Conducting and Opera directing Department

The five-year Master’s degree programmes in Orchestra/Chorus Conducting and Opera Directing take into account a range of pedagogical knowledge gained from the students‘ own teaching, consultations with foreign experts, the opinions of current students, etc. In teaching all the KDOR disciplines, emphasis is always placed on practical verification of the knowledge acquired in each discipline – conducting a training orchestra and choir, directing productions at the Orlí Theatre, conducting or assisting in the preparation of productions in professional theatres, including the National Theatre Brno, where students participate in the preparation of opera productions alongside world and domestic renowned artists.
All students also have access to a wide range of personal specialisation courses, including management courses. The Department is regularly visited by outstanding figures from abroad (for example, in the 2020/2021 academic year, conductor Dennis Russell Davies was a Visiting Professor), and students can undertake part of their studies at universities abroad as part of European and global mobility projects.

The Department of Conducting and Opera Directing continues the long-standing activities of the Department of Composition, Conducting and Opera Directing and strives to continue to deepen the legacy of Leoš Janáček. He was the one who once tried to establish a music academy in the Moravian capital, but it was not until 1947 that the second Czech art college was founded after the HAMU in Prague – the JAMU. From 1957 the Opera Studio of the JAMU was part of the school, and from 1965 the Studio of Contemporary Music, which was to be a kind of its musical analogue, i.e. an experimental music laboratory. JAMU has a newly built Theatre on Orlí (the so-called Musical Drama Laboratory), the JAMU Publishing House, which publishes monographic collections and theoretical studies, a multimedia library, etc. All of this is related to the Department of Conducting and Opera Direction, as the Orlí Theatre premieres productions of classical and new operas, multimedia works, multi-channel electronic music, etc. The JAMU Publishing House publishes not only professional publications by teachers, but also doctoral theses by students of the department. The former and current teachers have always been outstanding artists, such as Břetislav Bakala, František Jílek, Jiří Pinkas, Otakar Trhlík, Rostislav Hališka, Jan Zbavitel, Lubomír Mátl, Josef Pančík; the teachers of opera direction are Ota Zítek, Josef Munclinger, Miloš Wasserbauer, Oskar Linhart, Ilja Hylas, Miroslav Fischer, Václav Věžník, etc. Graduates of the department are successful professionals in our and foreign cultural life. To name just a few who have held or are holding prestigious positions: Conductor Tomáš Hanus – Music Director of the Welsh National Opera, JAMU teacher; Jakub Klecker – Chief Conductor of the Moravian Philharmonic Orchestra Olomouc, Music Director of the Moravian-Silesian National Theatre Opera, JAMU teacher; Rastislav Štúr – Chief Conductor of the Slovak National Theatre Opera Bratislava and permanent guest conductor of the Slovak Philharmonic; Conductor Jaroslav Kyzlink – Music Director of the National Theatre Opera; Dan Kalousek – Chief Conductor of the Brno City Theatre, JAMU teacher; Conductor Emil Skoták – former Principal Chorus Master of the Czech Philharmonic Choir, JAMU teacher; Pavel Šnajdr – conductor of the National Theatre Brno, head of the Brno Contemporary Orchestra, JAMU pedagogue; choirmaster Lubomír Mátl – artistic director of the Mátl Academic Choir, JAMU pedagogue; Josef Pančík – long-time choirmaster of the National Theatre Brno, JAMU pedagogue; Blanka Juhaňáková – chief choirmaster of the Slovak Philharmonic Choir, JAMU pedagogue; choirmaster Jan Ocetek – head of the choir Vox Iuvenalis, JAMU pedagogue; Pavel Koňárek – choirmaster of the National Theatre Brno, JAMU pedagogue; opera director Tomáš Studený – head of the opera of the South Bohemian Theatre in České Budějovice, JAMU pedagogue; Tomáš Pilař – head of the opera of the J. Tyl Theatre in Pilsen and head of the opera of the South Bohemian Theatre in České Budějovice; opera director Rocc – artistic director of the Slovenian National Opera, head of the State Opera Prague and the National Theatre Opera, etc.

Translated with www.DeepL.com/Translator (free version)

Graduate profile of the specialisation Choir Conducting

The aim is to prepare a graduate with appropriate knowledge, skills and general competences.

Knowledge:
– Has a broad knowledge of the repertoire of the relevant specialisation (i.e. choral, operatic and vocal-instrumental repertoire),
– has his/her own artistic opinion, shaped by knowledge of the specifics of different stylistic periods,
– is familiar with the principles of pedagogical work and has a detailed knowledge of contemporary trends in the teaching methodology of the given study specialisation, is familiar with literature and foreign sources,
– has a thorough knowledge of the history and literature of his/her specialisation, music history, aesthetics and the development of artistic movements, including an orientation in foreign literature,
– is familiar with contemporary trends in pedagogy and psychology,
– is aware of the possibilities of creative or theoretical overlap with other disciplines,
– is familiar with the basic issues of copyright and its use,
– is familiar with key financial, business and legal aspects of the music profession.

