The Erkel Century CHILDREN’S DAY at the ERKEL THEATRE | Photo: Péter Herman Greeting Greeting

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The Erkel Century CHILDREN’S DAY AT THE ERKEL THEATRE | Photo: Péter Herman Greeting Greeting

Dear Enthusiasts of Dear Reader, Opera and Ballet,

The significance and meaning of life, and also its beauty, are revealed by those We are in an unusual position in that we are not handing over to the audience high points and low points from which we can grow personally and become an institution that was strictly speaking ever fully inactive. It never disappeared better and wiser as people. from the consciousness, so the fear of forgetting it was never a threat. Still, for It is an interesting peculiarity that an institution dedicated to being the six years, fans of opera and ballet were not allowed inside. As rehearsals were musical theatre of the Hungarian people should also suffer a characteristically conducted here even after its incomprehensible closure in 2007, the building Hungarian fate: glorious moments in history, times of crisis, a desperate itself never fell into a dangerous state. Once the government measures struggle to save it, and performances given by the most renowned musicians required to re-open it had been taken, a temporary spring season was held in and companies have all been played out here. The century in the history of one the Erkel Theatre in 2013 (which is when the OperaKaland, Hungary’s largest of the most iconic buildings and institutions in Hungarian cultural life is – just organised cultural program for students, commenced), but we have also held like music itself – a tale dizzy with highs and lows. dress rehearsal productions in recent weeks. This fantastic building was constructed 102 years ago bring high culture, at the time considered the privilege of elite layers of society, to a wider audience. As It is also unusual that this enormous building regained its beauty on the Zoltán Kodály put it, “music should belong to everyone, and it is not right that quiet, in summer, at night and on weekends, in order that it might once again anyone should be denied the joyous miracle of music based on their origin, be that for which it was built: a practical, clean and comfortable home for material circumstances, level of education, or even age. The “People’s Theatre” Hungarian total art. The venue we are now handing over has already been has witnessed many significant moments in musical history – for example, attended by more than 150,000 audience members, as neither the company it was here that the world-famous Ballet Russe made its first appearance in operating the Opera nor the massed ranks of fans were able to or wished Hungary – but it has also undergone difficult times, falling under foreign to wait for the official opening in November. This insistence is moving and ownership, and even operating as a cinema for a brief period. has filled me with confidence that there will once again be an audience for From absolute rock bottom – the decision to dismantle it in 2007 – we have Hungary’s largest theatrical space, which today has finally undergone every now finally reached the absolute peak of our hopes and dreams: the day of planned reconfiguration and development, and for which funds of around Ft the Erkel Theatre’s rebirth, which fittingly falls on the birthday of its namesake, 2 billion have been utilised by the management of the mother institution, the Ferenc Erkel, the father of Hungarian opera. Hungarian State Opera House. The building, having been renovated in accordance with international standards, now offers an environment that is modern, elegant and pleasant Our task is to provide the support structure to sustain all this – and we will be also for young people. In addition to acquainting audiences with a wide range delighted in the future to continue assisting the mutual cause of Hungarian art, of traditional Hungarian music and maintaining its original “popular education” Hungarian theatre culture and the Hungarian public through the operation of function, one of the renewed Erkel Theatre’s most important tasks will be the Erkel Theatre. to introduce and popularise opera culture among the younger generation. Based on the original concept of a people’s opera, the institution’s 21st century mission is to develop and maintain the ethos of a “community opera”. It is is my wish that in the 102 years an more to come, everyone visiting here will feel that music belongs everyone, just as the Erkel Theatre should belong to us all!

Viktor Orbán Zoltán Balog Prime Minister Minister Ministry of Human Resources 14 26 40 50 56 60

