\nIl Farnace<\/strong>
\nMusic: Antonio Vivaldi<\/strong> (1678\u20131741)
\nLyrics: Antonio Maria Lucchini<\/strong> (1690\u20131730)
\n(Pavian version of the libretto from 1731)
\n
\nOpera in its original version with Czech subtitles. One break performance.
\n
\nMusica Florea<\/strong>
\nMarek \u0160tryncl<\/strong>, conductor & music production
\nAndrea Miltnerov\u00e1<\/strong>, directing & choreography
\n
\nFarnace (tenor): Zolt\u00e1n Megyesi<\/strong>
\nTamiri (mezzosoprano): Marta Infante<\/strong>
\nBerenice (soprano): Michaela \u0160r\u016fmov\u00e1<\/strong>
\nSelinda (mezzosoprano): Sylva \u010cmugrov\u00e1<\/strong>
\nGilade (soprano): Zuzana Kop\u0159ivov\u00e1<\/strong>
\nPompeo (mezzosoprano): Kamila Mazalov\u00e1<\/strong>
\nAquilio (tenor): Martin Javorsk\u00fd<\/strong>
\nDancers: Lenka Breeding<\/strong>, Romana Konr\u00e1dov\u00e1<\/strong>, Kl\u00e1ra Suldovsk\u00e1<\/strong>
\nFarnace’s and Tamiris’ Son: Victoria Nov\u00e1k Infante<\/strong>
\n
\nChristopher Vinz<\/strong>, costumes
\nVojt\u011bch Koutek<\/strong>, Eli\u0161ka \u0160ebestov\u00e1<\/strong> & Jana Doubnerov\u00e1<\/strong>, costume production
\nTom\u00e1\u0161 Osovsk\u00fd<\/strong>, wardrobe & masks
\nEva Nykl\u00ed\u010dkov\u00e1<\/strong>, masks
\nV\u00e1clav Krajc<\/strong> & Ji\u0159\u00ed Bl\u00e1ha<\/strong>, scene
\nKatar\u00edna Mor\u00e1vek \u010euricov\u00e1<\/strong>, light design
\nEduardo Garc\u00eda Salas<\/strong>, directing assistant & stage management
\nEduardo Garc\u00eda Salas<\/strong> & Marek \u0160tryncl<\/strong>, preparation of the music materials
\n\u0160t\u011bp\u00e1nka Garc\u00eda<\/strong>, subtitles
\n <\/p>\n
History of the Opera<\/h2>\n
directing & choreography directing assistant & artistic programmer music production & conductor <\/p>\n Farnace (tenor) Tamiri (mezzosoprano) Gilade (soprano) Berenice (soprano) Selinda (mezzosoprano) Pompeo (mezzosoprano) Aquilio (tenor) Dancer Dancer Dancer
\nAntonio Vivaldi’s opera Farnace RV 711 to a libretto by Antonio Maria Lucchini was undoubtedly one of the composer’s most popular operas. This is evidenced not only by the high number of performances in various parts of Italy and other European countries, but also by the fact that Vivaldi reworked this opera into six different versions. The premiere took place during Carnival on 10 February 1727 at the Teatro di Sant’Angelo in Venice. In the following years, Farnace<\/em> was staged several times. In addition to its return to the Teatro Sant’Angelo in the autumn of 1727, it was also performed in Prague at the theatre of Franti\u0161ek Anton\u00edn \u0160pork (1730), in Pavia (1731), Mantua (1732) and Treviso (1737), and in 1739 Vivaldi also planned to stage it in Ferrara. The original Venetian version has been lost, but two scores have survived – the Ferrara one from 1738 and the Pavia one from 1731, to a libretto that bears the dedication to Joseph Johann Adam of Liechtenstein (1690-1732), one of Antonio Vivaldi’s Czech patrons. It is the only one of all versions to feature the now widely performed aria Gelido in ogni vena<\/em>, in which the composer used the main theme of the first movement of the Violin Concerto in F minor RV 297 ‘Winter’<\/em> from the cycle The Four Seasons<\/em>. In it, the King of Pontus Farnace stands over the tomb in which he is convinced his only son lies, and communicates his agony over the glassy timbre of the strings. The Festival is presenting this complex but beautiful work two hundred and ninety years after its premiere in Pavia.
