Critical voices of The Adventures of Mr. Brouček

Medium: FORUMOPERA.COM 
Author: Jean-Marcel Humbert
Title: JANÁČEK, Les Voyages de Mr Brouček – Bregenz
Date: 26.07.2026

[…] Janáček apporte à cette comédie de l’absurde une bonne dose d’humour et de satire, rendant son œuvre particulièrement originale. […]

[…] Janáček infuses this absurdist comedy with a good dose of humour and satire, making his work particularly original. […]

[…] La production, qui fait appel à un appareillage scénique digne de Broadway, est tout à fait étonnante. Le metteur en scène américain Yuval Sharon, inspiré par le dadaïsme, nous entraîne sur les voies d’une saisissante déraison, qui se construit sur la scénographie spectaculaire de Jon Bausor, éclairée très efficacement par Yi Zhao et animée des vidéos étonnantes de Hannah Wasileski. […]

[…] The production, which features stage design worthy of Broadway, is truly astonishing. The American director Yuval Sharon, inspired by Dadaism, takes us on a journey into a world of striking absurdity, set against Jon Bausor’s spectacular set design, lit to great effect by Yi Zhao and brought to life by Hannah Wasileski’s astonishing video installations. […]

[…] La distribution est particulièrement bien adaptée, dominée par l’anglais Peter Hoare, étonnant Matěj Brouček, jouant et chantant de façon sonore, bien dans le style, d’une manière simple et sans excès, un personnage plutôt sympathique quoique totalement déphasé. Mihails Culpajevs est à ses côtés un peintre au timbre percutant, qui personnifie avec un jeu tout à fait convaincant l’amant de Málinka. […]

[…] The cast is particularly well-suited to the roles, led by the Englishman Peter Hoare and the astonishing Matěj Brouček, who acts and sings with a resonant voice, very much in keeping with the style, in a simple and unpretentious manner, portraying a rather likeable character, albeit one who is completely out of step. Alongside him, Mihails Culpajevs is a painter with a striking voice, who portrays Málinka’s lover with utterly convincing acting. […]

[…] Tous les autres chanteurs composent fort bien les figures joyeusement caricaturées de tout le petit monde qui meuble la vie quotidienne du héros, et qui l’accompagne dans ses pérégrinations. Le chant est parfait, les ensembles dynamiques, y compris le Prague Philharmonic Choir, et les surtitres très bien venus qui permettent de ne pas perdre un mot des dialogues. […]

[…] All the other singers do a fine job of bringing to life the cheerfully caricatured characters who populate the hero’s everyday life and accompany him on his travels. The singing is perfect, the ensembles dynamic – including the Prague Philharmonic Choir – and the surtitles are a very welcome addition, ensuring that not a single word of the dialogue is missed. […]

[…] Le chef Robert Jindra dirige l’excellent orchestre avec vivacité et doigté, rendant parfaitement le langage musical richement nuancé de Janáček. Drôle, festive et variée, mais prêtant aussi à la réflexion, cette production exemplaire nous a donc offert le plaisir de suivre en totalité les aventures de Mr Brouček, et constitue une totale réussite. […]

[…] Conductor Robert Jindra leads the excellent orchestra with verve and finesse, perfectly capturing Janáček’s richly nuanced musical language. Whimsical, festive and varied, yet also thought-provoking, this exemplary production has thus given us the pleasure of following Mr Brouček’s adventures from start to finish, and is a resounding success. […]



Medium: European-News-Agency
Author: Nadejda Komendantova
Title: Moonlight, History and Beer: Janáček's Mr Brouček
Date: 24.07.2026

[…] Leoš Janácek’s Die Ausflüge des Herrn Broucek at the Bregenz Festival is a rare and exhilarating pleasure: a “house opera” that embraces the full oddity of this burlesque score while turning its satire into pointed contemporary theatre. In the Große Saal of the Festspielhaus, Yuval Sharon and his team deliver a production that feels both fantastical and surgically precise, staging Broucek’s escapes from reality. […]