4 Greeting from Viktor Orbán 5 GREETING FROM ZOLTÁN BALOG 44 A THEATRE BUILDING FOR THE 20th CENTURY: THE PEOPLE’S OPERA Of architectural interest 8 GREAT MOMENTS – 1911 The first evening of the People’s Opera 50 “UNCLE” SCHÄFFER’S ALBUM The new-found treasures of the Opera Archive 10 GREAT MOMENTS – 1912 The Russian Ballet 54 ADVENTURES IN THE ERKEL THEATRE 14 October 2013 12 GREAT MOMENTS – 1914 Parsifal 56 ANYONE WHO LOVES THE OPERA CANNOT BE A BAD PERSON… Interview with Péter Laki, István Mozsár, Szilveszter Ókovács and Gábor Zoboki 14 GREAT MOMENTS – 1918-1946 Glimpses of the history of the People’s Opera/City Theatre 60 BARTÓK’S BLUEBEARD Bluebeard première 22 WE NEED THE ERKEL! Joining forces to renovate the 100-year-old Erkel Theatre 63 OPERAKALAND 24 intERMEZZO 66 AFTERWORD BY SZILVESZTER ÓKOVÁCS Jazz at the Erkel 26 HAUNTING THE IMPOSSIBLE Reminiscences – 1953-2004 CHIEF EDITOR: Szilveszter Ókovács, General Director DESIGN: Mátai és Végh Kreatív Műhely PUBLICATION CONCEPT: Dr. Monika Turkovics PRINT PREPATION: Mátai és Végh Kreatív Műhely 32 PAS DE TROIS Director of Marketing and Communications PRINTING: Keskeny és Társai 2001 Kft. The March opening of the Erkel Theatre EDITOR: Judit Kádár-Csoboth 34 fROM CLOSING TO OPENING AUTHORS: Anka Józsa | Márton Karczag | Tamás Pallós | Tímea Papp | Zsuzsanna Rákai | Norbert Vass | Nóra Wellmann From 2005 to the grand reopening TRANSLATOR: Golden Fish Language Services PHOTOGRAPHY: Szilvia Csibi | Pál Csillag | László Emmer | Vera Éder | Tamás Gács | Péter Herman | Zoltán Máthé | Béla Mezey | Nagy Attila Nagy | Thomas Opitz | Otto Skall 40 fROM PEOPLE’S OPERA TO ERKEL THEATRE | Aladár Székely Notes to an exhibition Opera House Archive | Opera House Commemorative Collection

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The opening of the People’s Opera was written by the Spaniard [!] Jean (excerpt) Nouguès. The text presents six parts from the novel by Sienkiewicz. “Anyone witnessing the auditorium Of the performance, we can only of the People’s Opera this evening write in general terms. It was splendid. will be clear about the extraordinary Welcomingly fresh, it was put across significance of the new theatre’s with enthusiasm, diligence and opening. We must use the word understanding. Operatic direction “extraordinary”, because the enormous the like of which we had not yet seen interest, the good-natured waiting in this country. (The work of Adolf and the enthusiasm with which Mérey.) All of the performers were the audience greeted the opening outstanding, some surprisingly so. We are all founded on our capital city’s should mention all of them. Especially Quo Vadis? | Photo: Vasárnapi újság (1911) Author: Tamás Pallós extraordinary relationship with the noteworthy for us: R. Ábrányi, Várnai, theatre. This theatre was urgently Andréjka and Pajor. The opera was lacking in Budapest. The Hungarian conducted by Márk Grosskopf. A first- Royal Opera House has, for years, time visitor. A brilliant conductor. been on the side of fumigating The audience was at first somewhat the audience. It neglects the most restrained, as if alarmed by the great interesting foreign innovations, it does apparatus constructed to impress not concern itself at all with talented them, but after the third act, they Hungarian composers, and, in the applauded with total enthusiasm.

The first evening of the People’s FRIGYES “FRITZ” REINER | Photo: Opera House Commemorative Collection programme selection, it is not artistic Quo Vadis was a great success.” Opera merit, but interests, that are taken into account. (Works by Guerra, Hűvös, Géza Csáth “The most sensitive, and almost short barrel-shaped vault encloses also. Of the orchestra’s material, it is Erlanger, Zichy, Franckenstein, Delmar, Budapest, 7 December 1911 unerring measure of the course of the auditorium. The spatial effect is not yet possible to know for certain. etc.) Here it is not just the interested human life and human endeavour is imposing, and particularly imposing Much more interesting than Grosskopf parties, the unjustly slighted, but also architecture. Those succeeding us will was the crowd of people clattering was Frigyes (Fritz) Reiner, who is the larger audience that has awaited grasp the scale, direction and content away in the jam-packed auditorium, known to be an unusually intelligent with clenched fists a new opera house of our culture from the buildings which warmed and completed the conductor and hopefully will bring where it is not necessary to get into left behind, just as they will from the otherwise cold interior architecture style to the orchestra. The chorus was a fretful state each day, where one written word. Someone wishing to emphatically lacking in decoration. good, as was the directing, in contrast can sit in fresh air and receive all that imagine this still-unfinished process This coldness is unfortunately only to the tasteless scenery. Today, when one’s eyes and ears desire. Interesting as the democratisation of opera, increased by, among other features, every theatre worth its salt creates new material. Concise, monolingual groaning as it is under the heavy the large painting by Bertalan Pór over its scenery under the direction of a performances. Attentive, robust weight of tradition, will glean sufficient the stage. graphic artist, it is not appropriate direction, and not some kind of information from comparing a modern to adorn with such dreadful canvas academic nonchalance. amphitheatre-type seating area, with Nouguès’s opera Quo Vadis opened rags a stage from which we expect so few boxes, to, say, the seating area of Dezső Márkus’s new theatre. Of the much and toward which the Budapest I believe the reason all of us were the Paris Opera. I harked back to older opera itself, we cannot say much that audience has directed unprecedented awaiting the People’s Opera is because opera houses as I stepped into the is positive. The music is full of banality fondness.” this is what we expected from it. And auditorium of Dezső Márkus’s new and bombast, and its coloratura is a after today’s opening performance theatre, of rich, elegant and heavy great mess. The singers performed Aladár Bálint at the theatre, we can state with decor, of gilded walls, and muses their work with great ambition. We (Nyugat, 16 December 1911) complete certainty that we did not and other figures painted among can now take note of the name Pajor. wait in vain. We heard Quo Vadis as THE PEOPLE’S OPERA | Photo: Vasárnapi újság (1911) floating clouds. The contrast is nearly I believe that a worthier occasion will the first performance. The libretto overwhelming. A long and relatively help bring other names from obscurity is the work of Henri Cain. The music

