Breaking barriers: Conductor Anna Novotná Pešková on succeeding in a male-dominated environment
Although women composers have been around for centuries, the field remains largely male-dominated, with few women leading prominent global ensembles. Born 110 years ago, Vítězslava Kaprálová may have been one of those women had she lived longer. Following in her footsteps today is Anna Novotná Pešková, appointed conductor of the National Theatre Opera and the State Opera at just 28. In this edition of our series on Czech female pioneers, I asked her for her perspective on working in a male-dominated field, the challenges young conductors face in earning respect, and what drives her passion for conducting:
You were born in Opočno and grew up in the East Bohemian town of Hradec Králové, where you attended the local music school.
“It's quite an unusual story, but I discovered music on my own. My family loves to sing and enjoys music, but in an amateur way. I was the first one who wanted to pursue it more professionally, so it's a bit strange, but yes, I found my path to it.”
And did your family support you in this decision?
“Yes, very much. They are incredibly supportive, and I'm really grateful for that. I believe having strong support at home is one of the most important things for a musician.”
You went on to study at the Prague Conservatory, where you first studied classical singing and then you also added conducting. What brought you to conducting?
“I initially really wanted to be an opera singer. I loved it deeply and started studying it, but I eventually realized it wasn’t my primary calling. I wasn't as good at it as my colleagues, and I found that expressing music through my hands and body, while gaining a deeper understanding of music, was more suited to me. That's when I decided to focus on conducting.
Conducting is still a largely male-dominated field. Did anyone ever discourage you from pursuing it?
"It was actually a great advantage for me because my conducting professor was a woman. So, I never saw it as a problem to be a woman in this field. Of course, I did encounter some challenges while studying, but at no point did I feel discouraged. I never felt anyone told me I shouldn’t do it because it might be harder for women."
And why do you think there are still so few women in conducting? What do you think is the reason behind this?
That's a tough question, and I don’t have a definitive answer. I do think it’s something worth exploring, and it’s important to have these conversations to find a solution. I believe it could be because conducting is often seen as a position of power, which has traditionally been associated with men. However, I think things are improving, even though the progress could happen a bit faster.
What skills and qualities do you think a young conductor must develop to succeed in their career?
“I think the most important thing is to be exceptionally well-prepared. You have to know exactly what you want to convey, and the orchestra or the singers will feel that immediately. It's crucial to have a clear vision.
“You also need to have some psychological understanding of how to interact with your orchestra or choir and how to treat people in general, because we’re no longer in an era of conductors like Toscanini, who were known for their intense, angry behaviour.
“Of course, preparation is key, and you need a sharp ear and the ability to play the score on the piano, for example, to understand the music from a broader perspective.”
I think you actually described somewhere the connection between you and the orchestra or the choir as a sort of alchemy...
“Exactly, that’s the best way to describe it. It’s truly an alchemical process. While there are definitely skills you can learn and methods you can follow, conducting itself, like the waving of the arms, is the last part. There are far more important elements that come before that.”
I always wondered, in your profession as a conductor, you're facing away from the audience. Do you still manage to feel the atmosphere in the hall?
“Yes, you can absolutely feel the audience, and it’s a wonderful experience. When the atmosphere is good, it creates a truly enjoyable moment, and it’s beautiful. You can also sense the atmosphere in the orchestra pit or on the stage. As a conductor, part of your role is to motivate your performers, especially if they feel tired or unwell, and to help them give their best. "
Dou you still remember the first opera that you ever conducted?
“Yes, it was Don Giovanni by Mozart, performed at the F.X. Šalda Theatre in Liberec. It was my very first major opera with a professional theatre, and I loved it because it’s one of my favourite operas. But of course, it was tough—I was very young, under 20, I think. There are a lot of things I would do differently now, but I’m still grateful for the opportunity.”
And is there any opera that you have been eager to conduct but haven’t had the opportunity yet?
