Adam Plachetka is so far the only Czech opera star who managed to sell out the O2 arena. “I hope that I will be able to do it again. In the meantime, Štefan Margita was also at the same place, and I can reveal that Štefan will also return to my birthday concert in January,” says Adam Plachetka in an interview for Aktuálně.cz.
What was the response to your previous concert at the O2 arena?
He received less criticism than I expected. A few people from among those who go to classical concerts told me in advance that it is not for them, that they will not come. Some tried it out of spite and stated that the format did not suit them, but those were the units of cases. Otherwise, the overwhelming majority of positive reactions prevailed. Of course, that pleased me and motivated me to go to the O2 arena again.
Since the concert in 2019, you have promised, among other things, that it will also attract listeners to classical music who do not normally go to it or have not yet discovered it. Did it come true?
I received a lot of such messages and they made me very happy. But then the pandemic started, everything closed and nobody could go anywhere. So the plan was successful, we fulfilled our part, but the rest was destroyed by the virus. I hope that now we will motivate people with similar success and that the second part of the story will not repeat itself.
Leoš Mareš was involved in the organization of the last concert, who moderated it together with you. Will it happen again?
Leoš Mareš brought me to the O2 arena, performing at his concert was the initial impetus for us to start thinking about my solo performance in this space. But we decided that we wouldn’t repeat anything from the past, that everything would be new, that’s why we didn’t include Leoš in the concert this time. This is something I will definitely do at most a few times in my life. I don’t want to say that this is the last time, but at least I will definitely take a break again for many years. I enjoy the fact that we have a free hand in everything and we choose and invent everything ourselves.
So will you be presenting the concert yourself this time?
I’ve been considering hosting for a long time and will finally take it on myself. I might regret it terribly because it will probably be exhausting, but a challenge is a challenge.
Won’t it be vocally exhausting for you?
It’s a completely different way of using the vocal cords. So speaking and singing together is not always easy. And above all, the day around the concert at an address like this means a huge rush, because you don’t have much space to try everything in advance. You actually go through the program three times on the day of the concert. You have a rehearsal in the morning, then a dress rehearsal and a concert in the evening, because of course renting the O2 arena for the next day would be an extra expense. So it will definitely be a struggle, but I hope and believe in success. We will of course rehearse musically, but in other spaces.
Can you reveal any other guests? I assume that your wife Kateřina Kněžíková will sing again.
Of course the wife will be, that was the only thing we agreed on that we could repeat. Vojtěch Dyk also comes to congratulate. I’m leaving the rest of the guests as a surprise for now.
Adam Plachetka and Kateřina Kněžíková sing the duet Là ci darem la mano from the opera Don Giovanni by Wolfgang Amadeus Mozart. | Video: Czech Philharmonic
Magdalena Švecová is in charge of direction and David Janošek is in charge of scenography. Magda was slightly surprised and perhaps hesitated for a moment, because it will be her debut in such a large space. But we approached her precisely because we want to give the concert a theatrical atmosphere. We have behind us a couple of hopefully successful productions in theaters, where we really enjoyed working together. So I thought it was a good idea. And I believe, based on the cooperation so far and the stage designs, which I have already seen, that the result will be great.
In the O2 arena, you can probably come up with absolutely anything, which is awesome, but then someone has to pay for it, which is less awesome. So I want it to be big, pompous and beautiful, but financially realistic. We will work with projections, with some animations, partly also with backdrops and props. That space is amazing, it has incredible and actually unlimited variability.
It’s supposed to be a light-hearted birthday concert with the main goal of entertaining, pleasing and pleasing, engaging the widest possible range of listeners. We will rather want to enjoy a nice atmosphere than to embark on some deep artistic intentions – that’s what the theater or the Rudolfinum is for.
Yes and no. I like to celebrate, I like to get together, and at the same time I don’t need to have everything organized. My absolute favorite is when I first tell myself that I’m not going to celebrate anything, and then at the last minute I call a few friends, we get together and it’s the most spontaneous, nicest thing that can be done. Maybe some barbecue on the terrace.
Jan Kučera, who sponsors the program musically and will conduct, wrote a new song and I decided to write the lyrics myself. In addition, I am still working on one translation from English. At the same time, I don’t expect that I would go any further in this direction, rather it will be swallows that will stay with them for some time.
On a recording from the New York Met, Adam Plachetka sings the aria Madamina, il catalogo è questo from the opera Don Giovanni by Wolfgang Amadeus Mozart. | Video: The Metropolitan Opera
Are you close to verse and the written word? Did you, for example, write poems or texts as a high school student?
I have never written poems, texts a little more, because we have writers and journalists in our family, so I am close to the written text. Verses have never appealed to me that much, but I really enjoy translating so that one can capture the spirit and soundscape of the text. When there is time and you can play with words, it tends to be very creative, if a bit of a chore. Since I am a performer myself, it is close to me, because even in music you try to “translate” the author’s thoughts to the audience.
Stage fright doesn’t usually bother you, but you’re not nervous even about such a big concert?
It makes me more nervous from the production side. Once you’ve started it, you want to do your best in every way. And of course I am not directly responsible for everything, but at the same time I want to have an overview of everything and be involved in everything. If I’m nervous about something, it’s about things I can’t control 100%. When I know it’s up to me, I can work with it. When I have to rely on something and hope it will work out, it’s a challenge for me to stay cool.
Adam Plachetka will celebrate his forties in Prague’s O2 arena. | Photo: Ilona Sochorová
This year, as part of the Year of Czech Music, you performed several roles in Bedřich Smetana’s operas. Do you want to continue in this direction in the future?