[…] What makes the staging so effective is its clarity of focus. Broucek’s journey is always at the centre, visually and dramaturgically. The fantastical environments are richly detailed, but they never drown the narrative; instead, they reveal how each society projects its own fantasies and blind spots onto this thoroughly ordinary man. […]

[…] Musically, the evening benefits greatly from Robert Jindra’s conducting of the Wiener Symphoniker and the Prager Philharmonischer Chor. […]

[…] The chorus, crucial especially in the Hussite scenes, moves with impressive discipline between burlesque exaggeration and genuine intensity, supporting Sharon’s staging in making collective behaviour both comic and unsettling. Peter Hoare in the title role anchors the performance with a tenor that combines flexibility and character. Vocally, he negotiates Janácek’s angular lines with security, colouring them to express Broucek’s constant oscillation between self-pity, bluster and panic. […]

[…] Dramatically, Hoare resists the temptation to play the character as pure buffoon. […] Around him, a strong ensemble fills Janácek’s gallery of moon-dwellers, patriots and bureaucrats with sharply etched types, ensuring that each new society feels vivid in its own right. […]

[...] For audiences willing to follow Janácek onto the moon and into the past, Bregenz offers a production of real bite and imagination, one that proves this “unusual opera of the 20th century” can speak with startling clarity to the 21st. [...] 

Medium: politica&prosa
Author: Rosa Massagué
Title: Zum Mond fliegen und im 15. Jahrhundert landen
Date: 28.07.2026

[...] La soprano Tatev Baroyan en el triple paper de Málinka, Etherea i Kunka, va exhibir una veu potent amb uns aguts ben esmolats. El tenor Mihails Culpajevs (Mazal, Blankytny i Petrik) 
també va cantar els tres personatges amb una gran solidesa. El baix-baríton Karoly Szemeredy va ser un bon sagristà a la terra, a la lluna i campaner al segle XV. L’Orquestra 
Simfònica de Viena i el Cor Filharmònic de Praga sota la direcció del txec Robert Jindra, actual director musical de l’Òpera Nacional txeca, van superar amb nota tots els molts 
esculls de la partitura. [...] 

[…] Soprano Tatev Baroyan, in the triple role of Málinka, Etherea and Kunka, displayed a powerful voice with well-honed high notes. Tenor Mihails Culpajevs (Mazal, Blankytny and Petrik) also sang the three roles with great solidity. Bass-baritone Karoly Szemeredy was an excellent sacristan on earth and on the moon, and a fifteenth-century bell ringer. The Vienna Symphony Orchestra and the Prague Philharmonic Choir, under the baton of the Czech Robert Jindra, current music director of the Czech National Opera, successfully navigated all the many pitfalls of the score.[…]

[...] L’excellent interpretació musical de l’òpera excursionista va tenir la seva contrapart en la 
també excellent posada en escena que firmava Yuval Sharon. [...] 

[…]  The excellent musical interpretation of the hiking opera was matched by the equally excellent staging by Yuval Sharon. […]

Medium: ResMusica
Author: Jean-Luc Clairet
Title: À Bregenz, Brouček réussit à Yuval Sharon
Date: 31.07.2026

[…] Yuval Sharon et Robert Jindra : « coup de maîtres » au Festspielhaus de Bregenz pour l’opéra mal aimable de Leoš Janáček. […]

[…]  Yuval Sharon and Robert Jindra: a ‘masterstroke’ at the Festspielhaus in Bregenz for Leoš Janáček’s unloved opera The Adventure of Mr. Brouček. […]

[…] Accueillie triomphalement par une salle comble, cette superbe lecture d’une œuvre abyssale s’avérant au final diaboliquement intelligente doit tout autant qu’à Yuval Sharon, qui est de surcroît parvenu à unifier le disparate de ces deux opéras en un, à Robert Jindra qui a constamment su en révéler la savante alchimie musicale. […]