Skills:
– Demonstrates high profile technical skills in their area of specialisation,
– Demonstrates skills in the development of repertoire in their specialism, including the application of modern performance principles (within the framework of ‚learned performance of early music‘ or according to the principles of modern performance techniques of contemporary music and direction),
– master the specifics of radio and television recordings and broadcasts,
– can conduct courses and professional training,
– can be flexible in working with or in a collective and make effective use of time and space in the preparatory phase (rehearsals), as well as motivating fellow performers to perform at their best,
– use the basic artistic practices of the discipline in a way that brings new and inspiring impulses,
– presenting an original artistic performance of his/her own or the team’s performance in public, including in an international forum,
– master the professional vocabulary, including foreign language and orientation to musical terminology,
– is able to follow current trends in his/her field of study and is able to incorporate them into his/her professional development,
– master the principles of professional text production.

General competences:
– Aware of the ethical and social dimension of artistic practice and able to take this into account in his/her work,
– observes general ethical principles,
– knows the basic psychological rules, can work in a team, communicates effectively with its members and has the ability of structured verbal expression,
– is capable of abstract thinking, analysis and synthesis,
– is capable of self-reflection, is open to the opinions of those around him/her and knows the principles of democratic behaviour,
– works creatively with acquired knowledge and skills,
– is able to follow current trends in the given field of study and is able to integrate them into his/her professional development.

Graduate profile of the specialisation Opera directing

The aim is to prepare a graduate with appropriate knowledge, skills and general competences.

Knowledge:
– Possess a broad and deep knowledge of opera directing and its history, including knowledge of concepts and methods in relation to artistic practices, and a critical understanding of these concepts and methods
– knowledge of various means of stage expression, narrative principles and explanations of the laws of different musical theatre genres and styles
– they are familiar with standard working procedures and instruments, and understand their meaning and function
– have a broad overview of literature related to the discipline and to closely related areas
– are familiar with the possibilities of creative or theoretical overlap with other disciplines, including a broad knowledge of the history and current trends in theatre and drama, musical theatre and musical drama, and music (especially vocal); have a basic understanding of theatre studies, music theory, acoustics, optics
– they know the basic principles of pedagogical work and have a detailed knowledge of contemporary trends in teaching methodology in the field
– are familiar with contemporary trends in pedagogy and psychology
– have a basic knowledge of copyright law
– have basic knowledge of public relations
– have knowledge of the legislative environment with an emphasis on cultural policy.
Skills:
– Can create an original, large-scale production within a publicly presented production of the HF JAMU Chamber Opera or a professional stage production that exhibits characteristics of individuality and an understanding of style
– are able to present their own production concepts, with a distinctive interpretative view of the given music drama, focusing on the content and searching for supporting themes
– use basic directing techniques in a way that provides inspirational suggestions, working originally and effectively with all the components and elements of an opera production (actor/singer, chorus, mise-en-scene, space, lighting, movement, costume, timing, dynamics and music), choosing appropriate tools and methods
– work creatively with a music-dramatic text (score, keyboard excerpt, libretto) on the basis of informed dramaturgical analysis, with excellent knowledge of musical notation (keyboard excerpt, score)
– work effectively with all those involved in the creation of the production, i.e. performers, conductor, stage designer, costume designer, choreographer, dancers, choir, chorus, light-designer, sound-designer, stage-master, etc., with at least a basic understanding of the issues of these professions
– are able to make a reasonable assessment of their own professional abilities and those of their colleagues, and are able to work with exceptional commitment and self-reflection
– they are able to theoretically conceptualise and reflect on the issues of their field using an independently chosen method in a professional text in the form of a thesis or other formats (analysis, report, review, study, etc.)
– orient themselves in contemporary trends in pedagogy and psychology
– are familiar with the basic issues of copyright and its use.

General competencies:
– are able to make independent and responsible decisions in new or changing contexts
– are able to define and coordinate tasks for professional activities according to evolving contexts and available resources (with full responsibility for their results)
– they are able to lead and motivate the creative team, working effectively with time and systematically planning the work of the different components of the production team
– they are able to choose an appropriate style and genre line and set out the means and timetable to achieve it
– they are able to identify the problem links in the chain, choose and defend their own methods of solving them with maximum consideration of the external and internal environment
– they know basic psychological rules, can work in a team, communicate effectively with its members and have the ability of structured verbal expression
– in cooperation with the creative team, they are able to identify and assert themselves in the management position of the artistic team, while being able to coordinate the work of the creative team and define the roles and tasks of its individual members while respecting and reflecting their opinions
– are capable of self-reflection, open to the opinions of their environment and know the principles of democratic behaviour
– they are aware of the ethical dimension of artistic cognition and can take this into account in their work as a director, where they are guided by the principles of professional ethics
– communicate their own professional opinions clearly and convincingly to professionals and the wider public
– use their professional knowledge, professional skills and general competence in at least one foreign language
– plan, support and manage, using theoretical knowledge of the field, the acquisition of further professional knowledge, skills and competences of other team members
– follow current trends in the field of opera directing and integrate them into their professional development.

Graduates can find employment in the following distinctive professions:
– independent directing
– assistant directing
– opera dramaturgy
– teacher of artistic vocational subjects at primary art schools, secondary vocational schools and conservatories.
– artistic direction of opera companies
– own authorship and journalism
– music dramaturgy in various cultural institutions