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Chain gangway. From Klárov to the Old Town and back again
17. 1. 2023 • Jakub Raš
Today, you can get to Rudolfinum from the Lesser Town via the Mánes Bridge. Before 1914, however, you would have crossed the river on a chain footbridge. It was built as the third suspension bridge over Vltava which really suited Prague, as you can see for yourself in the photo gallery.
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Remaining true to oneself takes the greatest courage
30. 11. 2022 • Adéla Dražanová
Let me begin with a brief comment. It is very, very difficult to do an interview with Semyon Bychkov. Semyon is a truly fantastic storyteller. Whether you have an hour, two hours, or (just theoretically) a whole day, it is never enough. You want more. By the second or third question, you find that the world around you has vanished, and all that exists is Semyon’s world. And it does not matter whether the maestro is telling you about his childhood in Leningrad or about conducting in Vienna.
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No More Squeaks. The Dvořák Hall Has a New Stage
26. 10. 2022 • Jakub Kožíšek
After thirty years, the reconstruction of the main concert hall at Prague's Rudolfinum shook the stage. Although its demanding replacement took place during mere 30 days of summer downtime, the special oak planks had been prepared for months. As a result of the efforts by the Rudolfinum administration and the Teak company, the new floor is a delight especially to the ears: only silence can be heard.
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The Genius of Solitude
18. 1. 2022 • Anna Picard
“No music on earth can compare to ours” sings the child in the last movement of Mahler’s Fourth Symphony. Compared to the vast worlds of sound, emotion, philosophy and poetry in Mahler’s Second and Third Symphonies, this is a delicate and concise work with which to introduce a wider audience to Semyon Bychkov’s Mahler Cycle with the Czech Philharmonic. Composed in the last year of the nineteenth century and the first year of the twentieth, it is more gentle than the First Symphony, more innocent than the Fifth, and devoid of the existential terror that creeps into the Sixth and Seventh Symphonies.
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The Conductor Semyon Bychkov, A Globetrotter with a Baton
26. 4. 2021 • Adéla Dražanová
He says music is his life, and his life is music. And that is natural, because he is one of the world’s best conductors and a phenomenon that hardly bears comparison. Nonetheless, in the text that follows, there is not much to read about music as such. The life story of Semyon Bychkov, chief conductor of the Czech Philharmonic, is so fascinating, and he is so wonderful at telling it, that in the course of a two-and-a-half hour interview, we (almost) did not get around to talking about music.
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Classical Futures & Czech Philharmonic: Young Musicians in the (Artistic) Heart of Europe
20. 4. 2021 • Tereza Šindlerová
The soprano Elena Stikhina, pianists Ingmar Lazar and Adam Laloum or trumpeter Selina Ott. These are just a few names of musicians that have performed in the concert halls of the Rudolfinum in Prague during the past three seasons. What do all of the aforementioned ones have in common? They have not reached 35 years of age yet, are heading for international careers in music and their Prague performance was organised under the auspices of the Classical Futures European grant programme.
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Semyon Bychkov: Nothing is worse than listening to music which crawls under the carpet
21. 1. 2021 • Michaela Vostřelová
Semyon Bychkov is half way through his five-year term as the Artistic Director of the Czech Philharmonic. He says that he has never experienced such hard times with any of his previous orchestras. Besides cancelled concerts, postponed recording plans and cautious outlook for the future, there are still composers who write new music for the Czech Philharmonic. And this was the main focus of our interview.
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Czech Philharmonic & Royal Academy Education Partnership – March 2020
17. 4. 2020 • Colin Clarke
The very heart of European thought is reciprocity, so how heart-warming it was to welcome the idea of members of the Czech Philharmonic coming here to London to work with students at the Royal Academy of Music for several days in early March before Academy students were due to jet off to Prague to play Smetana’s Má vlast, as part of the Prague Spring International Music Festival.
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Miroslav Srnka: Anything new and unknown is bound to be suspicious
10. 1. 2020 • Boris Klepal
Since the fantastic success of his opera South Pole in Munich, Miroslav Srnka has undoubtedly become the most familiar face of the Czech contemporary music scene. Our interview, however, deals not so much with media fame as with the consequences it has had for the rest of his life. This is related to Srnka’s collaboration with the Czech Philharmonic, his shift from the privacy of composing into public life, and how the specifics of his situation influence solutions to compositional problems and creative questions in general.
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