[…] Greeted with rapturous applause by a packed house, this superb interpretation of a profound work – which ultimately proved to be devilishly clever – owes as much to Robert Jindra, who consistently succeeded in revealing its skilful musical alchemy, as it does to Yuval Sharon, who, moreover, managed to unify the disparate elements of these two operas into a single whole. […]

[…] Rien de la richesse foisonnante de l’orchestration (orgue, célesta à la place du glassharmonica prévu, viole de gambe) n’échappe au chef tchèque qui entraîne le Wiener Symphoniker dans une prestation de très haut vol : aussi bien la poésie lunaire (entre Kát’a Kabanová et Petite renarde rusée) du premier voyage que la majesté archaïsante du second dont la pièce maîtresse (le Chœur Philharmonique de Prague) sait faire souffler le vent galvanisant de la révolte. […]

[…] Nothing of the rich, abundant orchestration (organ, celesta in place of the intended glass harmonica, viola da gamba) escapes the Czech conductor, who leads the Vienna Symphony Orchestra in a performance of the very highest calibre: both the lunar poetry (somewhere between Kát’a Kabanová and The Cunning Little Vixen) of the first journey and the archaic grandeur of the second, whose centrepiece (the Prague Philharmonic Choir) skilfully conjures up the galvanising spirit of rebellion. […]

[…] Aucun maillon faible dans la distribution, comme on le pressent dès la prime intervention, enchanteresse, des amoureux Málinka et Mazal (Tatev Baroyan, Mijhails Čuļpajevs). Le ténor anglais Peter Hoare dans le rôle-titre n’a aucune peine à s’immiscer dans une distribution idiomatique à souhait, de laquelle se détachent l’imposant baryton de Károly Szemerédy en Sacristain mais aussi en Lunobor, et en Domšík, puisque Brouček retrouve où qu’il aille les gens de son quotidien. […]

[…] There are no weak links in the cast, as one senses from the very first, enchanting appearance of the lovers Málinka and Mazal (Tatev Baroyan, Mijhails Čuļpajevs). The English tenor Peter Hoare in the title role has no trouble blending into a cast that is perfectly suited to the role, from which stand out the imposing baritone of Károly Szemerédy as the Sacristan, but also as Lunobor and as Domšík, since Brouček encounters the people from his everyday life wherever he goes. […]

Medium: ConcertoNet.com
Author: Claudio Poloni
Title: Brouček décroche la lune à Bregenz
Date: 26.07.2026

[…] Pour l’édition 2026 de la manifestation, la 80e du nom, le choix s’est porté sur Les Voyages de M. Brouček de Leoš Janáček, avec à la clé un spectacle remarquable à tous points de vue, qui fera date. […]

[…] For the 2026 edition of the festival – the 80th in the series – the choice fell on Leoš Janáček’s The Adventures of Mr. Brouček, resulting in a performance that is remarkable in every respect and is set to go down in history. […]

[…] A Bregenz, Yuval Sharon, assisté par Jon Bausor pour les décors et les costumes, transforme M. Brouček en un « monsieur tout-le-monde » de la classe moyenne moderne. […]

[…] In Bregenz, Yuval Sharon, assisted by Jon Bausor on set design and costumes, transforms Mr Brouček into an ‘everyman’ of the modern middle class. […]

[…] L’arrivée sur la lune est particulièrement spectaculaire : la petite maison de M. Brouček se soulève puis se déplace dans tous les sens et tourne sur elle-même, avant d’alunir le toit en bas. […]

[…] The landing on the Moon is particularly spectacular: Mr Brouček’s little house lifts off, then moves in all directions and spins round and round, before touching down on the Moon with its roof facing downwards. […]

[…] Les créatures lunaires arborent des costumes géométriques cubiques et colorés extrêmement stylisés, conférant une esthétique légère, poétique et enfantine au spectacle. La rupture est totale dans la seconde partie, Yuval Sharon basculant dans un univers visuel sombre et monumental. […]