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The People’s Opera Wagner cycle of the phrasing, and the orchestra’s excelled with his enormously powerful playing by absolute discipline, total baritone and the extraordinary clarity “This evening saw the start of the concentration of strength, and fearfully of his phrasing. Anna Bahr-Mildenburg, People’s Opera’s German-language powerful woodwinds. It is unfortunate as Ortrud, sang in a stilted fashion Wagner cycle. We heard Lohengrin that the difference in tone of the and acted erratically, although we as the first performance. The general slightly lower-tuned organ interfered found her voice voluble, worthy effect was surprising. The piece with the complete success of the and in places superb. Pál Bender, as left a unified, rounded impression, stirring end of the second act. Henry the Fowler, and Charles Mott, even if fast tempi were avoided Foremost among the principals, as the Herald, filled the roles well. The and it thus stretched much longer we mention Éva Plaschke van der direction was the work of chamber than, for example, a performance of Osten, personifier of Elsa. She has singer Zsigmond Krauss. Lively and Lohengrin at the opera house. The first a celestially tender voice, which is solid. Professor Leffler, the scenery mention must go to Ferenc Mikorey, also hardy, steady and lasting. Her designer, was in a difficult position. He musical director for the evening. His movements and facial expressions, had to negotiate with the available, conducting is characterised by great just as much as her singing, attest to but relatively small space. His efforts style, strength and independence. In complete understanding and intense succeeded in a manner deserving certain sections, he was able to show empathy. We already know Knote’s of recognition. The audience filled

THE PEOPLE’S OPERA (1912) us new and enchanting aspects. The Lohengrin from the Opera House. He the People’s Opera auditorium The Russian Ballet Budapest public can feel blessed by was heroic. He was handsome. And and enthusiastically applauded the Mikorey. The chorus and orchestra his fresh tenor rang out with rousing principals and conductor Mikorey.” “The Russian Imperial Ballet and veracity that our amazement viewer’s sense of reality. We would of the Dessau Opera House took passion. However, certain gestures, made a guest appearance at the never ceased. have liked to invite Miklós Guerra, the their places illustriously. The chorus’s unfortunately, were made prematurely Géza Csáth People’s Opera this evening. It is no Opera’s ballet master whose dubious singing was marked by a sure balance also today. F. Plaschke, as Telramund, exaggeration to state that we had The music to Cleopatra was written choreography has tested our patience been waiting for them for a long by Arensky and Taneieff. Singularly so many times, as he could have time. We had read such gushing stylish and outstanding music. For learned a thing or two here. The music praise heaped on them in the foreign each performer, we can only write to this ballet, the work of Tcherepnin, press that our curiosity and interest unqualified approbation. Those who is slightly tiresome, overly loud, and of were understandable. We were not had only mime-type roles were just as inert inventiveness. disappointed. On the contrary! What surprising and astonishingly perfect they produced superseded everything as the soloists. Only a dance culture The choreographic drama we expected of them. And for our underpinned by a century of tradition, Scherehazade, performed as the expectations, we took as a basis driven by tenacious strength and closing, is reminiscent of Sumurun. the productions of Reinhart, the supported by great material sacrifices A harem, unfaithfulness, butchery marvellous magician of the theatre. and public interest could produce and mass murder. Music written by Fokin was the choreographer. A dance such a work. Of Cleopatra’s performers, Rimsky-Korsakov. Overly scored and genius with a splendid sense of fantasy we can single out Ms. Nijinska, artful music in which the insipidity such as is born only once every 300 the personifier of Princess a-Hoor, of the melodic inventiveness is years. Anyone who saw his ballet Ms. Stafiea, who played Cleopatra, not compensated for by the clever Cleopatra will never forget it as long and Adolf Bolmot. A man with a dramatic effects. Nevertheless, the as he lives. Fokin reconstructed from phenomenal physique who played drama was astoundingly interesting, Egyptian wall paintings and drawings the tragic lead male role with jarring and the entire evening left us with a depicting dancers – of course, only in theatricality. rare and unforgettable memory of a single moment of dance – the entire In the second ballet, Armidas Pavilion, new pleasures.” dance, the movement of the people, we see a Gobelin tapestry brought their entire culture, with such beauty, to life. The newness of the ideas and Géza Csáth intelligence, gorgeous inventiveness inexhaustible richness warped the

