In her role as the ensemble’s leader and in creating programming, she draws upon knowledge gained through systematic research in Czech and foreign archives, where she studies treatises on Baroque gesture, declamation, and dance. “Reconstructing poorly preserved musical notation is time consuming and often very difficult”, Semerádová explained to the Czech newspaper Hospodářské noviny. “But by doing this, we are able to perform long forgotten music that shows what a high level of quality Prague’s and Bohemia’s musical life attained in the 18^th century. Nothing compares with the experience of being able to visit archives and work with old musical sources, to sing through the compositions under your breath in the research room, then to transcribe and revive the works at concerts.”

Under her leadership, Collegium Marianum gives several modern-era premieres each year. She also has a number of recordings to her credit. She made “Music from 18^th-Century Prague” with the ensemble, and for the Supraphon label she has also recorded two profile CDs. In a review of the first of them, Solo for the King, according to Jana Slimáčková Michálková the soloist is attempting “within the framework of historically informed interpretation to differentiate on the recording between individual pieces, movements, sections, or phrases, and she succeeds at this. She highlights harmonically exciting moments, and the slow passages excel for their expressiveness.” Eight years later, Semerádová released a second solo album, this time with the title Chaconne for the Princess. While the first album takes listeners on an imaginary visit to the Prussian court, now Semerádová takes us to England to Princess Anne, daughter of King George II. “Semerádová is a sensitive player, and she gives a performance of very nice quality on the album”, we read on MusicWeb International.