Historical Performance

Martin Hroch graduated from the Pavel Josef Vejvanovský Conservatory in Kroměříž, where he studied piano with Vanda Jandová and harpsichord with Ivona Křivánková. He subsequently continued his studies at the Faculty of Music of the Janáček Academy of Performing Arts (JAMU) in Brno, studying piano with Alena Vlasáková and Jan Jiraský and harpsichord with Barbara Maria Willi. He specializes in the historically informed performance of Baroque music on both instruments.

He further broadened his education through numerous masterclasses led by distinguished performers and pedagogues, including Alena Vlasáková (Czech Republic), Stefan Speidel (Germany), Bernd Glemser (Germany), Alain Delage (France), Jesper Bøje Christensen (Switzerland), Miklós Spányi (Hungary), Elisabeth Maria Pollerus (Austria), Michel Bouvard (France), Gabriele Morini (Italy), and Bart van Oort (The Netherlands).

In 2007, 2009, and 2011, he was repeatedly awarded a scholarship by the Johannes Brahms Society in Baden-Baden, Germany, which enabled him to participate in the prestigious music programme at the Brahmshaus. During this period, he also took part in the filming of a documentary on Johannes Brahms for Japanese television.

For the French film The Man Who Laughs (L’Homme qui rit), he portrayed the role of the royal harpsichordist, appearing alongside renowned actors such as Gérard Depardieu and Emmanuelle Seigner. In 2008, he became a laureate of the international competition International Forum – Musical Performance and Pedagogics.

As both a soloist and chamber musician, he has performed with numerous orchestras and ensembles, including the Brno Philharmonic, Janáček Philharmonic Ostrava, Moravian Philharmonic Olomouc, Streicher Akademie Bozen, Bohuslav Martinů Philharmonic, Gustav Mahler Philharmonic Jihlava, the Janáček Academic Orchestra, Collegium Musicum, Brno Baroque, Brno Contemporary Orchestra, Musica Minore, and Barocco sempre giovane. He maintains an active career as both a solo and chamber performer and regularly records for CD, radio, and television.

He is a member of the The British Harpsichord Society. Alongside his extensive artistic activities, he is also active as a teacher and is a sought-after chamber music collaborator. In the field of early music performance practice, he works artistically with the Department of Early Music Studies at Masaryk University and teaches at the Faculty of Music of Janáček Academy of Performing Arts, where he also serves as Head of the Department of Organ and Historical Performance.

At the same time, he holds the position of Director of the P. Křížkovský Grammar School with Artistic Specialization. In 2010, he founded and became director of the International Performance Courses Zábřeh, Music in the Town of J. E. Welzl, where he led the harpsichord class for six years.

He completed postgraduate studies at the University of Music and Performing Arts Vienna in the masterclass of Gordon Charles Murray and, in 2019, earned a doctoral degree from the Faculty of Music of JAMU.

Irena Troupová is one of the Czech Republic’s leading sopranos. She first gained international recognition in the field of historically informed performance of early music. Since the 1990s, when she lived in Berlin, she has appeared on concert stages throughout Europe, collaborating with distinguished musicians and ensembles such as Thomas Hengelbrock, Howard Arman, Joshua Rifkin, Ensemble Orpheon, and La Morra. In the Czech Republic, she has worked with Jaroslav Tůma, Barbara Maria Willi, Monika Knoblochová, as well as ensembles such as Ensemble Tourbillon, Musica Florea, and many others.

Over time, she expanded her repertoire to include Romantic and modern song literature as well as opera. She has performed in concert series presented by the Prague Symphony Orchestra (FOK), the Czech Philharmonic, and the Prague Philharmonia under the baton of Jakub Hrůša. She has also appeared with the Pilsen Philharmonic and the Hradec Králové Philharmonic, and has been a regular guest at major festivals including Prague Spring International Music Festival, Janáček May, and Concentus Moraviae.

She participated in the internationally acclaimed recording of Le jour de bonté for the Arco Diva label. For the same label, she recorded the complete songs of Viktor Ullmann (Schwer ist’s, das Schöne zu lassen), orchestral songs by Geraldine Mucha, and the complete songs of Hans Winterberg.