\n <\/p>\nSynopsis<\/h2>\n
\n Act 1<\/b>
\nFarnace, King of Pontus, was defeated by the Romans and expelled from the city of Heraclea. He thinks of revenge but does not hope for its success. To prevent the Roman captivity of his family, he orders his wife Tamiri to kill their son and himself. Queen Berenice, Tamiri\u2019s mother, enters the scene. He hates Farnace and therefore associates with Pompeo, a general of Roman troops. He wants the defeated king killed. At the same time, Selinda, Farnace\u2019s sister, who has been captured and imprisoned by the Romans, manages to seduce the Roman prefect Aquilio and the captain of Queen Berenice\u2019s army Gilade, and angers one another to help her brother. Tamiri decides to save her son and hides him in the mausoleum of the King of Pontus. The moment he wants to kill himself, Berenice comes in and prevents her from committing suicide. As they quarrel, Pompeo enters the Temple with his army to further increase the atmosphere of tension and hatred.Selinda continues her plan, pretending to choose between Gilade and Aquilio. At the same moment, Berenice issues an order to find Farnace and his son. Farnace is so desperate that he tries to kill himself, but his wife Tamiri saves him. Frightened to see her alive, he accuses her of cowardice for not taking her life even though she killed their child. At that moment, Berenice arrives and issues an order to destroy the mausoleum.
\n
\nAct 2<\/b>
\nThe parish hides as the desperate Tamiri shows the queen her grandson and begs for his mercy. But the queen rejects her and takes her son. In the royal room, the child is placed in the care of Aquilio. Selinda begs for her nephew\u2019s life and eventually manages to gain the support of both Aquilio and Gilade. He offers Farnace, who suddenly enters the palace, their help, but he refuses. Roman troops and the army of Queen Berenice celebrate their triumph on the plain of Heraclea. The queen offers Pompeo half her fortune if she kills her grandson, the heir to the kingdom, because Farnace has not yet been captured. But he refuses. Selinda manages to persuade Gilade to kill Berenice, while Berenice persuades Aquilio to kill Pompeo. The parish appears when Gilade and Aquilio try to escort Pompeo out of the world. However, they fail, Farnace\u2019s identity is revealed and he is imprisoned. Gilade and Aquilio help him escape and are ready to kill Berenice. However, Pompeo, who has meanwhile switched to the Pontic side, will save the queen\u2019s life, and forgives her. At the same time, however, he asks her to stop Farnace\u2019s persecution. They both reconcile and Berenice hugs her son-in-law and son.
\n <\/p>\nAndrea Miltnerov\u00e1<\/h2>\n
\n
\nBritish dancer, choreographer and director with Czech roots Andrea Miltnerov\u00e1 was born in London. She settled permanently in Prague thanks to cooperation with the National Theatre. As a choreographer and performer, she has created several internationally successful performances such as Tanec magnetick\u00e9 baler\u00ednky<\/em> (\u201cDance of the Magnetic Ballerina\u201d) which was included in the selection of the Aerowaves International Center and was presented throughout Europe, one-man show Fractured<\/em> (performed in Poland, Germany and the Netherlands) or Tranzmutace<\/em> (\u201cTransmutation\u201d) directed by Jan Kom\u00e1rek, receiving the prestigious Move-Award Quality Label. The project Light Underground<\/em> was created in cooperation with Prague City Gallery in Romanesque and Gothic cellars of D\u016fm U Kamenn\u00e9ho zvonu (\u201cStone Bell House\u201d). One of her last works is her own music and dance performance called Celestial Odyssey<\/em> in collaboration with harpsichordist Monika Knoblochov\u00e1 and light designer Jan Kom\u00e1rek, which was performed for example at the Prague Dance International Festival. Andrea Miltnerov\u00e1\u2019s interest in Baroque aesthetics and close collaboration with the French choreographer Fran\u00e7oise Denieau, in whose productions she acted as a dancer in France (Op\u00e9ra Comique in Paris, Royal Opera in Versailles), Luxembourg, Switzerland, the UK (Barbican Center), Russia (Bolshoi Theater), South Korea and the USA, led to the reconstruction of Baroque operas and her own projects based on historical research and movement analysis. Her own works include choreography for the movie Orfeo ed Euridice<\/em> with countertenor Bejun Mehta and Collegium 1704 as well as the choreography for the internationally acclaimed production of the opera Arsilda<\/em> by Antonio Vivaldi, directed by David Radok. As a director, she participated in the production of the Gluck\u2019s opera Le Cinesi<\/em> and in 2019 she collaborated with the ensemble Musica Florea on a narrative performance of pasticcio Praga nascente da Libussa e Primislao<\/em> (The Prague Foundation by Libu\u0161e and P\u0159emysl) from 1734 on libretto by Antonio Denzio, who was responsible for the performance of Vivaldi\u2019s operas in Prague.
