Can the darkest moments of life also lift our souls? Drawing on his own experience in a Siberian prison in the company of misfits, murderers and theives, Dostoevsky was inspired to write his novel Notes from a Dead House, telling his brother at the time: ‘Believe me, there were among them deep, strong, beautiful natures, and it often gave me great joy to find gold under a rough exterior.’ In Janáček’s hands, Dostoevsky’s inspiration and the raw material drawn from an appalling world of incarceration find an even more powerful form of expression in his last opera, From the House of the Dead. Unfettered by conventional story-telling, Janáček wrote his own libretto, freely weaving together a series of stories of everyday prison life and of the fates of individual convicts.

‘We are from Bohemia and you ask if we can sing?’ An unknown couple arrives in a small Czech village from abroad and most of the locals watch them with suspicion. Only the old teacher Benda, a lover of music, opens his door to them, only to find that the strangers are closer to them than one might think.

We are off on an excursion, two excursions in fact, in the company of a landlord from Prague, who is, let us say, a little rough around the edges. The first journey of Mr Brouček is to the Moon where our beer-drinking hero (literally ‘Mr Beetle’) meets the oh-so sophisticated Moon-dwellers. In the second, we travel through time to the early 15th century to a heroic period in Czech history when the Czechs fought off armies of crusaders from the rest of Europe. Will Mr Brouček fare any better in Prague circa 1420, when Czechs are on the eve of a famous victory defending their Hussite faith? For this new production from the heart of the composer’s home country, Janáček Festival Brno has entrusted the staging to the famous Canadian director, Robert Carsen who thus opens the 2024 Festival with this, his sixth production of a Janáček opera.

Human soul, pure human soul! The water nymph Rusalka longs for life above the water, for love and a human soul. The witch knows the way, but the price is high – Rusalka loses her ability to speak, but what good is speech when for her beloved prince she is just a wave on the water… The world of men, however, turns out to be cruel and full of betrayal, over which even her pure love cannot prevail. This new version of Rusalka is based on Lars-Åke Thessman’s original set design for Rusalka at the Gothenburg Opera 2012.