Where Does Music End and Vision Begin?
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POSITIV MAN
what might entertain or engage them and adjust all
available tools accordingly. It simply must not be boring.
We strive to show that music should be a natural part
of everyday life – not something distant or floating
in some unreachable realm. At the same time, I believe
that young people are generally open-minded. And if
you approach them the right way – and then deliver
a performance that lives up to the promise – you’ve
gained a new listener.
Does the Janáček Philharmonic make use
of modern technology? For example, when it comes
to streaming concerts, recording, or digital
communications with the audience?
We mainly use new technologies in marketing
and promoting our activities. But our greatest strength
lies in the live, unrepeatable experience of music. That’s
where our true exclusivity comes in. Once you run
music through any digital medium, some of the magic
inevitably gets lost. Of course, during the pandemic,
like everyone else, we relied on online platforms
to showcase our work, but thankfully we were able
to return to the stage. That said, recording music for
various partners is an important part of our activity,
and for that we use specialised recording technologies
and equipment.
Are there any technological innovations planned
that might transform the concert experience
or orchestra operations?
If we’re talking about our temporary venue at Vesmír,
then yes – though I wouldn’t necessarily call
it a technological innovation. We’ve simply decided
to expand the stage for the upcoming season so that
we’re no longer limited by space when planning our
programmes. This will enable us to return to performing
larger symphonic works, which I see as a significant
development.
What leadership style is closest to you? What, in your
view, makes a good leader in a cultural institution?
I’m not sure I could precisely define my leadership
style. In an institution like ours – especially when
working with artists – you have to be both democratic
and authoritative. You need to be convincing, to believe
in what you‘re doing, to have a clear vision. If I weren’t
convinced myself, I couldn’t inspire others – it’s that
simple. This kind of work also requires an education
in music, which gives you credibility when discussing
artistic and operational matters. At the same time, you
need to connect that artistic background with practical
skills- understanding economics, speaking confidently
in public, representing the institution with dignity,
and having a solid grasp of business. It’s a lot to balance,
but I’d say the most important quality is conviction –
everything else can be shaped around that.
With such a demanding role, do you still find time for
yourself? How do you recharge?
There’s not much time left, to be honest – when you
work in the arts, your job becomes a very personal
matter. Simply put, it’s family and sport. The joy
of my children recharges me, and sport helps me stay
mentally and physically refreshed.
Do you ever go to concerts “just to listen” – without
your professional hat on? What really captivates you?
Yes, I do – and I sometimes manage to truly enjoy it.
But there’s a challenge: I’ve heard so many concerts
and so much music that I tend to automatically switch
into an analytical mode. I assess what worked and what
didn’t, comparing it with previous experiences.
When that inner analysis switches off on its own, that’s
when I’m truly immersed. It has to be a performance
where everything comes together – outstanding
interpretation, originality of musical vision, acoustics,
and so on. Only then does it fully absorb me.
You were appointed as the new director of the Leoš
Janáček International Music Festival. What does
this opportunity mean to you, and how do you plan
to balance it with leading the philharmonic?
Right now, I mostly feel a deep sense of responsibility
and respect towards the festival. Of course, it also
means a new impulse and a significant investment
of time. Balancing the leadership of the festival with
the Philharmonic was a key element of my concept –
the goal is to gradually build a strong alliance: “Concert
Hall – Janáček Philharmonic Ostrava – Leoš Janáček
IMF.” It’s a tremendous opportunity to create a truly
powerful institution with an even greater international
impact than any of the entities currently have on their
own. Given that these organisations share a similar
programming focus and that I have experience in the
field, I’m stepping into something that feels quite
natural to me – I know what needs to be done. I’ll
be able to draw on everything I’ve learned so far, as I’m
not entering unknown territory.
Thank you for the interview.
The key is not to become complacent,
not to stagnate, not to stand sll. It’s
about having the ambion and energy
to move forward, especially arscally.
If I weren’t convinced myself, I couldn’t
inspire others – it’s that simple.