Deputy Mayor Lucie Baránková Vilamová manages two portfolios that might seem unrelated at first: strategic development and culture. Our conversation centred on Ostrava’s growth into a city that looks beyond its own borders. The international success of the Janáček Philharmonic and the construction of the new concert hall prove that global prestige results from consistent, hard work with top-tier institutions. In this interview, culture emerges as a universally intelligible language through which the city tells its story to the world — not only the story of what Ostrava was in the past and what it is today, but also the story of Ostrava’s future. This raises the question: Is the distinction between strategy as “the future” and culture as “the heritage of the past” truly as clear-cut as it seems?
What is the role of culture in the context of Ostrava’s strategic development? Could one say that you straddle two completely different worlds, or do they have more in common than might appear at first glance?
There is undoubtedly a shared foundation between the two. I do not see strategic development as just a series of investments in infrastructure, transport, or housing. Instead, I view it primarily as a long-term commitment to enhancing the city’s quality of life, identity, and overall appeal to residents, visitors, and investors. It is in this exact context that culture plays an entirely essential and irreplaceable role.
While culture certainly serves as the custodian of our societal traditions, and we have a duty to preserve the tangible and intangible heritage left by previous generations, it would be a mistake to view it as something belonging only to the past. Art is a highly sensitive mirror of our contemporary world, often capturing emerging themes and sentiments long before they are ever articulated in formal strategic documents.
From the perspective of urban development, culture is also an important catalyst for transforming specific localities, revitalising public space, and changing Ostrava’s external image. To illustrate this with a specific example, Ostrava is inextricably linked to its industrial history, but it is culture, and above all, the performing arts, that are bringing these places back to life. The Lower Vítkovice area has become perhaps the most famous festival venue in the Czech Republic, if not in Central Europe. The former Gong gasometer hosts spectacular performances of music, dance, and theatre by Czech and international artists. The local Janáček Philharmonic Ostrava also performs there regularly, preparing a concert series specifically for the Gong in collaboration with figures from the world of popular music.
Since you mentioned the Janáček Philharmonic Ostrava, what role do you think the orchestra plays within Ostrava’s cultural scene?
With a legacy spanning over seven decades, the Janáček Philharmonic is a cornerstone of Ostrava’s cultural identity. Over the years, it has earned a prestigious reputation not only locally but also nationally and in neighbouring countries. Its strength lies in a blend of world-class artistry and a modern outlook; the orchestra does not just cater to traditional classical fans but also actively engages younger generations. Beyond its popular concerts at the Gong venue, its family-oriented educational programmes are a major draw. Furthermore, the orchestra frequently champions emerging talent and pursues cross-disciplinary projects – a notable recent example being the contemporary circus production “BoCirku’s Symphonia Aerialis”, featuring the Janáček Philharmonic’s Camerata Janáček chamber ensemble.
In February, the orchestra completed its first-ever UK tour. Can the Janáček Philharmonic Ostrava build its brand abroad as well?
The tour was a resounding success for both the Philharmonic and the city of Ostrava. Building on its extensive international experience, the JPO team worked closely with the Czech Embassy in London and the UK branch of CzechTourism from the start. This strategic partnership ensured that the concerts reached not only thousands of British music lovers but also a select group of professionals involved in music. London’s Cadogan Hall hosted a distinguished group of critics, influencers, and other partners, including representatives of the Embassy and the Czech Centre in London. The glowing reviews that followed underscore the JPO’s exceptional artistic talent and its success in representing Ostrava’s culture abroad.
When it comes to the reach of Ostrava’s culture abroad, the Janáček Philharmonic has another advantage besides its top-class quality – it is not held back by a language barrier. Music speaks a language universally understood across cultures and nationalities, making the JPO an exceptionally valuable and prized cultural export. This, too, is an important factor in the investment in the construction of the Concert Hall, because it is precisely the JPO and music in general that have the potential to attract visitors from across the country and abroad, who will appreciate the artistic experience combined with world-class architecture. The Concert Hall is proof of how much Ostrava values culture and that it sees it as an integral part of the city’s identity, now and in the future.