Troupová frequently collaborates with contemporary music ensembles, including the Brno Contemporary Orchestra under Pavel Šnajdr, the BERG Orchestra, Prague Modern, Konvergence, and Ostravská banda. She has also worked closely with contemporary composers such as Marek Kopelent, Jiří Dušek, Peter Koeszeghy, Miloš Štědroň, Petr Kotík, Vít Kubička, Radomír Z. Novák, and Jiří Teml.

A significant part of her artistic and scholarly work is devoted to the legacy of interwar composers, including Erwin Schulhoff, Norbert von Hannenheim, Philip Herschkowitz, Gideon Klein, and Hans Krása. She presents this repertoire both in the Czech Republic—through recitals at festivals such as Prague Spring and Eternal Hope—and abroad, including performances in Bayreuth, Berlin, Munich, and Vienna.

Currently, Irena Troupová teaches at the Faculty of Music of the Janáček Academy of Performing Arts, within the Department of Organ and Historical Performance, and is a highly sought-after lecturer at international early music courses.

What are you most proud of in your artistic career?

I believe I am most proud of having connected the interpretation of music from earlier periods with contemporary music. A particularly important chapter of my work is devoted to interwar music, which I explore not only as a performer but also as a musicologist.

Michaela Šikulová Ambrosi (performing professionally as Michaela Ambrosi) is a flautist specializing in the historically informed performance of music from earlier stylistic periods. She studied modern flute and recorder at the Prague Conservatory under Jan Riedlbauch and Jakub Kydlíček. She subsequently completed a Bachelor’s degree focused on historical transverse flutes at Charles University under the guidance of Jana Semerádová.

She continued her studies at the Royal Conservatory The Hague, where she completed both Bachelor’s and Master’s degrees in the classes of Wilbert Hazelzet and Kate Clark. Her thesis received the highest distinction and the Director’s Award of the conservatory. Further studies took her to the Conservatorio di Musica E. F. Dall’Abaco, where she studied with Marcello Gatti, and to the Mozarteum University Salzburg through the Erasmus programme.

She has also participated in numerous masterclasses and received individual coaching from leading specialists, including Lisa Beznosiuk, Rachel Brown, Jostein Gundersen, Christoph Huntgeburth, Karl Kaiser, Barthold Kuijken, Marion Moonen, Michael Posch, Anne Pustlauk, Peter Reidemeister, Michael Schmidt-Casdorff, Ashley Solomon, and Jed Wentz.

She earned her doctoral degree from the Faculty of Music of the Janáček Academy of Performing Arts, where she defended her dissertation Jiří Čart – Life and Works from a Performer’s Perspective under the supervision of Barbara Maria Willi. She later completed her habilitation in Music Performance at the same institution.

Among the most significant milestones of her career was her participation in a university project with the Orchestra of the Eighteenth Century under the direction of Frans Brüggen. Shortly thereafter, she was invited to perform with the Amsterdam Baroque Orchestra led by Ton Koopman. She also completed a fellowship with the Orchestra of the Age of Enlightenment in London and later returned to collaborate with the ensemble as a guest artist. Another important step in her professional development was an invitation to work with the European Union Baroque Orchestra.

As a soloist, chamber musician, and orchestral performer, she has collaborated with numerous distinguished Czech and European ensembles specializing in historically informed performance, including Ars Antiqua Austria, Collegium Marianum, Collegium 1704, Czech Ensemble Baroque, Europa Galante, Irish Baroque Orchestra, Musica Florea, {oh!} Orkiestra, The Feinstein Ensemble, and Wrocławska Orkiestra Barokowa. She has performed at major European concert venues and festivals, including the Théâtre des Champs-Élysées, Concertgebouw, De Doelen in Rotterdam, St George’s Bristol, St Martin-in-the-Fields, Royal Festival Hall, Foundling Museum, Handel Hendrix House, St. Peter’s Basilica, Church of Ireland in Dublin, St Canice’s Cathedral in Kilkenny, Museo degli Affreschi in Verona, and Provinciaal Hof in Bruges.

She is a co-founder of several chamber ensembles. In addition to participating in numerous CD recordings, she has contributed to radio and television projects and worked as a music editor for Czech Radio. In collaboration with Radioservis, she released the CD Jiří Čart: Forgotten Flute Sonatas in 2020.

Her scholarly research focuses primarily on source studies and the eighteenth-century transverse flute repertoire, with particular emphasis on works by Czech composers. In cooperation with the Publishing House of Czech Radio, she prepared two editions of sonatas by Václav Vodička. As part of her pedagogical activities, she is regularly invited to lecture and teach at seminars and courses and also serves as a juror in performance competitions. She gained valuable teaching experience at the Brno Conservatory, where she taught recorder. She is also actively engaged in projects that bridge historical and modern performance practices and in educational work with players of modern instruments.