[…] The lunar creatures wear highly stylised, colourful, cubic geometric costumes, lending the show a light, poetic and childlike aesthetic. The second half marks a complete departure, as Yuval Sharon shifts into a dark and monumental visual world. […]

[…] La partie musicale et vocale du spectacle n’appelle que des éloges. Le chef tchèque Robert Jindra fait preuve d'une vivacité et d'un doigté remarquables à la tête des Wiener Symphoniker, restituant parfaitement le langage nuancé, les rythmes abrupts et les élans lyriques de Janáček. Le Chœur Philharmonique de Prague séduit, quant à lui, par sa puissance et sa cohésion. […]

[…] The musical and vocal aspects of the performance deserve nothing but praise. The Czech conductor Robert Jindra displays remarkable vigour and finesse at the helm of the Vienna Symphony Orchestra, perfectly capturing Janáček’s nuanced musical language, abrupt rhythms and lyrical flourishes. The Prague Philharmonic Choir, for its part, captivates with its power and cohesion. […]

[…] Dans le rôle-titre, le Britannique Peter Hoare est phénoménal d'authenticité. Sa voix de ténor de caractère et son jeu scénique incarnent à la perfection ce bourgeois bougon mais étrangement attachant, rendant son personnage de « lâche ordinaire » profondément humain et universel. Mihails Čulpajevs fait montre d’un timbre percutant et d’un jeu très convaincant dans le rôle de l'amoureux transi. […]

[…] In the title role, the British singer Peter Hoare is phenomenally authentic. His character tenor voice and stage presence perfectly embody this grumpy yet strangely endearing bourgeois, rendering his character – the ‘ordinary coward’ – deeply human and universal. Mihails Čulpajevs displays a powerful tone and a highly convincing performance in the role of the lovesick suitor.. […]

[…] A n’en pas douter, ce spectacle restera dans les annales du Festival de Bregenz. […]

[…] There is no doubt that this performance will go down in the history of the Bregenz Festival. […]

Medium: L’opera oggi
Author: Renato Verga
Title: I viaggi del signor Brouček
Date: 24.07.2026

[…] Sul piano musicale, invece, la produzione convince pienamente grazie alla direzione di Robert Jindra, all’eccellente prova dei Wiener Symphoniker e a un cast di alto livello guidato da Peter Hoare. […]

[…] Musically, however, the production is thoroughly convincing, thanks to Robert Jindra’s conducting, the excellent performance by the Vienna Symphony Orchestra and a top-class cast led by Peter Hoare. […]

[…] Sia chiaro, visivamente la sua messa in scena parte benissimo: incantevole è l’inizio con quel video che mostra una strada di case monocrome, ridotte all’essenziale, come disegnate da un bambino o provenienti dalla grafica di un videogioco dei primi anni Ottanta. Nella scenografia di Jon Bausor la Luna appare come una semplice forma bidimensionale sospesa nel cielo; tutto è costruito secondo le geometrie fondamentali del Bauhaus: cerchio, quadrato e triangolo. […]

[…] Let’s be clear: visually, the staging gets off to a flying start: the opening is enchanting, with that video showing a street of monochrome houses, stripped down to the bare essentials, as if drawn by a child or taken from the graphics of an early 1980s video game. In Jon Bausor’s set design, the Moon appears as a simple two-dimensional shape suspended in the sky; everything is constructed according to the fundamental geometries of the Bauhaus: circle, square and triangle. […]

[…] Efficacissimi i costumi, sporchi di fango, disegnati anch'essi da Jon Bausor. […]

[…] The costumes – caked in mud – were also designed by Jon Bausor and were extremely effective. […]

[…] Peter Hoare, interprete ormai identificato con il ruolo di Brouček, ne offre una caratterizzazione ricchissima di sfumature. […]

[…] Peter Hoare, an actor now synonymous with the role of Brouček, delivers a performance rich in nuance. […]

[…] Il suo Brouček non è soltanto un pavido ubriacone, ma un piccolo uomo meschino e insieme sorprendentemente umano, capace di suscitare tanto il sorriso quanto un’inaspettata compassione. […]

