Leoš Janáček, Author
Julius Zeyer, Libretto
Dominik Pernica, Musical Preparation, Conductor
Jiří Heřman, Director
Dragan Stojčevski, Set and Costume design
Martin Buchta, Chorus Master
Jiří Heřman, Lighting design
Patricie Částková, Dramaturgy

Daniel Kfelíř, Přemysl Bar
Nicky Spence, Ctirad Ten
Eliška Gattringerová – J.H., Šárka Sop
Ondřej Koplík, Lumír Ten
Julius Drake, Pianist

Who has the right to rule? Does it belong to men or women? Princess Libuše ruled together with Přemysl, but after her death, women are ignominiously banished from the council, and the right to rule is claimed exclusively by men. However, the women, led by Vlasta, do not intend to put up with this and decide to claim their rights by force. They set a trap for the men, led by Ctirad, but their straightforward plan becomes unexpectedly complicated…

The first premiere of the season in a festival year is traditionally connected with a new production of a work by Leoš Janáček. This time, it will be an unconventional project. The motto of the 10th edition of the festival is “Roots,” and our contribution, in the form of the Maestro’s first opera, Šárka, points exactly to them. Not at the Janáček Theatre, however, but in the form of a site-specific project that will take us to the Besední dům, a venue deeply connected with Janáček’s influence on Brno’s cultural life.
The opera Šárka exists in two versions – from 1887–1888, when Janáček finished the work only in a piano score, and from 1925, in a revised and orchestrated version. Both versions will be performed at the festival, but director Jiří Heřman has chosen the first for his project to bring the audience in the spaces of the Besední dům right into the middle of the dramatic clash between men and women, which culminates in an unexpected tragedy.
The piano part will be performed by the outstanding British pianist Julius Drake, the role of Ctirad will be sung by British tenor Nicky Spence, and soprano Eliška Gattringerová will take on the role of Šárka.
Janáček set this version aside and forgot about it, but today the piano version offers valuable insight into his compositional style. Despite the apparent romantic influence, one can already feel his profound sense of drama and theater – a power that remains impressive and highly relevant today.