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Paul Curran’s 2019 production is revived with some flair by Rosie Purdie, with a fine cast led by Pumeza Matshikiza.

Tomáš Hanus and the Welsh National Opera Orchestra offer a convincing demonstration of why Czech conductors are making a splash abroad. 

Kirill Gerstein joins the LPO for a robust Rachmaninov anniversary tribute, while Szeps-Znaider makes his LPO debut as a conductor. 

Semyon Bychkov and the Czech Philharmonic continue their European tour at the Barbican, pairing Smetana's paean to his homeland with Rachmaninov's early piano concerto. 

The Oliver Schnyder Trio performed a superb programme of works by Smetana and Dvořák in Wettingen, near Baden, Switzerland.

In keeping with the festival's tradition of persevering through adversity, organizers turned a pandemic-imposed restriction to their advantage. 

Semyon Bychkov and the Czech Philharmonic play Smetana's Má vlasti n an empty Rudolfinum. 

Smetana's full cycle is still a rarity in the UK, so this Berlin Philharmonic stream was a wonderful opportunity to delve deeper in this Czech classic. 

Haydn, Shostakovich and Smetana laid bare at Wigmore Hall. 

World premiere of Daniel Kellogg's The Golden Spike with the Kansas City Symphony.

Yuja Wang embodies the flash, brilliance and wry, irreverent humor of Shostakovich’s First Piano Concerto.

Semyon Bychkov produces a gripping and soul-searching Shostakovich Eighth while soprano Elena Stikhina makes an impressive UK debut in Tchaikovsky.

Magdalena Švecová's staging for Prague National Theatre wins hearts with ensemble work full of verve and costumes that are pure eye candy.

The Bamberg Symphony Orchestra bring a wonderfully bucolic programme of Czech music to The Proms.

The Wihan Quartet reinforce their reputation as top interpreters of Dvořák at the Bradfield Festival.

Natalya Romaniw is a natural as our maligned heroine: Paul Curran creates staging of bewildering comic complexity and pulls it off with panache.

An outstanding account of Smetana's Ma vlást in Hamburg's Elbphilharmonie was prefaced by Straussian oboe nostalgia courtesy of Albrecht Mayer. 

After a popular first half including a fine Grieg Piano Concerto, the Belgrade Philharmonic gave a showpiece performance of Schoenberg's early symphonic poem. 

What brought real distinction and authenticity to the evening, as so often in this house, was the outstanding playing of the Staatskapelle conducted by Tomaš Netopil. From the start of the overture with its rapidly scurrying fugato for strings and pointed phrasing from the woodwind one felt the true sense of Smetana’s Czech inflected rhythms and harmonies

The Pavel Haas musicians teased out the fast-shifting colours with aching beauty.

Smetana's Libuše makes a timely reappearance in Prague.

Pavel Kolesnikov was at the heart and soul of a disappointing concert by the touring Czech orchestra.

BBC Philharmonic and Edward Gardner tackle Janáček’s Sinfonietta in a well-crafted programme of French and Czech music.

The effervescent conductor took six little-known Czech works into another ether: one in which the footprints are invisible.

Tokyo’s NHK Symphony Orchestra, conducted by Pinchas Steinberg, gives a performance of perhaps the most famous of Bedrich Smetana’s works, a romantic tribute to his motherland, Má vlast.

Big names brought a big sound but not much else to the traditional performance of Smetana's Má vlast.

A disappointing extract from Smetana's Má vlast was redeemed by a refreshingly clear performance of Elgar's Cello Concerto and a characterful account of Holst's The Planets.

Mason Bates' Symphony Liquid Interface takes over the stage in Washington DC. 

Elim Chan's homecoming in an evening of pride and joy with the Hong Kong Phil.

Joining Maestro Christoph Eschenbach and the musicians of the Bamberg Symphony Orchestra for a tour across the United States, Chen headlined a pops concert of Austro-German music, complete with a riveting interpretation of the Mendelssohn Violin Concerto and an sufficient performance of Mahler’s Fifth.

A fantiastic walk through Bohemia guided by the PKF Prague Philharmonia conducted by Emmanuel Villaume, with an excellent performance from Gautier Capuçon.

The Cleveland Orchestra’s Chicago appearance with music director Franz Welser-Möst offered symphonies of Beethoven and Sibelius in performances that exuded both precision and beauty.

Despite the burbling streams with which Smetana's Vltava trickles into life, this was no pastoral stroll on the gentle slopes of Bohemia, Hungary and Poland.

Giselle Allen and David Kempster are on good form in a performance of highlights from Tchaikovsky’s Eugene Onegin, conducted by Jac van Steen.

An impressive performance from cellist Natalie Clein in Dvořák’s Cello Concerto did much to alleviate the woes of the real world.

When the Boston Symphony audience embraces a conductor with sustained, enthusiastic applause as they did with Jakub Hrůša, making his debut, they are not only expressing their approval; they are saying you belong.

Juanjo Mena conducts the BBC Philharmonic in music by Smetana, Bartók and Dvořák in Manchester.

The Budapest Festival Orchestra poured out wave upon wave of euphoric depth, melancholy and sateen-like ensemble with vigor, heart and delightful ability under the guidance of their innately musical founder and conductor.  

Nicolaj Znaider proves a better conductor than soloist with the OSM in programme of works by Mozart, Smetana and Dvořák. 

Jakub Hrůša proves to be a musician who can put his personal inspiring stamp on each music piece he conducts.

Smetana’s Bartered Bride overture set the stage for an intriguing new concerto by Richard Sortomme for two violas, followed by Schubert’s “Great” C major symphony.

The Pittsburgh Symphony under Jiři Bělohlávek gave a rare performance of Smetana's complete cycle of tone poems.

Steve Mackey's Violin Concerto entitled Beautiful Passing was the highlight in this Sydney Symphony concert which also explored popular Czech repertoire. 

Stunning Smetana and Dvořák made for a gripping end to a fine concert.

“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.

Gyula Fekete's concerto based on themes from Chinese TV headlines a mixed programme at a concert which didn't succeed in everything but was generously filled with melody throughout.

In the acoustic wizardry that is Concertgebouw Brugge, Jos van Immerseel and Anima Eterna deliver a feast for the intellect, if not for the senses, in their exploration of the great Czech composers.

Unexpected insights and fresh perspectives from period instrument performances by the OAE and Fischer of Smetana, Brahms and Dvořák forced the audience to listen to in a new way.