[…] His Brouček is not merely a timid drunkard, but a petty little man who is, at the same time, surprisingly human, capable of eliciting both a smile and an unexpected sense of compassion. […]

[…] Molto positiva anche la prova di Mihails Čuļpajevs, chiamato a interpretare Mazal nel primo pannello e poi Blankytný e Petřík. Il tenore lettone affronta con apparente disinvoltura una parte disseminata di salti, cambi di registro e tessiture spesso proibitive, sostenuto da un’emissione sicura, da uno squillo luminoso e da una proiezione che gli permette di emergere con naturalezza anche nei momenti orchestrali più densi. […]

[…] Mihails Čuļpajevs also gave a very impressive performance, taking on the roles of Mazal in the first act and then Blankytný and Petřík. The Latvian tenor tackles a role peppered with leaps, register changes and often daunting vocal ranges with apparent ease, supported by a confident vocal delivery, a luminous tone and a projection that allows him to stand out naturally even during the densest orchestral passages.. […]

[…] Tatev Baroyan affronta il triplice ruolo di Málinka, Etherea e Kunka con voce fresca, timbro limpido e un fraseggio elegante, riuscendo a differenziare efficacemente i tre personaggi pur mantenendo una linea di canto sempre omogenea. Károly Szemerédy conferisce autorevolezza alle sue molteplici incarnazioni – Sakristan, Lunobor e Domšik – grazie a un baritono saldo, ben timbrato e a una presenza scenica di notevole rilievo. […]

[…] Tatev Baroyan tackles the triple role of Málinka, Etherea and Kunka with a fresh voice, a clear timbre and elegant phrasing, managing to effectively distinguish between the three characters whilst maintaining a consistently cohesive vocal line. Károly Szemerédy lends authority to his multiple roles – Sakristan, Lunobor and Domšik – thanks to a firm, well-toned baritone and a stage presence of considerable impact.. […]

[…] Di eccellente livello anche il nutrito gruppo dei comprimari, chiamati come spesso accade in Janáček a ricoprire più ruoli nell’arco della serata. Jan Šťáva, Linard Vrielink, Paul Curievici, Lukáš Bařák, Gaja Napast, Svatopluk Sem e Jana Kurucová contribuiscono con professionalità e precisione a una compagnia perfettamente affiatata, nella quale nessun intervento appare trascurabile. Ugualmente convincente il Coro Filarmonico di Praga, protagonista di una prova compatta e disciplinata, capace di restituire con incisività tanto gli episodi satirici quanto quelli di più intensa partecipazione collettiva. […]

[…] The large ensemble of supporting cast members was also of an excellent standard; as is often the case in Janáček’s works, they were called upon to take on multiple roles throughout the evening. Jan Šťáva, Linard Vrielink, Paul Curievici, Lukáš Bařák, Gaja Napast, Svatopluk Sem and Jana Kurucová contributed with professionalism and precision to a perfectly cohesive company, in which no performance seemed insignificant. Equally convincing was the Prague Philharmonic Choir, delivering a cohesive and disciplined performance, capable of rendering with great impact both the satirical episodes and those involving more intense collective participation. […]

[…] Alla testa dei Wiener Symphoniker, Robert Jindra si conferma interprete ideale di questo repertorio. La sua direzione governa con sicurezza una partitura densissima, ricca di improvvisi cambi di atmosfera, di raffinati dettagli strumentali e di continui sbalzi ritmici. […]

[…] At the helm of the Vienna Symphony Orchestra, Robert Jindra once again proves himself the ideal interpreter of this repertoire. His conducting masterfully navigates a densely textured score, rich in sudden shifts in atmosphere, refined instrumental details and constant rhythmic changes. […]

[…] La qualità musicale dell’esecuzione, sostenuta dall’eccellente lavoro di Robert Jindra, dei Wiener Symphoniker e di un cast di prim’ordine, permette comunque di riscoprire tutta la ricchezza di una partitura che meriterebbe una presenza ben più stabile nei teatri. […]