THE PEOPLE’S OPERA (1912) 10 11 Great moments Great moments

beyond women and passion. At that it short-sighted that they dared to set time, he might have stood clearly and such a task before young singers and calmly, face to face with Parsifal. With a young orchestra, and it is entirely sincerity and inner faith, he might certain that without fanaticism and have accepted that human suffering blind faith, they would have shied is redeemed by immaculate youthful away from this work at the first stage simplicity, of which, in the character of of experimentation. The result fully Parsifal, he realised the ideal example. justified the ambitions of the People’s He deemed the sickness in the Opera’s management. complicated machinery to be curable with the magical salve of tabula rasa. Frigyes (“Fritz”) Reiner crafted a marvel Parsifal’s music is by necessity built from the human resources at his in sweeping forms: distilled music disposal. He had already given much attempting to evoke an emotion proof of his talent and aptitude, and of piety. Its instrumentation is such after his coaching of Parsifal, we must Parsifal that the conscious toning down of immediately class him among the the effects of the act of doing can leaders of his profession. “The name sounds out from the be felt everywhere, which naturally departing Lohengrin’s lips with a great implies the highest degree of both Sándor Bihar’s abilities were revealed crescendo: Parsifal. instrumentation and effect, and the to an imposing extent in the role of A radiance invisible to human eyes, a most extreme foray into refinement. Gurnemanz. His acting talent and mystical grandeur exceeding human mighty voice have predestined him comprehension flows out from the As if Wagner guessed he was writing for this role. His declamation is fully pathos of the Grail legend. his final work, he summarised in Wagnerian, and his enunciation is “I was sent to you by the Grail: Parsifal all he had learned from life. This coherant and clean. my father Parsifal wears its crown….” R ichard wagner | Photo: Opera House Commemorative Collection music is a distillation of everything in Anthes’s Parsifal is classically sculpted. his music he considered permanent Full of loftiness and towering strength. For a moment, the heavy veil of and valuable. The inexperienced youth and the secrets opens up, and a long period of The theme of Parsifal follows Wagner (surmounting foolishness with new seasoned knight are both depicted bedazzlement ensues as the flashing throughout his entire life. The understanding) and Tristan’s rapture * with plasticity and deliberation. lights taper off. Grail knights are already present In (love as all-consuming lava), in other The People’s Opera has brought to Teréz Krammer was also excellent. Lohengrin (1847), even if invisibly, but words the pugnacious Wagner’s two fruition a piece of work that cannot In summary of all this, the Parsifal Now everyone can visit the temple of with destiny-driving significance. most mature works, are precisely be assessed immediately. Bringing performance was an extremely the Grail Knights, and experiencing At that time, the legend was gestating the opposite of what is expressed in Parsifal to the stage involves a horrible important, outstanding event not only Wagner’s later works does not require inside of him, unformed and raw. Parsifal. amount of work. Wagner in general is for the People’s Opera, but for our a great fortune. In every cultural centre He had attempted several times to a difficult task for the orchestra, singers collective artistic life. An event in the of the world, practically speaking all on bring it to life on the stage, but had It is no coincidence that the story of and director. Parsifal brings all these best sense of the word.” the same day and hour as the 30 -year never got past the planning stage. Parsifal matured as Wagner’s powers difficulties together to an increased ban expired, the reverential notes of And he could not, either. What could declined. The more his capacity degree. The People’s Opera came out Aladár Bálint holy communion rang out for the first have been farther from Wagner, in for eroticism dried up, the more he on top in this battle, and the results (Nyugat, 1914, No. 2) time. From Paris to Saint Petersburg, the flower of manhood and exuding identified with the figure of the “pure achieved, disregarding a few minor from Prague to Barcelona (and his own selfhood and art with every fool”. flaws, exceeded all expectations. beyond) impressive human solidarity gesture, than the apotheosis of erotic The fact itself that we were able to bridges the restrictions of geographic denial. If the figure of Parisifal did in This is the glorification of old age. experience Wagner’s testament for the and ethnic borders. This sweeping fact appear from time to time, his One must suffer a great deal, and a stage in its entirety is a circumstance of momentum does nothing to ruin aggression would not permit him to great many things may have lost their such importance that it is unnecessary people’s curiosity – understandable turn foolishness into a human ideal. importance: after climbing up the to emphasise it separately. We can and warranted curiosity let it be said. The bitter satire of Die Meistersinger steps on life, he might have passed admit, after the fact, that we deemed

