This year’s Smetana Litomyšl National Festival is built around Natura as inspiration and a commitment to responsible operation. Director Michal Medek speaks about opera, the London Symphony Orchestra’s first appearance in Litomyšl, young talent, and the line between artistic courage and responsibility.
Why Natura?
It began as a programming idea. Nature runs through music, from Romantic landscapes to modern works about the relationship between people and the world around them. Natura therefore seemed a natural theme, giving the programme coherence while allowing genre diversity.
We also realised the word carries a broader meaning. It is not only about nature as inspiration for composers, but also about naturalness in the way the festival works. We think about sustainability, our ecological footprint, and how we use space and energy. We want practical measures, not a slogan.
How much does the venue shape the programme?
Strongly. The second courtyard of Litomyšl Castle is not just a backdrop, but an architectural space with its own acoustics. That calls for specific programming. Not every work that succeeds in a concert hall has the same effect in a Renaissance courtyard.
What defines this year’s edition?
For me, the festival’s distinctiveness lies above all in its operatic tradition. Bedřich Smetana was above all an opera composer, so opera remains one of this year’s pillars. A major moment will be The Devil’s Wall from National Theatre Brno, one of Smetana’s most mature works, strongly received at its recent premiere.
A new chapter is the Opera Incubator. Young instrumentalists and singers, under Jakub Klecker, will prepare Smetana’s The Kiss. The project has educational and generational value and may appeal to first-time visitors.
The third milestone will be the first appearance of a top international orchestra in Litomyšl. The London Symphony Orchestra with Antonio Pappano takes the festival into a new international dimension.
What are you looking forward to most?
Most of all, the Opera Incubator and the new production of The Kiss. It was created for Litomyšl, brings together young musicians, and returns Smetana’s work to the centre in a vivid interpretation.
I am pleased that we will make full use of the new concert hall for large-scale opera. Aida from the National Theatre Prague, with an international cast, will show that we can present productions of the highest quality on a major scale.
I am also looking forward to early music by Collegium 1704 and Collegium Vocale 1704, and to the Czech Philharmonic in The Rite of Spring and the Brandenburg Concertos. This breadth, from youthful energy to world-class performance, defines this year’s festival.
Where does the boundary of experimentation lie?
It is always a balance between artistic intention and audience expectation, but artistic intention has to come first. Over the years, the festival has earned enough trust to present lesser-known or more demanding works.
That was clear last year with Honegger’s King David, a demanding project that still achieved a strong response. This year, we are thinking similarly about Stravinsky’s Oedipus Rex.
We also have to maintain continuity. That is why the programme still includes major opera titles and concerts by the Czech Philharmonic. We do not want easy popularisation. We want to balance ambition and responsibility.
Patrons and sponsors?
It is important to distinguish between patronage and sponsorship.
Patronage is based on philanthropy and a personal relationship to music, the festival and its values. A patron supports the festival not because of direct return, but because they believe in it.
Sponsorship is different. It includes marketing benefits, visibility, tickets, and meetings with partners. That is legitimate and important, but if we measured cooperation only by direct commercial return, we would miss the real picture.
The boundary is clear: the festival’s dramaturgy and character must remain independent. A partner can be visible, but cannot determine the content. The moment finance starts shaping artistic decisions, the festival loses credibility.
What role do the Festival Gardens play?
We see them as an open platform that extends the festival towards the public. They speak to people who do not attend the main evening programme, whether for financial reasons or because classical music is not their only interest. The Gardens offer music, debates, theatre and dance.
They are also important for the local community. People in Litomyšl can spend an afternoon there with family and experience the festival without barriers. This format helps build a future audience and connects the festival with the town.
For partners, the Gardens offer a subtle form of presence. They can support a particular day, invite their community, and be visible without aggressive commercial messaging. Here too, content and atmosphere matter most.
Thank you for the interview.