[…] The musical quality of the performance, underpinned by the excellent work of Robert Jindra, the Vienna Symphony Orchestra and a first-rate cast, nevertheless allows us to rediscover the full richness of a score that deserves a far more regular presence in theatres. […]

Medium: ConcertoNet.com
Autor: Ossama el Naggar
Titel: Leos Janácek: The Travels of Mr. Broucek
Datum: 03.08.2026

[…] The Bregenz Broucek, fortunately, revealed a director far more securely in command of his material. There was imagination aplenty, […]

[…] The production’s visual triumph belonged to Jon Bausor. His Prague was at once recognisable and fantastical, a world […]

[…] Hannah Wasilewski’s video work and Crispin Lord’s choreography completed the illusion without overwhelming it. […]

[…] The second journey was more earthbound but no less visually accomplished. Bausor’s medieval Prague was excavated almost literally beneath the bourgeois present, and the painstakingly aged costumes gave the Hussite scenes an almost archaeological authenticity. […]

[…] Peter Hoare made this return to mediocrity irresistibly watchable. […]

[…] The rest of the cast matched him with considerable distinction. […]

[…] The decision to employ a predominantly Czech-speaking ensemble was particularly felicitous, giving the opera a linguistic authenticity that was difficult to manufacture artificially. The Prague Philharmonic Choir, prepared by Lukás Vasilek, was magnificent, its singing in the Hussite scenes possessing precisely the combination of fervour and grandeur that Broucek himself found so intimidating. […]

[…] The musical performance was no less persuasive. Robert Jindra, himself a native of Prague, proved an ideal advocate for Janácek’s unusually volatile score. He brought an almost orchestral richness to the music without sacrificing its sharp edges, and the Vienna Symphony Orchestra responded with playing of considerable precision, transparency and colour. […]

[…] But it did something more valuable: it made this eccentric, infrequently performed opera seem theatrically alive. […]

Medium: Music Paper
Author: Gianluigi Mattietti
Title: Bei den Bregenzer Festspielen zwei Meisterwerke und eine verpasste Gelegenheit
Date: 14.08.2026

[…] Nel secondo viaggio, Brouček precipitava nella Praga del 1420 e delle guerre hussite, scendendo letteralmente nei cupi sotterranei che si aprivano sotto la sua casa, in una cantina, che sembrava uno strato archeologico. Un mondo sporco, lacero, l’opposto di quello asettico e geometrico della luna, quasi delle catacombe, immerse nel fango, con costumi ispirati alla storia medievale ceca, che parevano riesumati da un museo. […]

[…] On his second journey, Brouček found himself transported to Prague in 1420, at the height of the Hussite Wars, literally descending into the gloomy underground passages that opened up beneath his house, into a cellar that resembled an archaeological site. A dirty, tattered world, the opposite of the sterile, geometric world of the moon – almost like catacombs, submerged in mud, with costumes inspired by medieval Czech history that looked as though they’d been unearthed from a museum. […]

[…] I viaggi del signor Brouček è un’opera dall’orchestrazione densa e complessa, con una struttura musicale frammentaria, piena di cambi repentini e dettagli minuziosi. Robert Jindra, sul podio dei Wiener Symphoniker, ne ha sottolineato bene il nervosismo ritmico, la dimensione instabile, la varietà di armonie e colori, senza mai appesantire troppo il suono orchestrale. […]

[…] The Adventures of Mr. Brouček is a work with a dense and complex orchestration, featuring a fragmented musical structure, full of sudden changes and meticulous details. Robert Jindra, conducting the Vienna Symphony Orchestra, effectively highlighted its rhythmic tension, its sense of instability, and the variety of harmonies and timbres, without ever making the orchestral sound too heavy. […]

[…] L’orchestra sembrava così raccontare la storia, le atmosfere, gli stati d’animo, passando dagli episodi farseschi alle visioni fantastiche, alle improvvise accensioni liriche, intrecciandosi con incalzanti sezioni corali (affidate all’eccellente Coro Filarmonico di Praga diretto da Lukáš Vasilek). […]