\n <\/p>\nEduardo Garc\u00eda Salas<\/h2>\n
\n
\nHe became more interested in the personality of Antonio Vivaldi at the Amsterdam Conservatory, where he studied baroque violin and as part of his research activities discovered in the State Regional Archive in Z\u00e1mrsk Antonio Vivaldi\u2019s receipt from 1719 addressed to the Czech Count V\u00e1clav of Morzin, to whom Vivaldi dedicated the cycle Le Quattro Stagioni. \u201cI listened to Vivaldi’s music from morning till night as a little boy,\u201d Salas describes his connection to \u201cIl Prete Rosso\u201d: \u201cAt that time, I had no idea that one day I would marry a girl from Vrchlab\u00ed, the town where V\u00e1clav of Morzin is buried and where my two daughters Francesca and Chiara were also born Francesca on July 29 (the day after Vivaldi\u2019s death) and Chiara on March 3 (the day before Vivaldi\u2019s birth).\u201d This Spanish violinist and baroque violin player is a true prototype of the European. He studied in Spain, the Czech Republic, Germany and the Netherlands. He has also worked or still works as a violinist in all these countries. In the Czech Republic he has collaborated with the Czech Philharmonic, Jan\u00e1\u010dek Philharmonic in Ostrava, the baroque ensembles Musica Florea, Collegium 1704 and is currently the concertmaster of the Karl\u00edn Musical Theatre. Since 2020, he has been the chairman of the Brtnice Chateau association, which is connected with the music of Antonio Vivaldi thanks to the personality of Tommaso Vinciguerra VI to which, on June 28, 1741, a month before Vivaldi\u2019s death, the last surviving receipt written by the composer\u2019s hand was addressed, in which he sold fifteen violin concertos to him. Working on Farnace is not his first \u201cmusicological\u201d encounter with Vivaldi\u2019s opera. In 2019, he participated in the creation of the production Praga nascente da Libussa e Primislao<\/em> in cooperation with Musica Florea. Only the libretto has been preserved of this pasticcio, into which its author Antonio Denzio borrowed three arias from Vivaldi\u2019s operas. Eduardo Garc\u00eda Salas adds: \u201cThe work on their musical reconstruction was very interesting. I spent two weeks in Venice searching in twenty Vivaldi operas. The music had to fit exactly into the lyrics from Praga nascente<\/em>, both in character and tempo, rhythm, affect\u2026 At that time, I was assisted by personalities such as John Hill and Daniel Evan Freeman from the USA, Francesco Fanna from Italy or my Prague colleague Robert Hugo. In the case of Farnace<\/em>, however, it is not a reconstruction of a musical component. The original score of the Pavian version has been preserved, which I transcribed from the manuscript with respect to the original Pavian libretto. Therefore, it is more of a revision. In Valtice, you hear Farnace<\/em> in the form that most likely actually sounded in Pavia in 1731.\u201d
\n <\/p>\nMarek \u0160tryncl<\/h2>\n
\n
\nA complex artistic personality of interest from many nooks and crannies, this is how the conductor, choirmaster, baroque cello player, composer and music researcher Marek \u0160tryncl can be characterized. He studied conducting at the Academy of Performing Arts in Prague and baroque cello at the Dresdner Akademie f\u00fcr alte Musik. At the same time, he deepened his interest in early music and interpretation at many master classes focused on historically informed performance, which led him to found the ensemble Musica Florea in 1992. As a conductor, cellist and choirmaster, he collaborates with prominent chamber and symphony orchestras, choirs, ensembles and soloists such as Magdalena Ko\u017een\u00e1, Phillippe Jaroussky, The New Israeli Vocal Ensemble, Boni Pueri, Orlando Consort, Les Musiciens du Paradis, PKF \u2013 Prague Philharmonia and others. His repertoire includes works from the early Baroque to Romanticism and contemporary compositions, and he does not shy away from experimental projects, such as collaboration with singer Iva Bittov\u00e1. He has been the artistic director of the International Summer School of Early Music in Valtice for ten years. He teaches conducting and choral conducting at Charles University and baroque cello at Jan\u00e1\u010dek Academy of Performing Arts in Brno. Enchantment by the \u201ctranscendent\u201d principles of contemporary theatres in 2014 led him to create the unique mobile baroque theatre Florea Theatrum<\/em>.<\/p>\nMusica Florea<\/h2>\n
