A radical change ensued following the legalised taking over of the vacated building in May 1945 by a group of Czech artists, headed by Alois Hába, Václav Kašlík and Antonín Kurš. They founded a new institution, named the May the Fifth Theatre, in tribute to the recent Prague Uprising. Born from enthusiasm, as the contemporaries recall, it was made up of drama and opera companies, which, however, after the first season, decided to pursue separate paths. In August 1946, the independent opera company (which encompassed a ballet ensemble) acquired the title the May the Fifth Grand Opera. In line with its artistic programme, it aimed to create an avant-garde platform that in dramaturgic, staging, visual and performance terms would be a counterpart to the more conservative National Theatre. Within a short time, the May the Fifth Grand Opera turned out to be an undesired competitor to the National Theatre, therefore the promising outset of the former’s young collective was stopped in its tracks by the authorities’ directive, pursuant to which the two institutions would merge. What is more, under the pretext of reducing operating expenses, the May the Fifth Grand Opera building was affiliated to the National Theatre, thus becoming its third venue. In addition to the aforementioned artists, led by Kašlík, the director of the opera company, stage director, composer and conductor, a major role in the history of the opera house was played by the stage directors Alfréd Radok, Karel Jernek and Jiří Fiedler, the conductor Karel Ančerl and the designer Josef Svoboda, who commenced his career there and would go on to gain global renown. (Later on, the director of the State Opera Prague, Daniel Dvořák, a pupil of Svoboda’s, initiated the making of a replica of Svoboda’s 1947 scenery for a production of Tosca, while, on the eve of the then legendary architect’s 80th birthday, the corridor in the operations building used for moving props to the stage was named “Josef Svoboda street” in his honour.)