let's just play some theatre or a concert and all is good. Now, there are efforts to be excellent, succeed among the competition...
...and where is it? I think there is no ensemble that does newly composed operas.
Yes, perhaps we are the only ones and I am a little proud of it. The ensemble is here. It is still alive and Vláďa Maňas has excellent dramaturgical achievements. These are works, which I would otherwise never come across. The Brno Philharmonic Orchestra can hardly afford to play them and Czech Virtuosi would have a difficult time finding their way in this direction. Why would they do some Antheil or Copland. Vláďa can combine the works and we are lucky to get to know them. Even Shostakovich's 14th Symphony, where else would we hear it here? For me, it is important that I am able to experience it. And it is amazing for the ensemble that they are able to play it; the ensemble has its concerts and theatre and it is still here.
Talking about the ensemble, is the leadership not falling apart a little bit? Librettist Pavel Drábek has been in England for a long time, director Tomáš Studený became the opera director in České Budějovice...
We are now fighting a little bit for the theatre to continue. However, Vláďa Maňas as the art director does a great job in terms of concerts. Now, we have made arrangements with Kristina Belcredi. She is a talented opera director from Brno and she will prepare one premiere next year. For me, it is another challenge on top of contemporary music and scarcely played authors because I have never worked with a female director. Actually, only Magda Švecová, but that was a long time ago. I am really looking forward to it.
You also conduct the Youth Symphonic Orchestra of Brno, consisting largely of the graduates of Children's Music Schools. How is it working with an amateur body?
What I appreciate about them is how enthusiastic they are about classical music. This is an unprecedented thing and the kids bombard us with questions about what we are going to play next year, they alone come up with suggestions of great symphonic works, and there are fans of, for example, Shostakovich among them. I consider it all a completely incredible thing. Of course, they are sometimes too tired to concentrate and ask if they still have to do this and that when the rehearsal takes all day. However, they are used to it and overall they are enthusiastic.
And can enthusiasm and desire to work in this "noble" classical music balance out technical handicaps?
Absolutely. They play with such enthusiasm that if professional ensembles were this enthusiastic, they would be the absolute top.
And how is it to work with Tomáš Krejčí – he is not just your co-conductor of the Youth Symphonic Orchestra, but he was also the soloist in the opera monodrama Martin Středa that you performed. How is to work together with Tomáš and how does he follow your lead?
He asked me to start working with him with the Youth Symphonic Orchestra when I graduated from JAMU. And I must say that we were a great match. We are very good friends; we have always helped each other. Now we have switched positions because he no longer wanted to be the boss, so now I am the boss and he does not mind at all. We discuss dramaturgical matters, we know each other and when we look at the programme, we do not even have to talk about who will do what, what suits whom. We only discuss our dreams. Last year, we worked with Q Vox on premieres of operas by Pavek Zemek. He also asked me to join that project. We just like each other. He does not mind at all when someone tells him that he is late or he should pay more attention somewhere. He is a great man and musician.
And when you are talking about how you know who should do what: What music is yours?
Russian music, Musorgsky, turn of the 19th and 20th centuries and contemporary music have always been a challenge for me. I graduated JAMU with the 4th Symphony by Martinů, so it was not Dvořák's 7th Symphony or something similar which is common at graduation concerts. There was also one new piece – the graduate work of my classmate – and Prokofiev's piano concerto. Actually, I have never realised it but it was my close music already at that time – 20th century and the present.
Do you feel a little eliminated from normal concert life with this direction and work with chamber ensembles?
I think about it but my job is so fulfilling that I chase such thoughts away. For example, I worked with the Philharmonic Orchestra on the Bernstein Suite from the West Side Story – not entirely classical music. However, I was predetermined for the things that I do, so I do not worry about it.
Is there any goal that you would like to achieve with Diversa, or is it the path along which you go?
It is a journey; I am a walker. I am afraid that people chase for visions too much, they try to get to them at any cost and that is not my style.
And some personal ambitions regardless of a particular ensemble?
No. My two children are my top priority and then my work. And I am glad that it is like this because I cannot imagine that I would leave to go somewhere for weeks. I would be doing my job but I would have no contact with my family. Some people are different but my current situation suits me. And Diversa is so fulfilling that I am actually very happy.