\nMusica Florea was founded in 1992 by cellist and conductor Marek \u0160tryncl as one of the first significant acts in the field of historically informed performance in the Czech Republic. A characteristic feature of this ensemble is the usage of the period instruments, based on the study of period sources and aesthetics, and the creative revival of forgotten works. The ensemble\u2019s repertoire includes chamber music, concerts and monumental symphonic, oratorio and opera works from the Baroque to the 20th century. Since the beginning of its existence, Musica Florea has regularly appeared at major world festivals and collaborated with prominent soloists and ensembles (Magdalena Ko\u017een\u00e1, Phillippe Jaroussky, Nancy Argenta, V\u00e9ronique Gens, Susanne Ryd\u00e9n, Peter Kooij, Martina Jankov\u00e1, Orlando Consort, Les Pages et les Chantres du Center de baroque musique de Versailles, Le po\u00e8me harmonique and others). It holds many prestigious awards \u2013 5 Diapasons<\/em>, Zlat\u00e1 Harmonie<\/em> or Cannes Classical Award<\/em> for Sub olea pacis et palma virtutis<\/em> by Jan Dismas Zelenka. The ensemble is also behind several contemporary productions of operas and ballets, especially from the Baroque period. Among many, it is possible to mention at least the contemporary world premiere of the opera Armida <\/em>by Giuseppe Scarlatti or the Muzio Scevola<\/em> by Filippo Amadei, which was performed at the H\u00e4ndel-Festspiele. In recent years, Musica Florea has also systematically devoted the artistic course to Anton\u00edn Dvo\u0159\u00e1k\u2019s symphonies according to the principles of romantic interpretation on period romantic instruments and has made a set of their recordings. Extensive oratorio compositions or masses are performed in collaboration with his own choir Collegium Floreum, which was found and conducted as a choirmaster by Marek \u0160tryncl. In 2014, the ensemble opened a new mobile stage based on the principles of Baroque theatre called Florea Theatrum<\/em>.
\n <\/p>\nZolt\u00e1n Megyesi<\/h2>\n
\n
\nHis repertoire ranges from Baroque masters to 21st century music with works by Haydn, Rossini, Gluck, Monteverdi, H\u00e4ndel, Schubert, Schumann or Britten. However, he specializes mainly in the work of W. A. Mozart and one of his key parts is the character of the Evangelist in St Matthew Passion<\/em> by J. S. Bach. He has collaborated with well-known conductors such as \u00c1dam Fischer, Helmuth Rilling, Iv\u00e1n Fischer, and performed in the leading concert halls in Europe (Konzerthaus in Vienna, K\u00f6lner Philharmonie, Concertgebouw Brugge), the USA, Japan and South Korea. In 2018, he made his debut at the Th\u00e9\u00e2tre des Champs-Elys\u00e9es in Paris and at the Op\u00e9ra de Nice. He is the absolute winner of the Concorso Internazionale Musica Sacra in Rome in 2011 and the International Singing Competition in Verona in 2007. He graduated from the Franz Liszt Academy of Music in Szeged. Furthermore, he is not only an excellent singer, but also has a doctor\u2019s degree in mathematics.
\n <\/p>\nMarta Infante<\/h2>\n
\n
\nThe Catalan mezzo Marta Infante is one of the most sought-after performers of early music both in Europe and especially in Latin America. She has also performed in Egypt, Syria, Jordan, Lebanon and Japan. In the world of early music, she has collaborated with conductors such as Ottavio Dantone, Federico Maria Sardelli, Enrico Onoffri and V\u00e1clav Luks. In her native country, she sang at the Teatro Real in Madrid, the Gran Teatre del Liceu in Barcelona and on the opera stages in Bilbao, Pamplona and Santiago de Compostela. Her voice can be heard on many recordings, the most interesting of which is certainly Juditha Triumphans<\/em> under Ottavio Dantone. She has recorded for the French channel Mezzo, Czech Radio and Corporaci\u00f3n de Radio y Televisi\u00f3n Espa\u00f1ola (RTVE). She studied singing in Madrid and at the Faculty of Arts of the University of Ostrava with Drahom\u00edra M\u00ed\u010dkov\u00e1.
