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The National Theater revives Jaromír Weinberger opera Schwanda the Bagpiper with energy, affection and overly active imagination.

Karita Mattila produces a star turn in the title role, but a pure concert staging does little to bring out the cleverness of the libretto of Janáček’s Makropulos Case.

“What Czech does not like music?” declares Beneš, the jailor in Smetana’s opera Dalibor. Certainly not Jiří Bělohlávek, who is as superb an advocate for Czech music as any conductor in the world right now.