“I would really love to conduct Eugene Onegin by Tchaikovsky. I adore the opera, and romantic music is particularly close to my heart. I’d also love to conduct Rusalka and Don Giovanni again, which I’ve already done and thoroughly enjoyed. But Eugene Onegin is a dream, and I’d also love to conduct Kartinky (Pictures at an Exhibition) by Mussorgsky—though that’s a symphonic work, not an opera.”
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You have been the principal conductor of the Opera of the National Theatre and the State Opera, but you also have other jobs on the side. Is it important to have as many experiences as possible?
“I think it’s crucial, especially for a young conductor. The more opportunities and experiences you have, the more you grow. It’s impossible to learn everything at home. You really have to work with the orchestra, treat it like your instrument. As one of my colleagues likes to say, the orchestra is your instrument, and you have to practice it as much as possible.
Llooking back, have you ever questioned your career, or is this your dream job, being a conductor?
“I would be lying if I said I’ve never had doubts. Of course, I have. But each time, I return to the fact that this is my passion, my dream job, and perhaps even my calling. Every conductor has moments of doubt, but after one successful performance, everything falls back into place. As long as this job continues to make me happy, I’ll keep doing it for sure—though, of course, it’s not the easiest job.”
As you said, it's not the easiest job ever. How challenging is it, in fact? And how difficult is it perhaps to balance it with your personal life?
It’s definitely challenging, but it’s manageable, especially today. You have to travel a lot, study scores on the go, and be away from home frequently. But if you want to do this job properly, you need to have varied experiences, which means you need to travel a lot, both in the Czech Republic and abroad.
And what is it that keeps you going? What do you love most about your job?
“I’m motivated by my colleagues—especially the more experienced, successful ones. But mostly, I’m driven by my passion for conducting. Standing in front of the orchestra or the choir, when everyone is working together towards the same goal, is an incredible feeling. It’s hard to describe the beauty of it—when everyone is fully engaged, you feel the collective energy. It’s amazing to share that moment with so many musicians.”
Vítězslava Kaprálová
Vítězslava Kaprálová was born into a musical family, with her father having been a pupil of renowned composer Leoš Janáček, providing her with a strong foundation in music. A highly accomplished composer and conductor, she gained attention for her graduation project at the Prague Conservatory, where she composed the Military Sinfonietta, which was performed by the Czech Philharmonic, an extraordinary achievement for a student. Not only did she compose the piece, but she also conducted the performance herself, with President Edvard Beneš in attendance at the premiere.
As a composer and conductor, Kaprálová stood out in a field traditionally dominated by men. Her ability to excel in both realms was remarkable, especially considering the scarcity of women holding conducting positions in major ensembles. Tragically, she passed away at the young age of 25, leaving behind a legacy of untapped potential. Her works, including the Military Sinfonietta, Drawings from East Bohemia, and String Quartet No. 1, remain an enduring testament to her genius and what might have been had she lived longer.
Anna Novotná Pešková
Anna Novotná Pešková studied classical singing, stage dance, ballet, and piano before graduating from the Prague Conservatory in classical singing and conducting. During her studies, she worked with the Children’s Opera Prague, performing internationally and contributing to many opera productions.
In 2017, she began collaborating with the F. X. Šalda Theatre in Liberec, debuting as a conductor with Mozart's Don Giovanni and later conducting the world premiere of Legenda z Mlžných hor by Jan Kučera. Today, she works with various Czech theatres, including the National Theatre in Moravian-Silesian, the South Bohemian Theatre, and the Moravian Theatre in Olomouc. She regularly conducts symphonic orchestras, such as the Bohuslav Martinů Philharmonic and the Czech National Symphony Orchestra.
In 2022, she started working with the National Theatre in Prague, and since 2023, she has been the principal conductor of the Opera of the National Theatre and the State Opera. She has led productions like La Traviata, L’elisir d’amore, Hänsel und Gretel and Ball im Savoy.
Alongside conducting, she teaches, serves on juries for vocal competitions, and contributes to film music recordings. She has collaborated with leading Czech and international conductors, including Libor Pešek, Carl Davis, Marcello Rotta, and Miriam Němcová.
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