While on the subject of strengthening the JPO’s international reputation, we cannot fail to mention that, from this year, the Leoš Janáček International Music Festival is coming under the direct management of the Philharmonic. What specific benefits do you expect from this organisational integration?
You are correct that this year’s festival marks a new chapter, but in many ways, it is a “return to our origins”. Originally established in 1950 under the auspices of the Janáček Philharmonic, the festival operated in this form until 2003, when it became a separate entity. The decision to reunite was not just about nostalgia; it was based on JFO Director Jan Žemla’s compelling argument that a unified structure simply makes the most sense. Since the Philharmonic has always been central to the festival, reintegrating them allows for the creation of targeted programme links, more effective collaboration with guest artists, and stronger bargaining power with other ensembles. This creates more beneficial and comprehensive collaborations. Additionally, it streamlines our operations by allowing specialised staff in marketing, production, and international relations to support both the festival and the orchestra’s regular season.
Another planned cultural investment, this time in the field of theatre, will be the new stage of the National Moravian-Silesian Theatre (NTMS) at Černá louka. Why does Ostrava’s largest theatre, which already has three stages of its own, need Pavilion G?
As with any other investment, the renovation of Pavilion G involves the interplay of various needs. The National Moravian-Silesian Theatre is operationally constrained by the lack of a large rehearsal space that matches the dimensions of the main stages at the Antonín Dvořák Theatre or the Jiří Myron Theatre. From an operational perspective, this means that, from a certain stage onwards, companies can only rehearse on stage, placing a strain on the already overburdened technical staff and limiting the stage’s availability for performances. Given that the NTMS has four companies, the fact that one company is using the stage for rehearsals does not mean that another company would not have the capacity to perform. The renovated Pavilion G will therefore include a long-needed large rehearsal space. The second part of the pavilion will serve the audience – a studio stage with approximately 220 seats will be created there. This studio stage will enable the creation of more intimate productions, which, by their nature, do not belong on large stages. The NTMS’s smallest stage, Theatre “12”, has a capacity of just 60 seats, which in many cases fails to meet audience demand, and offers very limited spatial possibilities. The new stage in Pavilion G will thus fill the gap between the intimate setting of Theatre “12” and the large stages in the historic buildings. Moreover, Ostrava has long lacked a performance space with a capacity of 200–250 spectators, so its creation will not only directly benefit the NTMS but may also become an important venue for various Ostrava festivals. The creation of Pavilion G is also an intermediate step that will enable the implementation of the second phase of the renovation of the Jiří Myron Theatre complex in the future. This will involve a complete overhaul and modernisation of stage technology, as well as the refurbishment of facilities for performers, with Pavilion G serving as a temporary home for productions from the Jiří Myron Theatre. All of this also fits into the comprehensive revitalisation of the Černá louka area, which, in addition to being a green oasis in the city centre, will provide a haven for students, cultural activities, facilities for new businesses, and attractive new housing.
In addition to funding its own cultural organisations, the city also supports independent cultural projects through grants. This year, it will support 86 projects with almost CZK 45 million. What criteria govern the allocation of grants to ensure that Ostrava supports the quality of production and audience development, whilst not simply channelling funds to “traditional” applicants at the expense of new formats and emerging scenes?
The city’s grant system is divided into one-year and multi-year categories. Multi-year grants are reserved for established projects that play a vital and unique role in Ostrava’s cultural life. Because these initiatives often involve international partnerships, they require the financial security of a long-term funding outlook. Key examples include major events such as the St. Wenceslas Music Festival and the Ostrava Summer Shakespeare Festival, year-round venues such as Provoz and Studio G, and the ongoing work of ensembles such as BoCirku. The primary criteria for this extended support are a proven track record and an impact that reaches beyond the local region.
On the other hand, our one-year grant system ensures that funding is not just restricted to established applicants but also reaches entirely new initiatives. To ensure this, the programme rules mandate that at least 5% of the one-year budget be reserved for new projects. In 2026, out of a total CZK 12 million allocated for one-year grants, CZK 765,000 was specifically directed toward these new cultural ventures.
Thank you for the interview.