12 13 Felix weingartner Great moments Great moments

Glimpses of the history of the People’s Opera/City Theatre

“Nomen est omen: In the last “He enchanted us with his voice, month, we have read about the made us giddy with his gestures, simultaneous crises of the Berlin, and surprised us with his mimicry. Vienna and Budapest ‘People’s Chaliapin was profoundly and “When, at the start of the last season, Operas’. A favourable early sign of the staggeringly Human, because he the People’s Opera took on the start of the new regime, however, is cannot be a devil even if he wants name of City Theatre, one of the DEZSŐ MÁRKUS | Photo: Székely Aladár - that the theatre, witness to a great to be. His astonishing singing skill, new christener’s resolutions was to Opera House Commemorative Collection many tempests, can commence its miraculous vocal material, and an compensate in the repertoire for the operation with Hermann Jadlowker, endurance sufficient to put famous lack of “opera” in the theatre’s name. the most popular name from its past. dramatic actors to shame all served Last year, the promise became reality Even today, his name translates into to open the human soul in the most only to a very small extent, as Márta a full house. The hero of the hottest profound and universal way.” was the only opera production. (It is people’s opera soirées of the happy better if we forget about the Préger peacetime was heard by the audience (Aladár Tóth, 15 May 1927) guest appearances). After the packed “The ‘most elegant concert of the year filling the theatre to the last seat, with performance series of the Flotow 1923 is again attached to the name of Jadlowker choosing the part with opera, however, the awakening sense Jenő Hubay, whose Petőfi Symphony which he first won over the Hungarian “While last year we made the of conscience, the best alarm clocks we premièred on 26 February 1923 audience: Don José from Carmen.” acquaintance of the great Russian for which are poor box office figures, in the City Theatre. The evening’s artist as part of a concert at the compelled the management to festival atmosphere was elevated by (István Péterfi, Világ, 18 November 1924) colosseum on Kálmén Tisza Square, make a new promise, this time with the occasion, which kicked off the “Today’s performance of Carmen the real meeting was nevertheless not a guarantee. The promise was that, Petőfi Centenary. The Petőfi Symphony at the City Theatre was supposed until today, when we put Gounod’s come hell or high water, from now on consists of four parts, written for four to have been conducted by Felix music together with Goethe’s fantasy there will be two opera performances solo voices, a large orchestra, and Weingartner, but the world- poem. Chaliapin’s Mephistopheles each week, and the guarantee is the a combined and children’s chorus. famous conductor, who had been was neither such an elegant man appointment of Dezső Márkus as Here, too, the composer found contracted for 40 appearances at Géza of the world as Journet’s masterful Principal Music Director. Truly, the employment for more than 300 Sebestyén’s theatre this year, suddenly performance not long ago, nor as “indemnification” – to use a phrase people: the Philharmonic Society, the tore up his contract this evening. The demonic as Baklanov was, nor as from the language of foreign affairs – Opera House’s combined chorus, the reason for the break-up was the fact bat-like as Bohnen’s nowadays much for the adventurous past of the theatre Palestrina Chorus, the Budai Singing that the theatre’s management had copied figure, nor like Titta Ruffo’s, at Kálmán Tisza Square can comprise Club and children’s choirs. Petőfi was given the role of Micaele to Teréz but he was in every sense of the only high-quality, for which, with the personified by Ferenc Székelyhidy, Kőzszeghy, while the director had word peerless. With the magic of an current high water, no great sacrifice is with Anna Medek singing Julia wished to send Gizi Kármán to the outsized personality, every element required. And let us not forget that if Szendrey, Vilma Tihany as Genius, and stage. Since neither party would relax merges inside him, and even the the finest actor cannot easily take on Béla Venczell as Death. Before the their stance, Weingartner is as of today being’s joviality is integrated stylishly a new type of role, the same is true for symphony was played, Mari Jászai no longer conducting Bizet’s opera into the picture. Chaliapin is one of the theatres as well. The building originally recited End of September in Hungarian and, as matters now stand, will not be true princes of the musical performing built for 3,500 opera listeners and and English, followed by Nelly Huszka making any further appearances at the arts, with a glorious voice, perfection FE ODOR CHALIAPIN | Photo: Opera House Commemorative Collection now “masquerading” as an enormous in French, Lola Grill in German and conductor’s podium on Kálmán Tisza in his singing, stage presence, and theatre can only be a true home for Erzsi Paulay in Italian. We also had the Square.” theatrical acting.” operatic music.” programme printed in five languages.” (István Péterfi, Magyar Hírlap, (István Péterfi, Magyar Hírlap, (István Péterfi, 16 October 1918) (Imre Kun) JENŐ HUBAY | Photo: Opera House Commemorative Collection 5 November 1926) 15 May 1927)