[…] The orchestra seemed to be telling the story, evoking the atmospheres and moods, moving from farcical episodes to fantastical visions and sudden bursts of lyricism, interwoven with fast-paced choral sections (performed by the excellent Prague Philharmonic Choir, conducted by Lukáš Vasilek) […]

[…] Le parti vocali, modellate sulle inflessioni della lingua ceca e impervie per tutti i cantanti, erano affidate a un cast di prim’ordine, dominato dal tenore Peter Hoare, specialista del repertorio novecentesco e contemporaneo. Il suo Brouček era goffo, irritabile, egoista e codardo, ma sempre umano, mai ridotto a macchietta, ammirevole per la tenuta vocale e l’abilità nel trasformare ogni frase cantata in gesto teatrale. La sua parte era contrappuntata dalle ottime voci di Tatev Baroyan, Mihails Čuļpajevs e Károly Szemerédy, in ruoli diversi nei diversi viaggi del protagonista. […]

[…] The vocal parts, modelled on the inflections of the Czech language and challenging for any singer, were entrusted to a first-rate cast, led by the tenor Peter Hoare, a specialist in 20th-century and contemporary repertoire. His Brouček was clumsy, irritable, selfish and cowardly, yet always human, never reduced to a caricature; he was admirable for his vocal control and his ability to transform every sung phrase into a theatrical gesture. His role was complemented by the excellent voices of Tatev Baroyan, Mihails Čuļpajevs and Károly Szemerédy, in different roles during the protagonist’s various journeys.. […]

Medium: Opéra Magazine
Author: Laurent Barthel
Title: Bregenz - Les Voyages de Monsieur Brouček
Date: 23.08.2026 

[…] Une rareté, surtout du fait de la complexité d’un livret saturé de références à l’histoire et à la culture tchèques, mais qui n’en demeure pas moins un excellent choix pour un festival où l’on s’attache chaque année à mettre aussi en valeur une oeuvre réputée plus difficile ou moins connue que beaucoup d’autres. […]

[…] A rarity, particularly given the complexity of a libretto brimming with references to Czech history and culture, but nonetheless an excellent choice for a festival which, year on year, strives to showcase works that are considered more challenging or less well-known than many others.. […] 

[…] les moyens déployés sont conséquents, la mise en scène de Yuval Sharon et les décors et costumes de Jon Bausor ne lésinant sur rien. […]

[…] The production is on a grand scale, with Yuval Sharon’s direction and Jon Bausor’s set and costume design sparing no expense. […]

[…] Autre élément déterminant, la direction de Robert Jindra, qui obtient des Wiener Symphoniker toute l’ampleur et les rugosités de timbre requises. […]

[…] Another key factor is Robert Jindra’s conducting, which draws from the Vienna Symphony Orchestra all the breadth and textural roughness required. […]

[…] Distribution cosmopolite, d’un bon niveau festivalier, avec un large socle centre-européen (Tchèques, Slovaques, Slovènes, Hongrois, Lettons…) à même de restituer correctement la prosodie de la langue originale. […]

[…] A cosmopolitan cast, of a high festival standard, with a strong Central European core (Czechs, Slovaks, Slovenians, Hungarians, Latvians…) capable of accurately rendering the prosody of the original language. […] 

[…] Ce sont plutôt les excellents amoureux de Mihails Culpajevs et Tatev Baroyan que l’on remarque, ou encore le savoureux poète lunaire de Lukáš Bařák, même très occulté dans son parallélépipède blanc, et la noble prestance de Károly Szemerédy dans le rôle de Domšík. […]

[…] It is rather the superb romantic performances of Mihails Culpajevs and Tatev Baroyan that catch the eye, or Lukáš Bařák’s delightfully dreamy poet – even when largely obscured within his white cuboid – and Károly Szemerédy’s noble bearing in the role of Domšík. […]