\n <\/p>\nZuzana Kop\u0159ivov\u00e1<\/h2>\n
\n
\nZuzana Kop\u0159ivov\u00e1 has made successful debuts at the Opera of the National Theater in Prague (2018), J. K. Tyl Theatre in Pilsen (2017) and at the Moravian-Silesian National Theatre in Ostrava, where as a member of D\u011btsk\u00e1 opera Praha (The Children’s Opera Prague) she won the role of Anette in the world premiere of Michel Legrand\u2019s musical Marguerite<\/em> in 2010. She is the holder of the 3rd prize and the Beno Blachut Prize at the Anton\u00edn Dvo\u0159\u00e1k International Singing Competition in Karlovy Vary 2017. Her repertoire is in the field of \u201ccoloratura soprano\u201d and performed roles from the operas by Mozart, Smetana, Offenbach, Jan\u00e1\u010dek and others. She is also engaged in concert activities \u2013 music from the early Gothic period to contemporary compositions of the 21st century. Her favourite genre includes a French song. She graduated from the Prague Conservatory and since 2018 she has been a student at Academy of Performing Arts in Prague in the class of Yvona \u0160kv\u00e1rov\u00e1-Votavov\u00e1. She further develops her singing at the master classes led by famous names such as Helen Donath, Brigitte Fassbaender, Angelika Kirchschlager or Marjan Lipov\u0161ek.
\n <\/p>\nMichaela \u0160r\u016fmov\u00e1<\/h2>\n
\n
\nShe has given concerts in Germany, France, Sweden, Japan, Egypt, conducted by Helmuth Rilling, Oliver Dohn\u00e1nyi, Tom\u00e1\u0161 Netopil, V\u00e1clav Luks, Marek \u0160tryncl and others. For several years, she was a member of the Opera of the National Theatre in Prague and also performed in several productions of the J. K. Tyl Theatre in Pilsen. Her repertoire ranges from baroque music through operetta to 21st century works. She performed in the Czech premiere of Gluck\u2019s opera Ezio<\/em> with the Prague Symphony Orchestra or King Arthur<\/em> by Henry Purcell, but also in a minimalist composition Tehillim<\/em> by Steve Reich as part of the Maraton soudob\u00e9 hudby (\u201cMarathon of Contemporary Music\u201d). Together with the Film Symphony Orchestra and the Barrandov Film Studio, she has collaborated on many Czech and foreign productions of film and computer music. She studied solo singing at the Prague Conservatory in the class of Olga Jir\u00e1kov\u00e1 and further expanded her singing education at master classes led by James Griffis (early music) and tenor Jos\u00e9 Cura.
\n <\/p>\nSylva \u010cmugrov\u00e1<\/h2>\n
\n
\nYou can hear her in the Czech, Russian, Italian or German repertoire from W. A. Mozart to Leo\u0161 Jan\u00e1\u010dek. Her career has taken her to concert stages in Canada, Japan, Italy, Germany, Spain, the Baltic republics, Poland and Switzerland. In addition to the State Opera, she collaborates with the J. K. Tyl Theatre in Pilsen, F. X. \u0160alda Theatre in Liberec and the Karl\u00edn Musical Theatre. She graduated from the Prague Conservatory and Academy of Performing Arts in Prague. Furthermore, she deepened her singing qualities at master classes in Siena and Vaduz. She is a laureate of the Anton\u00edn Dvo\u0159\u00e1k International Singing Competition in Karlovy Vary, the Emma Destinn International Singing Competition in \u010cesk\u00e9 Bud\u011bjovice and a finalist in competitions in Geneva and Milan. Since 1996, she has been a soloist at the State Opera.
\n <\/p>\nKamila Mazalov\u00e1<\/h2>\n
\n
\nShe has collaborated with the National Theatre in Prague, Brno and Ostrava, but currently works in the ensemble Collegium Vocale 1704 by V\u00e1clav Luks and in the Tiburtina Ensemble, which specializes in the interpretation of medieval music. That being said, the early music feels like a home for her, which is highlighted by her further collaboration with Collegium Marianum, Capella Mariana, Ensemble Phoenix Munich or Musica Aeterna in Bratislava. She also focuses on song literature, especially the Classicist and early Romantic periods \u2013 the works of Leopold Ko\u017eeluh, V. J. Tom\u00e1\u0161ek and Joseph Haydn \u2013 and English and French songwriting of the 17th century. She graduated from the Jan\u00e1\u010dek Conservatory in Ostrava and Faculty of Arts of the University of Ostrava in the class of Drahom\u00edra M\u00ed\u010dkov\u00e1. She records for Czech Radio and has participated in several CDs.