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Theatre, Jenő Hubay, Erzsi Péchy, Galli-Curci’s Budapest appearance today much less indisposed than in Hanna Honthy, Márton Rátkay, Zsolt has now for weeks been the subject Traviata. The public today, despite Harsányi, Dániel Jób and, naturally, of disputes between various sides the production’s better artistic level, the directors of the City Theatre, and various opinions, with her 40,000 was still less than satisfied. It neither Géza and Dezső Sebestyén. After the dollar fee the subject of headlines. received the wonderful performance third performance, the celebration Galli-Curci’s debut has most definitely it had been awaiting for weeks, nor, of Chaliapin gave way to ecstasy. The caused disappointment. The better however, was it able to witness the audience chattered about pleasure, part of the soprano’s register (perhaps sensational scandal it had secretly praise. While the role of Cavaradossi unforgettable pleasure, a princely due to some lasting indisposition) was counted on since Wednesday’s news.” “The City Theatre stages operas at is not the most suitable for showing gift. What was Chaliapin doing in his colourless and vulnerable to dynamic the end of nearly every season. This off his delicate phrasing, we could dressing room throughout all this? shifts. Her instrument is still capable of (István Péterfi, Magyar Hírlap, year, under the baton of the world- nevertheless feel and enjoy Gigli’s He was sitting calmly, while across light and warmth in some places, but 1 March 1930) famous and hugely talented young artistic talent for interpretation even from him Jenő Feiks drew “the great fundamentally her scale is broken so conductor from Milan’s La Scala, despite this. Already in the aria in the Muscovite”, and afterwards asked that her delicately conceived phrases “We have taken part in many Antonino Votto, our Italian guests will first act, he made a deep impression Chaliapin, since it had emerged that crack when emitted. Apparently, sensational attractions at the vast be presenting Rigoletto, La Bohème, with the artistic shaping of his he was a gifted caricaturist, whether she may have been suffering from theatre on Kálmán Tisza Square, but The Barber of Seville and Aida. As an song. His passionate outburst in the he would be kind enough to draw serious stage fright, which would few can compete with Wednesday’s opening performance, they have second act came out with instinctive, himself… A moment later Chaliapin have explained missed notes. (…) concert. The magnificent Italian selected Rigoletto, with its most masculine force. The high point was handed over to Feiks his marvellously When Galli-Curci’s slender, sharp- director, Arturo Toscanini and the famous member, Carlo Galeffi, in the E lucevan le stelle. Three times he sang benjamin o gigli | Photo: Aladár Székely - well executed self-caricature, featured figure appeared on the stage, New York Philharmonic made their title role, Margherita Salvi as Gilda and this hackneyed aria, but it managed to Opera House Commemorative Collection recording his highly characteristic she received polite applause. Even debut for the Budapest audience, Alessandro Vesseloni as the Duke of be new and gripping, without leaving face with one or two lines. The fifth after her first notes, the audience’s acquiring musical wonders to be Mantua.” us feeling it was all for the sake of mask, and when we watch him, we act truly hypnotised the audience in unease could be sensed, and this only remembered forever. (…) In the effect.” listen to him and do not even concern its depiction of the injured knight’s increased when it emerged that Enzo overture to Rossini’s L’italiana in Algeri (István Péterfi, Magyar Hírlap, ourselves with the slow course of the demise, the Pauvre Chevalier’s death de Muro Lomanto, La Scala’s unusually could be seen the creativity of the 12 June 1928) (István Péterfi, Magyar Hírlap, monotone music.” scene. The