From 17 July to 8 August 2026, over forty concerts will be held in the South Bohemian Region during the 35th Český Krumlov International Music Festival. Three classical pieces will have their world premieres, and hundreds of artists from distant continents will perform, all celebrating the theme “The Labyrinth of Stories” for the festival’s half-century anniversary. The musical events in six concert series will take place at fourteen different venues, including three completely new ones. Tickets are available at ww.festivalkrumlov.cz. The opening night will feature Ravel’s sensual songs and the festival will close with “The Labyrinth of Love”. Attenders can also look forward to the festival debut of today’s leading pianist, Lukáš Vondráček, performing Rachmaninoff’s iconic Piano Concerto No. 2 in C minor, as well as music from the Czech computer game Kingdom Come: Deliverance II, which was nominated for a gaming Oscar. Dramaturges Martin Rudovský and Jan Valta, who composed and will conduct the first open-air concert performance with orchestra and choir for the gaming phenomenon, gave an interview about the 35th Krumlov Festival.
Martin Rudovský, the dramaturge of the 35th Krumlov Festival, studied Czech language, literature, and music education at the Faculty of Education, Charles University, and musicology at the Faculty of Arts, Charles University. He served as editor-in-chief of VOX magazine before joining the Prague Symphony Orchestra (FOK), initially as an archivist and later as a dramaturge. He continues his work at FOK, which pauses in the summer for the Krumlov Festival. Martin is a member of the Kühn Mixed Choir, co-founded the Bruncvík boys’ choir, and has performed with the Czech National Choir, Gut ta musicae, the Prague Philharmonic Choir, the Prague Chamber Choir, and Musica malinconica.
The main theme of this year’s festival is “The Labyrinth of Stories”. How is this reflected in the festival’s programme?
The motto is, of course, quite decisive and essentially influences all the concerts and the entire festival. It represents multiplicity and diversity: each concert tells a story – the story of the performer, the composer, and the venue. For instance, clarinettist Karel Dohnal will play, dance, and narrate the story of Harlequin, a key figure from the Italian Commedia dell’arte, in the magnificent Masquerade Hall of Krumlov Castle, surrounded by these characters on the wall frescoes. The word “labyrinth” symbolises both the town of Krumlov, known for its labyrinthine nature and hidden historical mazes, especially in the Castle Gardens, and the journey through the festival programme, leading listeners “from the labyrinth of the world to the paradise of the heart”, uplifting their souls and delighting their hearts – music uniquely facilitates this.
The festival has expanded its programme to 14 venues, including three new ones. How do you select new locations?
Often, due to the beauty of Český Krumlov itself, we overlook the unique ness of its surroundings. One aim of this location scouting is to uncover hidden gems in the area. We personally visit all potential new venues to experience their much-lauded genius loci. When my colleagues and I are captivated by the charm of a new space, our imaginations run wild. This is how we “discovered” Kuklov, a natural temple, where we invited the renowned Czech organist Katta. The Cappella Mariana ensemble will perform in Kájov, an ancient Marian pilgrimage site. The third new venue is the classicist hall in the Červený dvůr Psychiatric Hospital, where, thanks to the forward-think ing local director Jiří Dvořáček, we can open Paganini’s world to everyone, performed by Jiří Vodička and Pavel Steidl.
Jan Valta Jr. is a Czech composer, arranger, orchestrator, conductor, and violinist. He graduated from the Conservatory in Teplice and the Academy of Performing Arts in Prague. He is best known for composing the music for Kingdom Come: Deliverance and Kingdom Come: Deliverance II, developed by Warhorse Studios under Dan Vávra’s direction, selling over 14 million copies worldwide. Besides this collaboration, Jan has composed music for the film Zbojník (The Outlaw) and two TV series, orchestrated scores for various projects, and created over 1,000 arrangements across different genres and instrumentations. Originally a violinist, he joined the Czech Philharmonic Orchestra during his studies, spending two seasons there. Since 1998, he has been part of the Herold Quartet. Jan is currently working on another, as yet unannounced, project for Warhorse Studios.
The Krumlov Festival will present Kingdom Come: Deliverance II in the 2026 season, with you as the composer. On 1 August, you will conduct the Brno Philharmonic Orchestra, the Czech ensemble Bakchus, and the Masaryk University choir. What does it mean for you to present a game soundtrack in the historic setting of Český Krumlov?
Last year, we debuted this programme for 3,500 attendees at the O2 Universum in Prague, and in February 2026, we will perform it at the Jahrhunder thalle in Frankfurt. Although the performance at the Český Krumlov International Music Festival will not be a premiere, it is particularly special to me for two reasons. Firstly, Krumlov itself: this stunning historic town will set the perfect atmosphere for concert-goers even before the music begins, and I am confident that the evening setting in the Brewery Garden, overlook ing the town’s landmark, will lend a unique charm to the concert. Secondly, being part of such a well-established festival highlights the recognition that games as a medium truly deserve.
Combining the tradition of a classical festival with music composed for a video game is quite unique. How did you balance the requirements of classical music, orchestral precision, and modern media forms to ensure the project stayed true to Warhorse Studios’ musical vision and met the festival audience’s quality expectations?
The story of Kingdom Come: Deliverance II is too vast to retell in a single evening. In the music, we capture the story’s introduction, several key scenes, and the epic, heartfelt finale. These narrative elements are enhanced by compositions reflecting the game’s world: the natural beauty and the allure and grandeur of medieval cities. It will not be a “Film in Concert” but rather an exploration of our game world. The entire concert will be complemented by stunning video projections from the game.
How does the Kingdom Come soundtrack demonstrate that game music can be incorporated into the broader dramaturgy of classical music festivals?
Much of contemporary concert music is not accessible to everyone. In striving for originality, these works often resemble each other and use a musical language that many music lovers do not understand. While film music once offered an alternative, it has increasingly become just another sound layer, which may work for films but not for concerts. Games, as a young and in teractive medium, still provide an opportunity for music to express genuine feelings and strong emotions.
