Tomáš Hanus

Conductor

Biography

Born in 1970, Tomáš Hanus is now recognised as one of the Czech Republic’s most exciting and important conductors.  Having studied with Jiri Belohlavek at the Janáček Academy of Music and Drama in Brno, he came to prominence when he won the Conductors’ International Competition in Katowice in 1999. In Autumn 2016, Tomáš will become the Music Director of Welsh National Opera.

As an opera conductor this season, Tomáš will make his debut at the Norwegian Opera with a production of Káťa Kabanová, at the New National Theatre Tokyo for a revival production of Jenůfa and Savonlinna Opera Festival for a new production of From the House of the Dead .  He will return to the Bayerische Staatsoper for revival performances of Humperdink’s Hänsel und Gretel and Věc Makropulos.

Tomáš has a strong relationship with the Bayerische Staatsoper, making his debut there with performances of Jenufa in 2009.  He was immediately reinvited for new productions of Rusalka directed by Martin Kušej in 2010, of Hänsel und Gretel in 2012 and of Věc Makropulos using his critical edition of the Bärenreiter score, in 2014.  He returns each year for revival performances of these titles.

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Reviews

“Overwhelming! The Czech conductor Tomas Hanus and shining state orchestra bought to life the shades of colour, emotional glow and gripping drama of Dvorak’s score stunningly crafting the pretty natural fairy music into the spheres of a Czech dance.”

Dr. Peter Wolf-Dieter (Rusalka, Bayerische Staatsoper)

Landschuter Zeitung

“…Hanus’ control was so accurate that it actually created a kind of spatial pattern”

Rita Argauer

Süddeutsche Zeitung

More Reviews

““Overwhelming! The Czech conductor Tomas Hanus and shining state orchestra bought to life the shades of colour, emotional glow and gripping drama of Dvorak’s score stunningly crafting the pretty natural fairy music into the spheres of a Czech dance.” ”

Landschuter Zeitung, Dr. Peter Wolf-Dieter (Rusalka, Bayerische Staatsoper) 

“…Hanus’ control was so accurate that it actually created a kind of spatial pattern”

Süddeutsche Zeitung, Rita Argauer 

“”Most of us have heard warhorses like Mendelssohn’s Violin Concerto and Fingal’s Cave many times and familiarity can breed contempt; but it’s easy to forget how wonderful they can sound in top class performances, and that is certainly what we got tonight, mainly thanks to the conducting of Tomas Hanus, putting in a star turn with the RSNO.””

Seen and Heard, Simon Thompson (Royal Scottish National Orchestra) 

“”Hanus was on the same wavelength as his fellow countryman with an interpretation that mirrored Dvorak’s thought and design. The RSNO reciprocated with a performance that was typically excellent from start to finish.””

Perth Courier, Garry Fraser, (Royal Scottish National Orchestra) 

““That the ensemble was able to draw the audience so compellingly and convincingly between the naturalness of the folk songs and heart-rendering soul haunting tones of this iridescent score was thanks to Tomas Hanus’ control over the orchestra. Hanus’ strong contrasts in the music were as successful as Kusej’s changing scenery, with only a little room for the lyricism to be developed. The two men’s mutual understanding of the work was confirmed in the final applauses when the two came forward together between the singers hand in hand. The whole ensemble was an outstanding success, such clarity and consistency is not often experienced on the Opera Stage. In conclusion, a production not to be missed! “ ”

BR Klassik, Robert Jungwirth (Rusalka, Bayerische Staatsoper)