Whether I will go the Czech way is a question. I didn’t want to do it for a long time, because I didn’t want to be just a Czech who sings Czech music, but I wanted to establish myself among everyone. Now I think that slowly maybe the time is coming to play the Czech card and occasionally sing some Czech opera somewhere. After all, I enjoyed the Year of Czech Music one hundred percent and I still do. In 2018, I studied the role of Přemysl in Libuš
At the same time, I would not like to completely give up Mozartian roles, although I know that I am approaching my expiration date there, because younger people are coming. While I myself don’t feel that it’s time to retreat, I think that the offers for Mozart will decrease. At the same time, I feel that my voice is moving into a more dramatic position, when I can afford to try new authors or new operas, and Smetana is one of them. At the same time, he belongs to my hearts, I really like Smetana and I am grateful for every opportunity to return to him. But after this year, I’ll probably turn back to my more usual repertoire.
What roles await you in Czech theaters?
There are currently two Janáčeks: Rívírník in Příbězí liška Brystrouška at the National Theater in Brno and Prus in Vec Makropulos in Berlin, which is a complete novelty for me. At the same time, I should sing Wotan in the forthcoming Zlata Rýna at the Prague State Opera. In addition, we are working on an opera by Smetana at the National Theatre, which I would also really like to see, so I hope everything will work out. And then, in concert, it looks like I could try one Dvořák in the coming years. I won’t reveal more yet.
You met your wife at work in Libuša or Příhody Liška Bystrouška. Do you often choose performances where you can sing together?
We’ve done it a few times now. For a while there was a problem that Kačka matured into a bigger repertoire before I did. So we didn’t quite meet in terms of repertoire. Now I also dare to do something, and so we succeed a little more often. In addition, we recorded a joint CD.
At the same time, you ventured more into the song repertoire.
Yes, for the Year of Czech Music, pianist David Švec and I recorded an album of Evening Songs to texts by Vítězslav Hálk, set to music by both Bedřich Smetana and Antonín Dvořák, but Josef Suk and Zdeněk Fibich also have several of them. So we put together a collection of poetry from four different authors.
Adam Plachetka, accompanied by David Švec on piano, recently released the album Večerní písne. Here he sings Dvořák’s I’m the Knight. Photo: Marek Olbrzymek | Video: Pentatone
Why did you embark on a crossover, where you tour the country alongside Ondřej Havelka with a successful project of songs by Voskovec and Werich?
I feel that I am probably the last generation that has experienced the songs of the Osvobozené Theater in such a “mainstream
it took two years of planning before we chose the repertoire, arranged it and found common dates. We originally planned only a few concerts, but the interest is so great that we have more concerts until the end of the year, which I did not expect at all.
Ondřej Havelka leads a successful swing orchestra that tries to play authentic music. It’s a new genre for you, did you get advice from him when interpreting it?
Absolutely, and it was awkward at first. I sing the note where I see it written, and Ondřej had to explain the principles of swinging to me. When we first met at the piano, I had to transcribe the rhythm complicatedly in quintals before I understood it. Now I can feel the swing, but at first it was quite difficult for me.
I am looking forward to Sedlák the Cavalier and the Comedians at the Vienna State Opera. These are the roles I would like to try. I took some time off after the O2 arena to rest. Then I’ll fly to the Metropolitan Opera in New York to sing Count Almaviva in The Marriage of Figaro, which is again a character I like, but I’ve done it there a few times before, so nothing new.
Next season I should try Escamillio in Carmen for the first time, I’m really looking forward to it, because it’s a role that few people like to sing, but I think it should suit me. In fact, in terms of scope, it is exactly where I need it. I resisted her for a long time, because when I was twenty-five, someone was offering her to me at any moment, and I knew it was too soon. Then I finally got the hang of it, nodded at it a few times – then the pandemic came and everything fell apart. So now I would like to try it again, and I even see the prospect of it actually happening. I just won’t say where yet.
Ar. It has been an incredibly rewarding experience to engage with this music, to bring these classic songs to new audiences, and to celebrate a part of our cultural heritage that I hold dear.
What does collaboration mean to you, especially with someone like Ondřej Havelka?
Collaboration is vital to my work, and partnering with someone like Ondřej, who has such a deep understanding and appreciation for this genre, is invaluable. His passion and expertise bring a unique flavor to the performances. Together, we can explore the depths of these songs and present them in a way that resonates with both long-time fans and newcomers alike. It also makes the entire process more fun and creative, as we can bounce ideas off each other and feed off that energy.
Looking ahead, do you have any upcoming projects or collaborations you’re particularly excited about?
Yes, I have several projects lined up that I’m thrilled about. In addition to the ongoing concerts with Ondřej, I’m in discussions for a collaboration with various orchestras where I can showcase both classical and contemporary works. I’m also planning to continue expanding my repertoire and exploring different genres, especially in the realm of Czech music. There’s so much richness in this tradition, and I feel there’s a lot more to discover and share.
how do you balance your personal life with your professional commitments, especially with a wife who is also in the same field?
It’s definitely a challenge, but I believe in maintaining open communication and supporting each other’s careers. It’s wonderful to share this passion with someone who understands the demands of the industry. We make it a point to take time for ourselves away from performances to recharge and enjoy life together. Whether it’s a spontaneous barbecue on the terrace or simply lounging at home, it’s important to find that balance and keep our relationship strong amid our busy schedules.