What are you most proud of in your artistic career?

I most value the moments when I have had the opportunity to become part of the living tradition of historically informed performance—to meet the figures who shaped the field and to learn from them not only about musical style, but also about ways of thinking about music. The opportunity to build upon and further develop their approach has been of fundamental importance to me as an artist.

Where do you find motivation and inspiration?

Even during my studies, I was encouraged to seek inspiration beyond the musical world—in museums, theatres, and exhibitions. I also regard reading across a wide range of disciplines as an important source of inspiration, as well as activities outside music.

Sport, for example, allows me to gain perspective, clear my mind, and view things from a different angle, which in turn supports the creative process. Figure skating is particularly inspiring to me because of its combination of technical precision, discipline, and powerful expression and emotion. In many ways, it reminds me of musical performance, where success depends not only on technical mastery but also on the ability to communicate something personal and convincing.

It is important to me not to strive solely for narrow specialization, but rather to cultivate a broader outlook—to be, in a sense, a “Renaissance person” who travels, remains curious about the world, and is not afraid to communicate in foreign languages.

If you could give students only one piece of advice, what would it be?

Never forget why we make music. Every smile from the audience and every moment when listeners are lifted out of their everyday concerns matters. A musician can find their own “Carnegie Hall” even in a hospice or a retirement home.

At the same time, it is important to be proactive and take responsibility for your own path. Do not wait for opportunities—create them. Seek your own direction and do not be afraid to step outside your comfort zone.

What does JAMU personally mean to you?

For me, JAMU represents a space for free artistic creation without unnecessary barriers, prejudices, or limitations—a place where it is possible to seek a balance between technical precision and personal expression and to develop one’s own artistic voice.

Tereza Samsonová is a Baroque oboist and Assistant Professor at the Department of Organ and Historical Performance at the Faculty of Music of the Janáček Academy of Performing Arts. After graduating from Na Zatlance Grammar School in Prague, she began studying Baroque oboe while pursuing musicology at the Faculty of Arts of Charles University, under the guidance of Marta Neumannová and Aleš Ambrosi. Her earlier musical education was acquired at the Elementary School of the Arts in Řevnice, where she initially studied recorder and later classical guitar.

Through valuable musical insights and experiences gained at courses and academies in Rajnochovice (with Professor Marek Nieuwiedzial), Prachatice (Karin van Heerden – oboe; Ashley Solomon – recorder), Michaelstein (Paul Dombrecht), Trossingen, and Karlsruhe (Martin Stadler), she was admitted to study with Marcel Ponseele and Michel Henry at the Conservatoire National Supérieur de Musique et de Danse de Paris from 2003 to 2007. She further broadened her musical education by studying theorbo with Professor Eric Bellocq at the same institution between 2006 and 2008.

During her studies in France, she participated in several prestigious orchestral academies, including the Orchestral Academy in Paris under Ton Koopman (2007), the Académie d’Ambronay under William Christie (2005) and Gabriel Garrido (2006), the Aix-en-Provence Academy under William Christie (2007), and the European Union Baroque Orchestra Academy under Alfredo Bernardini.

Throughout her career, she has collaborated extensively with leading ensembles specializing in historically informed performance, including Musica Florea, Collegium 1704, Hofmusici, Ensemble Inégal, Czech Ensemble Baroque, Capella Regia Praha, Collegium Marianum, Solamente Naturali, Orkiestra Historyczna!, Wrocławska Orkiestra Barokowa, Akademie für Alte Musik Berlin, Dresdner Barockensemble, Leipziger Barockensemble, Ensemble Elbipolis, Ensemble Pygmalion, Le Concert Spirituel, Les Talens Lyriques, Ensemble Baroque de Nice, Ensemble Almazis, Les Paladins, and Europa Galante.

She currently maintains close artistic collaborations with Ensemble Inégal, Musica Florea, Solamente Naturali, and the Dresdner Barockorchester.

What are you most proud of in your artistic career?

I am most proud of my students, who, thanks to their studies, have the opportunity to participate in early music projects both in the Czech Republic and abroad, and who continue to seek ways to further refine their Baroque oboe playing.

Where do you find motivation and inspiration?

