Czech
stephen.walsh
There are advantages and disadvantages about opera-in-the-round, and it’s a format that suits some operas better than others. Longborough’s Cunning Little Vixen, staged by Olivia Fuchs in their new big-top tent, makes the very most of the advantages and pushes the disadvantages into the shade, without entirely obliterating them. It’s a lively show, very well sung, cleverly, energetically acted and directed; but the problems, of which more below, refuse quite to go away.This is a production under the festival’s Emerging Artists scheme combined with its Youth Chorus, and I have to say that it’s Read more ...
Boyd Tonkin
The Southbank Centre automatically stuck the trusty “Bohemian Rhapsodies” headline on this London Philharmonic Orchestra concert of Czech music streamed from the still-deserted Royal Festival Hall. Given Janáček’s presence on the bill, they should have made that “Moravian” as well. I know – get a life. Well, as we wait for that to begin properly once more, Marquee TV continue to bring high production values to their transmissions from the RFH.Sometimes, indeed, the team seems to takes undue, intrusive care. Directed by Nathan Prince, this gig featured too much moody blue and crimson lighting Read more ...
graham.rickson
Jindřich Polák ’s 1963 film Ikarie XB-1 (also available from distributor Second Run) still seems fresh, a cerebral, visually arresting sci-fi which clearly influenced 2001: A Space Odyssey. It’s surprising to read that Polák was actually a comedy specialist, and that the broader, farcical stylings of 1977’s Tomorrow I’ll Wake Up and Scald Myself with Tea (Zítra vstanu a opařím se čajem) are more typical of the director’s output. Yes, it’s still sci-fi, but more Carry On than Kubrick. The setup is a good one, with elderly Nazis plotting to travel back in time from the 1990s with a stolen Read more ...
David Nice
It was Mahler as conductor who made the famous declaration that “Tradition ist Schlamperei” (sloppiness), or something along those lines. Where it becomes the opposite of sloppiness is when a national treasure in the lifeblood of Czech musicians over 140 years meets a conductor of absolute rigour, prepared to question himself and the way his (or her) orchestra plays it, but always with reference to the original score. So it was with the Czech Philharmonic and their then-new Russian-born Principal Conductor Semyon Bychkov last autumn, when they performed Smetana’s Má vlast (My Homeland) before Read more ...
graham.rickson
Václav Marhoul’s The Painted Bird (Nabarvené ptáče in Czech) comes with a lot of baggage, a critics’ screening at the 2019 Venice Festival punctuated by mass walkouts but finishing with a ten-minute standing ovation. Then there’s the supposedly autobiographical source novel by Jerzy Kosiński (best known for Hal Ashby’s Being There), now generally accepted to be a work of fiction. The Painted Bird doesn’t make for easy viewing. It’s long, gruelling and violent, but, as a Czech friend pointed out to me, the world it describes was, and still is, “rough and harsh”, and that getting bogged down in Read more ...
Tom Birchenough
Czech director Alfréd Radok’s Distant Journey (Daleká cesta) has an unprecedented place in the history of cinema of the Holocaust. Initially released in March 1949, it has been called the first fictional treatment of the Jewish experience during the Nazi era, appearing less than four years after the liberation of the Terezin (Theresienstadt) transport camp, where the greater part of its action is set. As the world struggled to assimilate its recent history – if, indeed, assimilation of any kind can ever be possible – the fact of such a film appearing, from within a society that had been so Read more ...
Czech Philharmonic Benefit Concert online review – profound musicianship in sombre masked fundraiser
David Nice
Less than six months ago Prague’s most prestigious concert hall, the neo-Renaissance Rudolfinum, was all glittering lights and packed, smartly dressed audience for the Czech Philharmonic’s hot ticket first performance there for 49 years of its national epic, Smetana’s Má vlast (My Homeland) – a grand one indeed under principal conductor Semyon Bychkov. No greater contrast could be imagined to this, its most recent event, in which an auditorium devoid of everyone but camera operators, presenter and two guests rippled with a filleted performance of the most famous movement – "Vltava", or "The Read more ...
David Nice
So many performances of Mahler's most theatrical symphony every season, so few conductors who have something radically fresh to say about it. Two who do are London Philharmonic Orchestra chief Vladimir Jurowski, perfecting his vision over the years, and now the Philharmonia's Principal Guest Conductor, Jakub Hrůša. With total command, he captures the scope of a monumental canvas, every nuance in the phrasing – quite often it's simply that Mahler's meticulous instructions need following, but how rarely that happens – and pointillist jabs of colour.The breadth of Hrůša's interpretation – the Read more ...
graham.rickson
Karel Zeman’s Invention for Destruction and The Fabulous Baron Munchausen are dizzying romps, whereas his earlier Journey to the Beginning of Time, made in 1955, is disarmingly straightforward – a simple tale of four boys searching for prehistoric life in order to complete a homework assignment. With a minimum of fuss, they board a no-frills wooden boat and row through a cave and down a river, heading further and further back in time. There are a few petty squabbles and a couple of minor examples of what the BBFC used to term “mild peril”. Otherwise, this is joyous, exhilarating fun. Read more ...
Nicky Spence
I’m a big fanboy of Czech music, Janáček and Martinů especially, but I’d never seen The Greek Passion before being cast as Manolios in Opera North’s new production, as it remains quite a rarity in the opera house. For those who don’t know the work, it tells of a group of refugees who arrive in a village as the residents there are preparing for their Easter Passion Play. Martinů explores the community’s reaction to this influx of new people and the conflicting emotions that their arrival engenders.Martinů (pictured left in his American exile in 1943, a a decade and a half before he Read more ...
graham.rickson
Karel Kachyňa’s The Ear (Ucho) begins innocently enough with an affluent couple’s petty squabbles after a boozy night out. He can’t find the house keys and she’s desperate for the toilet. He’s distracted, and she accuses him of having neglected her. Josef Illík’s sharp monochrome photography gleams, recalling classic noir thrillers. The mood darkens once Radoslav Brzobohatý’s Ludvik shimmies over the garden wall and discovers that the couple’s home has been broken into: spare keys are missing, there’s no power, and the phone is dead. That Ludvik and Anna (Jirina Bohdalová, pictured below with Read more ...
Tom Birchenough
The excellent booklet essay by Michael Brooke that accompanies this Second Run release of Pavel Juráček’s second, and final feature (it’s presented in a fine 4K restoration) tells us much about the director’s importance for the Czech New Wave, that remarkable period of independent filmmaking that spanned the 1960s. It was brought to an end, of course, by the Soviet intervention in 1968. A Case for a Rookie Hangman intriguingly spans that crucial dividing line: written in 1966, it was filmed only in 1969 and released two years after that, albeit only on a very limited scale (for many observers Read more ...