Tomáš Hanus is Music Director of the Welsh National Opera, a position he has held since 2016/17.  His first two productions of last season, War and Peace and Cenerentola were well received. “Tomáš Hanus paces and integrates this whole sprawling canvas with precision, energy and commitment.” (The Arts Desk); “…First General Tomáš Hanus ensuring a confident traversal of Prokofiev’s mighty score, baton-charging at the head of 90 musicians and an awesome chorus, the achievement is prodigious.” (What’s on Stage); “WNO’s masterful Music Director Tomáš Hanus…” (The Telegraph).


As well as conducting symphonic concerts this season with the WNO orchestra at St David’s Hall, Tomáš will conduct Carmen, The Cunning Little Vixen, a new production of Bluebeard’s Castle and The Nightingale. Previous seasons with Welsh National Opera have included productions of Die FledermausDer Rosenkavalier, Khovanshchina and a performance of the House of the Dead in his home town of Brno at the Janacek Festival where he was presented with a Leoš Janáček memorial medal as recognition as an outstanding performer promoting Janáček’s music.


In the 2019/20 season, Tomáš returns to the Vienna Staatsoper with Hansel und Gretel and Rusalka after a recent triumphant debut. Furthermore, he returns to the Bayerische Staatsoper for the Bartered Bride following a new production of the title last season directed by David Bösch. Since making his debut there in 2009 with performances of Jenufa directed by Barbara Frey, Tomas has enjoyed a close relationship with the House and conducted new productions of Rusalka directed by Martin Kušej in 2010, of Hänsel und Gretel directed by Richard Jones in 2012 and of Věc Makropulos directed by Árpád Schilling using Tomáš’s critical edition of the Bärenreiter score, in 2014. He returns each year for revival performances of these titles.


As a symphonic conductor, this season Tomáš returns to the Essener Philharmoniker. Other future engagements include return invitations to the Halle Orchestra following a very successful debut last season and the Deutsche Symphony Orchestra, Berlin along with his debut with the Royal Philharmonic Orchestra, London. Tomáš has recently conducted MDR Leipzig, London Symphony Orchestra, SWR Sinfonieorchester Baden-Baden, Prague Symphony, the Czech Philharmonic, Stuttgart Opera Orchestra, Bremen Philharmonic, the National Philharmonic Orchestra of Russia, the Ensemble Intercontemporain (performing at the Prague Spring Festival) Teatro Real Symphony Orchestra, Camerata Salzburg on tour in the UK, Prague Radio Symphony, Stuttgart Opera Orchestra, Madrid Symphony Orchestra, BBC Symphony Orchestra and Mostly Mozart Festival New York with the Festival Orchestra.


Operatically, last season Tomáš returned to the Opera National de Paris for Tchaikovsky’s Iolanta and has recently conducted new productions and revival performances at the Dresden Staatskappelle, the Danish National Opera and Teatro Real Madrid. Having assisted Jiri Belohlavek in 2003 at the Finnish National Opera with a new production of Katya Kabanová he was invited to conduct the revival in 2005 and to make his debut at the Paris Opera in 2007 with Leoš Janáček’s Věc Makropulos directed by Krzystztof Warlikovwski.  Tomáš returned to Paris Opera in 2009 for the revival of this hugely successful production.  Since making his debut in 2001 with the National Theatre Prague and a production of Bedřich Smetana’s Devil’s Wall he has worked regularly in the house and most recently conducted performances of Věc Makropulos directed by Christopher Alden.  From 2007/08 to 2009 Tomas was Music Director of the National Theatre Brno, Janacek Opera House.


Tomáš has made several recordings with both the Prague Philharmonia and the State Philharmonic Orchestra Brno, and also records for Czech Radio. More recently, he has recorded the Viktor Ullmann symphonies with the Prague Symphony Orchestra FOK, and has collaborated with outstanding Czech soloists for Lotos Records.

See Tomáš live:

View upcoming performances and events on the Calendar page »

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

Süddeutsche Zeitung, Rita Argauer (Hänsel und Gretel, Bayerische Staatsoper)
Apr 10th 2013

“Under Tomas Hanus’s unbelievably intense, precise and lyrical conduction, the orchestra managed to give coherence to a fragmented score. […] The deep collusion between the orchestra and this sensational conductor will without a doubt be a marvel in the upcoming performances.”

Le Monde, Renaud Machart