I find inspiration and motivation in listening to music, discovering new and previously unknown works, and exploring the historical contexts connected with them.

If you could give students only one piece of advice, what would it be?

Absorb as much knowledge as possible—not only within the subjects offered by the Department of Organ and Historical Performance, but also beyond the department itself—and make full use of opportunities to study abroad.

What does JAMU personally mean to you?

Meeting inspiring people and members of the younger generation, as well as having opportunities for both pedagogical and artistic growth as a performer.

Martina Janková specializes in the performance of early music, with a particular focus on keyboard and vocal repertoire. After studying piano at the Brno Conservatory in the class of Krista Střítecká, she continued her education at the Faculty of Music of the Janáček Academy of Performing Arts, where she studied harpsichord with Martin Hroch and subsequently historical singing under the guidance of Irena Troupová.

At Masaryk University, she completed Bachelor’s degrees in Special Education and Early Music Theory and Performance Practice, and later earned a Master’s degree in Musicology. She has participated in numerous masterclasses and interpretation courses in harpsichord, singing, and piano with distinguished musicians including Tamar Halperin, Monika Knoblochová, Dagmar Šašková, Romana Kružíková, Ivo Kahánek, and Helena Suchárová Weiser.

As a performer, she has collaborated with a wide range of soloists, chamber ensembles, and larger musical bodies, including the Brno Philharmonic, Capella Ornamentata, Czech Ensemble Baroque, and Ensemble Versus. She has also appeared at festivals such as Rosa Bohemica and Concentus Moraviae.

Alongside her concert activities, she is actively engaged in teaching, focusing primarily on piano instruction, basso continuo, and both solo and choral singing.

What are you most proud of in your artistic career?

I greatly value the opportunity to have collaborated with several experienced ensembles and soloists. I also deeply appreciate working with my fellow students at JAMU, with whom I have been able to create many inspiring and rewarding concert programmes.

Where do you find motivation and inspiration?

I find inspiration in the world around me—in nature, in people, and in other forms of art. I am also strongly motivated by discovering new possibilities of musical interpretation and by collaborating with fellow musicians.

If you could give students only one piece of advice, what would it be?

I would encourage students to support one another and collaborate as much as possible. It is precisely this spirit of cooperation that opens the door to professional musical life and brings genuine enjoyment along the way.

What does JAMU personally mean to you?

For me, JAMU—and especially our department—is a place where I can meet inspiring people, gain valuable experience, and where I have also found many wonderful friends.

Kateřina Maňáková is a Czech lutenist currently serving as a lecturer in historical plucked string instruments at the Faculty of Music of the Janáček Academy of Performing Arts. She earned her Master’s degree cum laude from the Royal Conservatory The Hague under the guidance of Joachim Held and Mike Fentross.

Following her Master’s studies, she was awarded a one-year postgraduate research fellowship at the Alamire Foundation. During this residency, she participated in several research projects, including the study of vihuela intabulations of sacred repertoire by Franco-Flemish composers, with particular emphasis on manuscripts associated with Pietro Alamire; lute intabulations of repertoire contained in the Leuven Chansonnier; and musical connections between Central Europe and the Franco-Flemish region during the Renaissance.

Kateřina regularly collaborates with numerous ensembles specializing in historically informed performance, including Europäisches Hanse-Ensemble, Lutherse Bach Ensemble, the Netherlands Chamber Orchestra, Hathor Consort, PRJCT Amsterdam, Silentium Ensemble, Ensemble Versus, and others.

In addition to performing on instruments such as the theorbo, Baroque guitar, Renaissance lute, and mandora, she specializes particularly in the vihuela de mano and the music of sixteenth-century Spain. Her studies in Hispanic Philology at Palacký University Olomouc and the University of Oviedo further deepened this passion and ultimately led to the founding of the ensemble Ramillete de Tonos.

As both a performer and a researcher, she focuses primarily on the study of vocal music intabulations. Her research explores the significance of the relationship between voice and instrument in Renaissance music, with particular emphasis on the lute. This work is further developed through her doctoral research as well as through participation in major European conferences and musicological projects.

What are you most proud of in your artistic career?

Without a doubt, I am most proud of my ensemble, Ramillete de Tonos. Through it, I have been able to unite research and performance practice, but it is also a group of people who are leaders in their respective fields and who nevertheless treat one another with kindness, respect, and complete professionalism. This philosophy underlies my entire artistic career, and I am truly grateful to have an ensemble in my life that embodies these values.

