“Tomáš Hanus clearly has this music in his soul, and he inspires orchestral playing with a sharp tang, ferocious urgency and luminous tendersness.” The Times
News:
Mou vlast uvedl muž, který musel vlast opustit, aby se prosadil. A jehož život se nepodobá plynulému toku Smetanovy Vltavy od pramene k ústí. Letošní zahajovací koncert Pražského jara dirigoval pozoruhodný Tomáš Hanus.
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The story of a mermaid who falls in love with a human, abandons her life in the sea and fails in the world has been taken up by many a Europe's fairy tales and legends. Antonín Dvořák's Rusalka was also inspired by Andersen, but the opera, which premiered in 1901, also dealt with numerous other themes. His "lyrical fairy tale" expressed the pressing issues of the turn of the century. Civilization and nature, fears and longings, power relations and gender definitions collide in a psychologically exaggerated way. Rusalka's loss of language clearly reflects her fears of identification, exclusion and existence. Director Sven-Eric Bechtolf reflects these emotional and mental states in a surreal, unreal and oppressive world.
The story of a mermaid who falls in love with a human, abandons her life in the sea and fails in the world has been taken up by many a Europe's fairy tales and legends. Antonín Dvořák's Rusalka was also inspired by Andersen, but the opera, which premiered in 1901, also dealt with numerous other themes. His "lyrical fairy tale" expressed the pressing issues of the turn of the century. Civilization and nature, fears and longings, power relations and gender definitions collide in a psychologically exaggerated way. Rusalka's loss of language clearly reflects her fears of identification, exclusion and existence. Director Sven-Eric Bechtolf reflects these emotional and mental states in a surreal, unreal and oppressive world.
The story of a mermaid who falls in love with a human, abandons her life in the sea and fails in the world has been taken up by many a Europe's fairy tales and legends. Antonín Dvořák's Rusalka was also inspired by Andersen, but the opera, which premiered in 1901, also dealt with numerous other themes. His "lyrical fairy tale" expressed the pressing issues of the turn of the century. Civilization and nature, fears and longings, power relations and gender definitions collide in a psychologically exaggerated way. Rusalka's loss of language clearly reflects her fears of identification, exclusion and existence. Director Sven-Eric Bechtolf reflects these emotional and mental states in a surreal, unreal and oppressive world.