Reviews

Am 19. September 1908, es war ein Samstag, fand im Konzertsaal des Prager Ausstellungsgeländes Výstaviště unter der Leitung von Gustav Mahler jene bemerkenswerte Uraufführung seiner siebenten Sinfonie statt, über die der Musikkritiker Dr. Richard Batka tags darauf im Prager Tagblatt schrieb: "Das gehobene Gefühl, einem außerordentlichen künstlerischen Ereignis beigewohnt zu haben, beherrschte alle."

For a measure of how the Dvořák's Prague festival has grown over its 17 years, look no further than Czech composer Petr Wajsar taking the stage after the Czech Philharmonic premiered his latest work. Decked out in black tie with a wild shock of long hair flowing over his shoulders, Wajsar embodied the spirit and purpose of the festival – honoring the grand master of Czech music not only by showcasing his oeuvre, but nurturing young talent that builds on a proud national tradition.

Mit einem Konzert der Bamberger Symphoniker unter der Leitung von Jakub Hrůša wird am Freitag in der tschechischen Hauptstadt das Musikfestival "Dvořákova Praha" ("Dvořáks Prag") eröffnet.

Antonín Dvořáks Te Deum Opus 103 ist natürlich viel bekannter als Nováks Komposition. Dennoch können die NMB gestehen: so eindrucksvoll haben wir das Werk noch nie erlebt! Das lag nicht zuletzt am fabelhaften Philharmonischen Chor Brno (Český filharmonický sbor Brno, Einstudierung: Petr Fiala), der auf der Orgelempore des Rudolfinums platziert war und von hier eine einzigartige Ausstrahlung besaß. Präsent, ohne zu dominieren, war er jederzeit verständlich – ganz anders als Chöre, die in Konzertsälen von hinten über das Orchester »kommen« müssen.

Sacred music is not normally the way to end a festival with a flourish. But then, Dvořák's Te Deum is not typical sacred music, especially with Petr Popelka on the podium. Conducting the Prague Radio Symphony Orchestra and a high-powered group of singers, Popelka ignited a fiery set of prayers that lit up the closing night of Dvořák's Prague.

Johannes Brahms is on half the orchestral programs at the Dvořák's Prague festival this year, capped by an entire evening devoted to his daunting masterwork Ein deutsches Requiem.

Devoted to preserving and promoting the legacy of Antonín Dvořák, the Dvořák's Prague festival wasted no time this year broadening its scope and musical palette. After an all-Dvořák opener, the second concert paired the Tonhalle-Orchester Zürich with local star Ivo Kahánek for a program of Beethoven and Bruckner.

Bild- und Tonbericht von Alexander Tauscher aus seinem letztjährigen Besuch in Prag und der Aufführung von Rusalka bei unserem Festival. Unter anderem ist hier ein Interview mit dem Direktor von Dvořák Festival Prag Jan Simon zu hören.

If a festival should go out with a bang, then the concluding concert of Dvořák's Prague was one for the ages.

It's been 33 years since The Cleveland Orchestra last played in Prague. That was at the Prague Spring festival under the baton of Christoph von Dohnányi, who once famously complained, "We give a great concert and George Szell gets a good review." It was Szell who molded the orchestra into a world-class ensemble during his 24 years as music director, and it still bears his imprint. Austrian conductor Franz Welser-Möst, who has been at the helm since 2002, has made his mark as well, as he showed with deft handling of an all-Richard Strauss program at the Dvořák's Prague festival.

Nationalism is no sin at the Dvořák's Prague festival, which opens every year on the composer's birthday with a mission to celebrate and keep alive the legacy of Bohemia's favorite son.

Buoyed by an enthusiastic hometown crowd, Hrůša came back for three encores (more dances, from Dvořák and Brahms). Literally jumping on the podium, he cut a much livelier figure than he did during his formative years in Prague. The orchestra was equally energized, reflecting a dynamic rapport and confirming a cultural connection that transcends borders and time.