\n <\/p>\nMartin Javorsk\u00fd<\/h2>\n
\n
\nIn addition to the music of old masters, Martin Javorsk\u00fd\u2019s domain also includes Mozart\u2019s repertoire and contemporary music. Since 2017, he collaborates with Brno-based company of professional musicians, singers and performers Ensemble Opera Diversa, with which he performed the opera Jsem kn\u011b\u017ena bl\u00e1zn\u016f<\/em> (“I am the Princess of the Fools”) by composer Lenka Nota and librettist Olga Sommerov\u00e1. At the \u201cOpera Nova\u201d festival of the National Theatre in Prague, he performed in works Johannes Doctor Faust<\/em> and Eufrides p\u0159ed branami Tym\u00e9n<\/em> (\u201cEuphrides in front of the Tymeny Gates\u201d) by Josef Berg. He also regularly collaborates with the Brno Contemporary Orchestra. However, he feels just as naturally in the environment of early music, performing with Czech Ensemble Baroque, Ensemble In\u00e8gal, Capella Regia and Musica Florea. He originally studied trumpet at the Brno Conservatory and Jan\u00e1\u010dek Academy of Performing Arts in Brno. From 2003 to 2006, he was a member of the Junges Klangforum Mitte Europa orchestra. He began singing at Academy of Performing Arts in Prague under the direction of Ivan Kusnjer. He is a member of the Czech Vocal Quintet.
\n <\/p>\nRomana Konr\u00e1dov\u00e1<\/h2>\n
\n
\nShe discovered the world of Baroque dance thanks to her collaboration with the French choreographer Marc Leclercq during the reconstruction of Rameau\u2019s opera Castor et Pollux<\/em> in 1999 at the National Theatre. Since then, she has gained valuable experience in this field under the guidance of teachers and choreographers such as B\u00e9atrice Massin, Laurent Charoy, Jean-Marc Piquemal, Sigrid T\u2019Hooft and especially Fran\u00e7oise Denieau. The hobby, which gradually became a passion, led her to collaborate with the early music ensembles Collegium 1704, Les Arts Florissants, Collegium Marianum or Musica Florea. In the last decade, she has been intensively focusing on the projects of choreographer, dancer and director Andrea Miltnerov\u00e1, who combines baroque dance with contemporary dance techniques. Romana Konr\u00e1dov\u00e1 studied sinology at the Faculty of Arts at Charles University in Prague and also works as a yoga and qigong teacher.
\n <\/p>\nKl\u00e1ra Suldovsk\u00e1<\/h2>\n
\n
\nShe has been actively involved in historical dance since he was eleven years old. She regularly participates in master classes, for example with Deda Cristina Collona or Andrea Miltnerov\u00e1. Earlier, she collaborated with choreographer, dancer and teacher Hana Sla\u010d\u00e1lkov\u00e1 on the filming of dance scenes in the film Interlude in Prague<\/em> \u2013 a fictional story about Mozart \u2013 and in the movie called Genius. She also focuses on historical dance as she devoted her diploma thesis at the Faculty of Arts of Charles University in Prague to the translation of Feuillet\u2019s Choreographie, ou l’art de d\u00e9crire la dance<\/em>, which laid the basics of the graphic recording of the Baroque dance.
\n <\/p>\nLenka Breeding<\/h2>\n
\n
\nShe graduated from the Jaroslav Je\u017eek Conservatory in the field of stage dance. After sixteen years spent in the USA, she returned to the Czech Republic in 2017, where she has been mainly focusing on acting. Her domain is step, which she also taught at Academy of Performing Arts in Prague. She collaborates with several Prague and non-Prague theatres, has acted in the TV series Modr\u00fd k\u00f3d<\/em> (\u201cBlue Code\u201d) and the laugh on her face can also be seen in several successful TV commercials and video clips.
\n <\/p>\nPrincipal Concert Partner<\/h4>\n
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