Tomáš Netopil took up the position of General Music Director of the Aalto Theatre and Philharmonie Essen at the start of 2013/2014. In addition to his concert season at the helm of Essen Philharmoniker, his opera productions in 2018/2019 include Der Freischütz , Salome, Così fan tutte and Rusalka whilst in 2017/2018 he conducted The Bartered Bride, Salome, Lohengrin, Die Walküre, and Die Entführung aus dem Serail.
Netopil made his debut with Sächsische Staatsoper Dresden in 2008 since when he has conducted La clemenza di Tito, Rusalka, The Cunning Little Vixen, La Juive, and Busoni’s Doktor Faust and he will conduct a new production of The Bartered Bride for them in Spring 2019. This season, he will also conduct a new production of Jenůfa for Netherlands Opera and returns to Wiener Staatsoper for Idomeneo: in 2017/2018 he conducted a new production of Der Freischütz, and has previously conducted Káťa Kabanová, Rusalka and The Cunning Little Vixen in Vienna. He has also conducted Falstaff and The Makropulos Case for Vlaamse Opera.
An inspirational force in Czech music, Tomáš Netopil is one of the two Principal Guest Conductors of the Czech Philharmonic Orchestra. In August 2017 he conducted two Dvořák and Mozart concerts alongside Diana Damrau at the Grafenegg Festival. In early Spring 2018 he led the orchestra on an extensive UK tour, and conducted Má vlast in the opening concert of the 2018 Prague Spring Festival, which was televised live.
About his debut at the Dvořák's Prague festival in 2017 with Essener Philharmoniker Bachtrack wrote: “The music lit up the stage like a rousing march, providing a dazzling showcase for Netopilʼs facility for creating three-dimensional soundscapes with the orchestra. With Strauss, they showed an impressive ability to segue almost instantly from dramatic dissonance to charming melodies.” He then conducted Dvořákʼs Te Deum in the closing concert of the festival with Vienna Symphony Orchestra, whom he subsequently conducted at Vienna Konzerthaus and later on at the Vienna Musikverein.
On the concert platform, in the 2018/2019 he returned to the Zürich Tonhalle. Highlights of recent seasons have included Orchestre de Paris, London Philharmonic Orchestra, Netherlands Radio Philharmonic at the Amsterdam Concertgebouw, and the Orchestre Philharmonique de Monte Carlo, whilst future dates include Leipzig Gewandhaus and RAI Torino.
Tomáš Netopil’s discography for Supraphon includes Janáček’s Glagolitic Mass (in its never-before-recorded original 1927 version), Dvořákʼs complete cello works, Martinůʼs Ariane and Double Concerto, and Smetana’s Má vlast with the Prague Symphony Orchestra. He has also recorded Suk’s Asrael Symphony with Essener Philharmoniker.
From 2008–2012 Tomáš Netopil held the position of Music Director of the Prague National Theatre. Tomáš Netopil studied violin and conducting in his native Czech Republic, as well as at the Royal College of Music in Stockholm under the guidance of Professor Jorma Panula. In 2002 he won the 1st Sir Georg Solti Conductors Competition at the Alte Oper Frankfurt.
Adam Plachetka was educated at the conservatory in his native town of Prague. In addition to his many national competition victories, Adam won First Prize at the Antonín Dvořákʼs International Vocal Competition.
In 2005 he made his debut at the National Theatre in Prague, since when he has appeared in Prague as Don Giovanni, Figaro (Le nozze di Figaro), Nardo (La finta giardiniera), Argante (Rinaldo) and Guglielmo (Così fan tutte), among others.
In september 2010 Adam became a member of the Ensemble of the Wiener Staatsoper. After his debut as Schaunard (La bohéme), he moved on to roles such as Melisso (Alcina), Don Giovanni, Dulcamara (Lʼelisir dʼamore), Figaro, Guglielmo, Publio (La clemenza di Tito), Mustafá (LʼItaliana in Algeri) and Alidoro (La Cenerentola).
Adamʼs engagements include appearances at the Salzburger Festspiele, Bayerische Staatsoper Munich, Pražské jaro, Théâtre Royal de la Monnaie in Bruxelles, Royal Opera House Covent Garden in London, Musikverein in Vienna, Festpielhaus Baden-Baden, Glyndebourne Festival, Deutsche Oper and Deutsche Staatsoper Berlin, Carnegie Hall in New York, Teatro alla Scala in Milan, Wigmore Hall in London and at the Metropolitan Opera in New York.
He has taken part in recordings for Arte, Arthaus Musik, Česká televize, Český rozhlas, Deutsche Grammophon, Mezzo, Naxos, Orfeo, ORF and Supraphon.
Adam performs under the baton of such conductors as Alain Altinoglu, Marco Armiliato, Daniel Barenboim, Ivor Bolton, Bruno Campanella, John Fiore, Asher Fisch, Valery Gergiev, Friedrich Haider, Daniel Harding, Patrick Lange, Louis Langrée, Marc Minkowski, Riccardo Muti, John Nelson, Tomáš Netopil, Yannick Nézet-Séguin, Robin Ticciati or Franz Welser-Möst.
The libretto of Gioachino Rossini’s opera La gazza ladra (The Thieving Magpie) is based on the comedy of the same name by Jean-Marie-Theodor Badouin d’Aubigny and Louis-Charles Caigniez about a servant who was unjustly accused of having stolen a silver spoon and then executed. Only later is the true culprit – a magpie – uncovered. The librettist Giovanni Gherardini gave the opera a happy ending: the innocence of the servant Ninetta is proven in time and her father, an army deserter, is likewise spared from execution.
Commissioned by La Scala in Milan, Rossini began composing the work in January 1817, only a few days after the successful premiere of his Cinderella. Given the speed with which he composed, it is not surprising that the premiere could take place as early as 31 May. The brilliant overture with which Rossini endowed the work opens unusually, with the roll of two snare drums placed at the opposite ends of the orchestra, which turns into a pathetic military march, followed by the driven overture proper, based on the touching motif of the heroine’s prayer in prison.
This website uses to provide services, personalize ads, and analyzing traffic cookies.