Where do you find motivation and inspiration?

Certainly in historical literature and musicological research. At the same time, I believe that one of my greatest sources of inspiration is the extensive network of contacts I have built throughout my studies and research residencies. These include not only musicologists and performers, but also my students, who inspire and motivate me every day, and for that I am deeply grateful.

If you could give students only one piece of advice, what would it be?

Be humble, be prepared, and communicate.

What does JAMU personally mean to you?

For me, JAMU represents an outstanding opportunity to develop both as a performer and as a researcher. It also serves as an important international bridge connecting us with the rest of Europe. I see tremendous potential in JAMU for the future—not only for its faculty, but, hopefully, for many generations of students to come.

Petra Kujalová studied organ performance at the Brno Conservatory under Professor Zdeněk Nováček, with whom she continued her studies at the Faculty of Music of the Janáček Academy of Performing Arts. She completed her Master’s degree in 2016 and successfully earned her doctoral degree at the same institution in 2024. Since 2025, she has been a member of the faculty at the JAMU Faculty of Music.

Throughout her career, she has participated in numerous international competitions. In 2008, she won the second category of the Petr Eben International Organ Competition and received a special award from the Czech Music Fund for the best performance of a work by Petr Eben. In 2014, she advanced to the final selection round of the International Organ Competition in Dublin, Ireland. In 2017, she was awarded Second Prize and the title of Laureate at the Leoš Janáček International Competition.

For Czech Radio, she recorded works by Johann Sebastian Bach and Gaston Litaize. She completed a year-long study residency at the Académie Supérieure de Musique de Strasbourg under Aude Heurtematte and also pursued the prestigious Cycle Concertiste programme at the Conservatoire à Rayonnement Régional de Paris with Christophe Mantoux. In addition, she has participated in masterclasses led by distinguished organists including Olivier Latry, Hans-Ola Ericsson, Paolo Daniel Peretti, and Christian Bossert.

She maintains an active concert career both in the Czech Republic and internationally, with performances in France, Canada, and Lithuania. She has appeared at numerous prestigious festivals, including Concentus Moraviae, Bach’s Organ Autumn, and Audite Organum.

In recent years, she has also devoted considerable attention to chamber music. Together with Ivana Michalovičová, she forms an organ duo that has successfully participated in several international chamber music competitions. Their achievements include First Prizes at the Fanny Mendelssohn International Competition, the Danubia Talents International Music Competition, and the France Music Competition, as well as Third Prize at the Royal Maas International Music Competition.

What are you most proud of in your artistic career?

Throughout my artistic journey, I have been fortunate to encounter many inspiring personalities and teachers. I am grateful for every artistic experience that has helped me grow and move forward.

Where do you find motivation and inspiration?

Personally, I draw inspiration from real life and the world around us. Through my work as a teacher—both at the elementary and university levels—my greatest source of inspiration is my students themselves, particularly their naturalness and authenticity. Their enthusiasm for their field is both a powerful motivation and a challenge for me.

If you could give students only one piece of advice, what would it be?

Take advantage of every opportunity your school offers! Do not be afraid, do not doubt yourself, and pursue your dreams.

What does JAMU personally mean to you?

If I had to describe JAMU in a single word, it would be: opportunity.

Filip Hrubý is a graduate of the Schola Cantorum Basiliensis in Switzerland, where he studied harpsichord and basso continuo under Professor Jörg-Andreas Bötticher. His education in harpsichord performance and historical interpretation began at the Faculty of Music of the Janáček Academy of Performing Arts under the guidance of Martin Hroch and Barbara Maria Willi. During his studies, he participated in numerous masterclasses with distinguished musicians, including William Christie, Pierre Hantaï, and Ton Koopman.

As both a soloist and ensemble musician, he regularly collaborates with leading Czech and international ensembles, including Collegium Marianum, Collegium 1704, Les Cornets Noirs, Abendmusiken Basel, Silentium!, Canto Fiorito, and Ensemble Castelkorn.

He performs at prestigious European music festivals, among them the Salzburg Festival, Oude Muziek Festival Utrecht, Stockholm Early Music Festival, Rheingau Music Festival, Prague Spring International Music Festival, the Festival de Música Antigua de Sevilla, and Smetana’s Litomyšl.