audience felt that the rich-voiced tenor was likewise composer of Barber of Seville, all the 29 May 1929) “enormous” ticket prices were small indisposed, and sang parts of his aria scintillation and grace of Italian music; (István Péterfi, Magyar Hírlap, compared to the pleasure received. off key in several spots. There was in Beethoven’s Seventh Symphony, “Chaliapin brought to life precisely 30 November 1929) Every viewer had overpaid by several hardly any applause after the first act, there was the profundity of German the Don Quixote we imagine when teardrops…” and some even hissed. In the second classical music; in Zoltán Kodály’s reading Cervantes. It was not for the “It is half past seven in the evening. act, János Halmos took over the role of work, Summer Evening, our own late Massanet opera, but for Chaliapin The traffic on Kálmán Tisza Square (Adorján Stella) the younger Germont in place of the composer’s glorious Hungarian music that the enormous auditorium of could easily match that of the Paris sick Italian singer.” was on display, while Debussy’s La Mer “In America, the Metropolitan the City Theatre filled up on Friday Opera on its busiest nights. Private cars showed the delicate colours of French Opera tenor Benjamino Gigli is evening. (…) Massanet wrote it for and taxis in their hundreds poured (István Péterfi, Magyar Hírlap, impressionism and the Tristan excerpt known as the heir to Caruso. The him, and it is difficult to imagine out audience members for the great 27 February 1930) completely validated the force and Budapest audience, however, is not anyone else in the role. We do not singer’s Budapest première. Curious passion of Wagnerian music. We are impressed by even the loftiest title, know whether anyone else would onlookers lined the pavement on “Ever since Amelita Galli-Curci’s especially proud that we were able and is reminded that even Caruso’s have dared take it on after Chaliapin. both sides. This audience stared at “On Wednesday evening, after tense appearance on Wednesday, Budapest to see Kodály himself at home here unparalleled reputation did not The great Russian artist emotes the the overcoats and those entering the waiting and multiple delays, we have has been talking about hardly at Toscanini’s side, when the master protect him from misfortune here. entire tragedy of Cervantes’s “sad- theatre, and criticised them. Inside, finally reached the season’s sensational anything other than the American called him to the podium for the Gigli, the heir, had better luck, for in faced” knight. An immortal figure in the City Theatre’s auditorium, night: Amelita Galli-Curci’s debut. star’s debacle. The expensively hired booming applause. It is an incalculable the City Theatre on Tuesday night, in from centuries of literature rises to life, among the tails and tuxedos, ladies The Metropolitan Opera’s world- soprano received a surprisingly honour to the entirety of Hungarian front of a crowded auditorium, he was and in addition to tragedy, profound glittered in luxurious dress. Many famous singer’s peerless gramophone clamorous response from the musical art that Toscanini plays works truly worthy, winning a tremendous human philosophy is also brought into were there in representation of the recordings have everywhere won audience, and it was feared that by Kodály at La Scala, in New York, and and enthusiastic response. (…) As far play in his splendid acting and singing. artistic world, including Sándor Heves, enormous popularity, just as the the singer’s second appearance in wherever he goes.” as his performance is concerned, we He arrests us from the moment he director of the National Theatre, tickets have been snapped up despite Rigoletto might occasion a scandal in can only talk in words of the highest appears on the stage in his wonderful László Beöthy, director of the Király the dramatically increased prices. the City Theatre. (…) Galli-Curci was (István Péterfi, Magyar Hírlap, 27 May 1930)

