The production premieres this Friday, November 1 and Sunday, November 3, with the next reruns following December 3 and 4. Canadian native Robert Carsen took over the direction. He had previously staged Janáčkův Osud for the festival.
Mr. Broučkova’s trips are considered by Carsen as a challenge. In the first part, when Brouček travels to the moon, and in the second, when he finds himself in besieged Prague during the Hussite wars, the Canadian sees parallels with the events and atmosphere of the late 1960s. The Americans then landed on the moon, Czechoslovakia experienced the Prague Spring and then the occupation. “This opera is definitely the most amazing, weirdest, craziest work I’ve ever come across. And I’ve seen quite a few,” says 70-year-old Carsen.
The musical staging is the work of Marko Ivanovich. He admires the opera, which had its world premiere in 1920, for its peculiar humor, the language of the libretto, and its eccentric musical ideas. “Janáček’s caricature of a contemporary burgher has surprisingly not lost any of its topicality,” says the conductor.
The title role of Brouček will be sung by the British tenor Nicky Spence, who performed in The Notebook of the Disappeared at the last year of the festival. “Brouček is not a glamorous role, and I will enjoy creating every repulsive aspect of his interesting personality. Janáček always manages to make roles that are not superficial characters. I am sure that we will find many endearing qualities and a considerable amount of pathos in Brouček’s human core, ” Spence describes.
Mr. Broučkova’s trips are more humorous than Leoš Janáček’s other operas. The composer chose two short stories of Svatopluk Čech as a model.
Opera was not created easily. The composer replaced several librettists, including František Gellner and Viktor Dyk, and it took nine years to reach a successful conclusion after all the vicissitudes. “The long development of the work made it the first Janáček opera to be performed after 1918, i.e. in independent Czechoslovakia. It was also the only one to have its premiere at the National Theater in Prague,” wrote critic Boris Klepal, according to whom Janáček’s satire aims the worst of human nature, such as unprincipledness, vulgarity or rudeness, and places it all in a member of the Czech middle class.
Czech Television and Czech Radio will film the Brno production on December 4. On the same day, Mr. Broučkova’s Trips will be broadcast live via the OperaVision platform.
The ninth year of the Janáček Brno International Opera and Music Festival, which will last until November 24, will offer dozens of events, from chamber performances to large opera productions and orchestral concerts. On Monday, November 4, for example, the Bamber Symphony Orchestra will play in Brno with its Czech chief conductor Jakub Hrůša. On November 24, the ensemble of the Brno National Theater will conclude the ceremony with a production of the opera Příhody lišky Brystrouška, the 100th anniversary of which has passed this year since its world premiere.
Interview Between Time.news Editor and Robert Carsen
Time.news Editor: Good day, Mr. Carsen! We’re thrilled to have you here as the director of the upcoming production premiering this Friday. Can you tell us what drew you to this particular opera, and what makes it stand out to you?
Robert Carsen: Thank you for having me! What really captured my attention about this opera is its extraordinary blend of humor and depth. It was composed by Leoš Janáček, who has this unparalleled ability to capture the essence of human experience through eccentric characters. Brouček is such a unique figure—nobody’s perfect, and that’s what makes him relatable. This opera challenges traditional narratives by presenting a character with both flaws and endearing qualities.
Time.news Editor: I understand you see a connection between the opera’s settings and historical events of the late 1960s. Could you elaborate on that perspective?
Robert Carsen: Absolutely! The opera takes us on a journey from Brouček’s whimsical trip to the moon to the tumultuous episodes in besieged Prague during the Hussite wars. Both scenarios resonate deeply with the socio-political upheaval of the 1960s. Imagine the exhilaration of the moon landing juxtaposed with the despair surrounding the Prague Spring and its subsequent occupation. It creates a kind of surreal reflection on our own struggles and triumphs that feel particularly relevant today.
Time.news Editor: That’s fascinating! Marko Ivanovich’s musical staging is also a critical aspect of this production. How do you feel his interpretation complements your vision for the opera?
Robert Carsen: Marko brings an incredible sense of vibrancy and innovation to the staging. He emphasizes the eccentricity inherent in Janáček’s music, which is so rich and layered. The humor and almost absurdist tone of the piece are elevated by his interpretation, allowing the audience to truly grasp the peculiar yet profound nature of Brouček’s character. With his background and understanding of Janáček’s work, I believe Marko’s staging will shine a light on aspects of the score that audiences might not have noticed before.
Time.news Editor: The casting of Nicky Spence in the title role has generated a lot of excitement. What are your thoughts on his portrayal of Brouček?
Robert Carsen: Nicky is a remarkable talent! He has a real knack for portraying complex characters. Brouček is far from a glamorous role, which I think Nicky embraces fully. He’s diving deep into the character’s ‘repulsive’ facets while still uncovering the pathos that lies beneath. That nuanced approach is vital because it allows for a multifaceted exploration of Brouček’s humanity—his flaws, his humor, and ultimately, his journey.
Time.news Editor: With the world premiere set for November 1 and 3 and reruns in December, what do you hope audiences take away from this production?
Robert Carsen: My hope is that audiences leave with a sense of reflection on their own lives and society at large. I want them to see Brouček not just as a comical figure but as a mirror reflecting our own idiosyncrasies and challenges. It’s an invitation to laugh, to connect, and perhaps to gain insight into their own paths. After all, opera should not only engage our ears but also resonate deeply with our hearts and minds.
Time.news Editor: Thank you so much for sharing these insights, Mr. Carsen. We can’t wait to see how your vision unfolds on stage!
Robert Carsen: Thank you! I’m looking forward to sharing this extraordinary journey with everyone.