Interview with Tomáš Hanus

Mr. Hanus, could you tell us how old you were when classical music first enchanted you?

Thanks to my parents, who were musicians, I took it as part of my life from a young age. The enchantment occurred gradually. It was a process that began in childhood and continues to this day.

What does music bring to your life?

I can hardly express it in words. Music is so beautiful, strong, vivid… I find it attractive, touching, infuriating (in certain cases). I think it can help people reach greater sensitivity, openness, depth. I would like that to also apply to me. But music is also hard work, and demands a great deal of time and energy – otherwise, it’s not going to happen.

In which repertoire do you feel most at ease?

Mainly in that in which the writer hasn’t composed for the sake of composing; he’s composed the piece because he has something to say and knows how to say it. I wouldn’t usually conduct Baroque music, which I like very much, because there are so many great specialists in that repertoire that it strikes me as not particularly worthwhile for me to get mixed up in it too. That said, I do learn a great deal as their listener.

Would you say you’re more at home in symphonic music or opera? Or would you not like to limit yourself in this way?

That’s just it, I wouldn’t like to limit myself. The artificial division between symphonic and opera conductors does have a rational basis, but in reality the result tends to be limitation. If we don’t allow somebody a go at opera, because previously he has only conducted concerts, then we’ll never find out if he’s “got it” – and also deny him the chance to develop, to mature in that area. And vice versa. The great majority of internationally recognised conductors work in both fields and regard that as enriching.

The Bavarian State Opera presented two Czech pieces in the autumn, a controversial production of Dvořák’s Rusalka and Janáček’s Jenůfa, both with you at the baton. Tell us something of your work at the world renowned opera in Munich.

I only have good things to say on that subject. Not only is the Munich opera world-renowned, its high standards are apparent even in everyday work. I had at my disposition top class singers who were also very convincing as actors. (Only one Czech reviewer described them as poor). The orchestra is one of the world’s best. Working with them was wonderful, as they play with such attention and great musical intelligence. The working atmosphere during both productions was very pleasant and friendly. Not only were the team absolutely professional, they also provided me with great support as colleagues. It pleases me very much that I’ll return there in future.

This season you also returned to the Polish National Opera with Kat'a Kabanova. What were your experiences in Warsaw like?

Again positive. The opera house spent many years under a totalitarian regime, and now in a young democracy that’s still finding itself it – like a lot of institutions (including Czech ones) – it still needs a bit of time to come to terms with that legacy. They’re managing stoutly in Warsaw. The orchestra played Janáček after a long gap and most musicians were meeting him for the first time. You could see how they went from initial surprise, even fear, to enthusiasm for the music. It seemed to me that the Warsaw opera has better working conditions and greater social standing than the National Theatre in Prague. Which, of course, I think is great for Warsaw, though I’d also like to see the same thing here.

By the way, what’s your view on the current situation at Prague’s State Opera?

It’s hard for me to judge, because I’m not involved in those events, though of course as a Czech conductor it does weigh on my heart. I’d certainly welcome well-intentioned, high-quality, expert steps towards resolving the situation at Prague’s opera houses and the situation of their orchestras (to be concrete, I also mean the undignified pay evaluation). However, for now what steps they will be is not clear to me.

What does term conducting signify to you?

Leoš Janáček, whose music has literally captivated me, wrote:
“To grow from within ourselves,
to not forsake our conviction,
to not toil away for recognition
but to always contribute our part
to make that vast field flourish
- this is what we are destined to do.”
I couldn’t put it better myself.

You often work abroad, but at the same time you have a beautiful big family with five sons! How do you and your wife manage to hold it all together?

We are able to manage because I have a wonderful wife, who really is a woman for thick and thin. Family is very important to me. I don’t want to watch events from some artificial cloud – I want to keep both feet on the ground so I can be a support to my wife and kids.

You will definitely introduce your boys to music. Do you think you’ll manage to do it in a light, natural way?

That’s a tough question – maybe you should ask the children. I can only hope their answers would be fit for publication…But to answer your question at least somewhat, they do like going to the theatre and concerts, and we don’t have to persuade them at all.

Finally, what are your recollections of your first appearance before the Prague Radio Symphony Orchestra, which was during last year’s Prague Spring?

I have fond memories of our joint appearance at the Municipal House, where by the way we were accompanied by the trumpeter Gábor Boldoczki. It’s a very adroit orchestra, capable of quick and genuinely professional work, and with an internal discipline. I think the standard it has achieved is a great contribution to Czech culture.