In addition to his work as a harpsichordist, he is involved in various projects as an organist and composer. Since the 2024–2025 academic year, he has taught basso continuo at the Faculty of Music of JAMU, and since 2025 he has been pursuing doctoral studies there in the programme Performance and Performance Theory.

What are you most proud of in your artistic career?

I am most proud of the fact that my artistic career allows me to spend every day with people who truly live through music and art—people who inspire one another and tirelessly share their joy of creation with audiences.

Where do you find motivation and inspiration?

Inspiration is everywhere around us—in people, nature, literature, architecture, and even silence. My motivation comes partly from music itself, especially in those moments when one becomes completely absorbed in the process of creating and sharing it. It also comes from colleagues who, even after long and successful careers, never stop exploring, experimenting, discussing, and performing.

If you could give students only one piece of advice, what would it be?

It is essential to listen, observe, absorb, and reflect on all the experiences that life offers. These impressions form the unique foundation of one’s own creativity. And if I may add one more practical piece of advice—play as much chamber music as possible!

What does JAMU personally mean to you?

What I value most about JAMU is its openness and diversity. Even at a relatively small institution, musicians specializing in everything from historical performance to modern jazz can meet and create projects together; performers can collaborate with composers, theatre artists, and cultural managers. All of this takes place in a friendly and welcoming atmosphere.

Vít Bébar is a harpsichordist and harpsichord builder. After studying piano at the Prague Conservatory under Professor Jan Novotný, harpsichord at the Týn School in Prague under Professor Jaroslav Přikryl, and later at the University of Music and Performing Arts Vienna under Professor Gordon Murray, he dedicated himself to both concert performance and teaching.

He has participated in numerous advanced performance courses, including those organized by the Akademie für Alte Musik Dresden under the direction of John Toll. As a performer, he collaborates with established early music ensembles such as Czech Ensemble Baroque, Solamente Naturali, Musica Figuralis, Castello in Aria, and Societas Incognitorum.

In the field of Renaissance and early Baroque music, he is actively involved in the transcription and preparation of historical sources, creates his own arrangements of repertoire, and composes music in both Baroque and contemporary styles. He previously taught at the Academy of Early Music of the Faculty of Arts of Masaryk University and currently teaches at the Faculty of Music of the Janáček Academy of Performing Arts.

His research interests focus on the acoustics of musical instruments and historical tuning systems. Beyond his musical activities, he collaborates with luthier Tibor Haluščák in the construction of harpsichords and related keyboard instruments, including experimental electromechanical designs.

What are you most proud of in your artistic career?

For a teacher, the greatest reward comes from those moments when they awaken a genuine interest in their students and inspire them to work consistently toward long-term goals.

Where do you find motivation and inspiration?

Both inspiration and motivation come from every musical moment in which performers and listeners become connected on the same “wavelength.” I also find great inspiration in time spent in nature and in working in the harpsichord workshop.

If you could give students only one piece of advice, what would it be?

Do not be afraid to try and make use of every opportunity that comes your way—even those that require you to step outside your comfort zone.

What does JAMU personally mean to you?

JAMU—much like any excellent university—shares certain qualities with a strong ecclesiastical institution. Through its firm traditions and principles, it provides students with guidance, boundaries, and a sense of direction. Yet along that journey, one encounters many open-minded individuals and diverse personalities who, despite their independence and uniqueness, exist in a productive and enriching symbiosis with the institution itself.

Jana Anýžová studied violin at the Pavel Josef Vejvanovský Conservatory in Kroměříž and subsequently at the Faculty of Music of the Janáček Academy of Performing Arts, where she graduated with the degree of Master of Arts.

During a one-year exchange programme at the State University of Music Trossingen in Germany, she transitioned from modern violin to Baroque violin. Inspired by this experience, she decided to continue her studies there and completed her degree in 2004.

Already during her studies, she began performing with numerous orchestras in Germany, Switzerland, and the Czech Republic. She regularly collaborates with leading Czech early music ensembles, including Collegium 1704, Musica Florea, Ensemble Inégal, and Czech Ensemble Baroque, as well as with international ensembles such as Camerata Lipsiensis and Ensemble 1684.

From 2008 onwards, she was actively engaged in teaching at the State University of Music Trossingen, where she taught Baroque violin. Since 2022, she has been teaching Historical Violin at the Department of Organ and Historical Performance of the Faculty of Music of the Janáček Academy of Performing Arts.