16 17 Great moments Great moments

“Furtwängler at the helm of the could again marvel at the peerless way our excellent philharmonic Vienna Philarmonic! It was a worthy musical wonder whose name is musicians surrounded the great closing chord for the great orchestral Toscanini. Once again, we were artist, the way they took from him evenings with which the bustling moved by the greatest personality of the fiery inspiration of his enormous concert organisers of Budapest have musical performance, and through artistic spirit: that beautiful musical been outdoing themselves! After this, the most profound enchantment community, in which the musicians the unsurpasable Toscanini, then of the classical Italian sprit. (…) It unfolded the wings of their endlessly Mengelberg, Weingartner and Bruno would be unnecessary to explain to grasping fantasy, as good as brought Walter, it is truly only Furtwängler who those who heard Toscanini’s Eroica to life before us the empathetic “This spring will mark the fourth had was missing from the now nearly Symphony today that the highest atmosphere of the music of Bach. anniversary of Arturo Toscanini’s complete list of great conductors to words of praise for this interpretation (…) The enjoyable character of the first visit to Budapest, and those visit Budapest. (…) It is with peerless are inadequate, even slight deviations evening, however, was even enhanced A rturo toscanini | Photo: Otto Skall - WILHELM FurtwÄngler who treasured the great director’s Opera House Commemorative Collection Photo: Opera House Commemorative Collection force of genius that he brings to life seem vulgar. (…) An entire study could when Fischer – in the second piece, performance as an unforgettable Beethoven’s heroic struggles with be written, but by somebody who the Concerto for Two Pianos in C experience have been waiting for “The City Theatre auditorium exhibited to “add”, but much more to express. So life and destiny. Where these heroic is able to comprehend Beethoven in minor – received no lesser an artistic his return ever since, as were those a shining picture of The People’s deeply can he lose himself in his own struggles are invoked: there perhaps words just as Toscanini comprehended personality than Béla Bartók as who have now bathed in the world- Opera’s former spectacles on Friday feelings that no bravura cleverness or none of today’s conductors can touch him with the splendid orchestra, the his partner. The great Hungarian renowned conductor’s art for the night, and judging by their numbers virtuoso calculation can surpass this Furtwängler in terms of genius. Or at Vienna Philharmonic. We admit that composer – just like Fischer – respects, first time. It is no wonder, then, that and dress, one would think it was heavenly innocence.” least we have never heard the Egmont after the Beethoven symphony, we in the piano as an instrument, the notwithstanding the high ticket not at the end of the season or in the Overture or the Sixth Symphony in were only able to half pay attention universal interpretation of the music’s prices and the current economic middle of an economic crisis that the (Aladár Tóth, 19 May 1934) such amazing interpretations, as we to the subsequent works on the poetry. What also goes without situation, the City’s Theatre’s enormous audience gathered to hear Benjamino did in today’s Furtwängler concert. programme. And here, too, there was saying is that Bartók himself is the auditorium was packed to bursting. Gigli, heir to the throne of Caruso. The On the programme: the greatest It is true that Furtwängler’s visions enough to fully engage the listener’s only modern composer who has (A sincere acknowledgement goes splendid Italian tenor has already been musical creation of all time, the Ninth never disperse the mists that obscure heart and soul. Foremost among them enriched the piano literature not to the radio’s management for to Budapest once this year, but only Symphony, and one of the greatest life’s deepest happiness, and that the was the Paris version of the overture with specialties, but with an entire, making listening to the concert, at to give a performance in the Vigadó creations of the Hungarian spirit, the Furtwänglerian tempests bring no and bacchanalia from Tannhäuser. (…) universal world of musical poetry. least indirectly, possible for a broader Concert Hall, while now, in a single Psalmus Hungaricus. On the stage: catharsis: after they pass, the muggy And, afterwards, Berlioz’s Rákoczi March. This is also reflected in Bartók’s piano segment of society.) Of the character night, the audience was able to enjoy one of the world’s most famous atmosphere never quite clears, and the And did Toscanini’s orchestral artistry playing, which is unsurpassable in its of today’s concert, we can say no more his marvellous instrument and noble orchestras, the Vienna Philharmonic, sun never comes out in its full glory. not lend this evening, in Sibelius’s Saga, expressive force.” than that this Toscanini concert even vocal art both in an opera, in the role together with the Metropolitan Choir Their greatness does not allow what is such colours that properly showed the surpassed the previous one, and it of Turiddu in Cavalleria Rusticana, and of Budapest, of which, after its success missing from them to be forgotten, in Finnish composer’s poetic originality (Aladár Tóth, 28 February 1936) is now only out of homage and not in a concert afterwards.” in Vienna, we can now speak of as one such a symphonic poem as the Pastoral to the Budapest audience for the very with the voice of criticism that one of the foremost choruses. Soloists: Symphony, the “tempest” is merely an first time? Finally, the touchingly big- “A remarkably good orchestral can speak of the master of masters (István Péterfi, Magyar Hírlap, Elisabeth Schumann and Richárd Mayr, episode, after which one may better hearted gesture with which Toscanini evening featuring Béla Bartók and and his magnificent orchestra. For 19 May 1934) with Enid Szántó and Endre Rösler, rejoice in the clear sky. In Furtwängler’s made a triumph out of his fellow Italian, Edwin Fischer unfolded at the City when he was with us that time, he in one word the most select quartet Pastoral Symphony, the sky never fully the cultured and ceaselessly inventive Theatre on 27 February 1936. At this had with him the bravura ensemble of “This evening was truly a triumph of soloists. Finally, at the conductor’s clears, the glorious harmony of nature Castelnuovo-Tedesco’s overture to concert, Bartók and Fischer together New York’s Philharmonic-Symphony for Italian vocal art and its peerlessly podium: the greatest living conductor, did not greet us with the boundless Shakespeare’s The Winter’s Tale.” played Bach’s Concerto for Two Pianos Society, and now appeared at the differentiated culture of marvellously Toscanini. After so many superlatives, happiness with which it once in C minor. (Béla Bartók sat at the first helm of the Vienna Philharmonic. (…) crystallised human voice, whose it is almost pointless to add that on completely filled Beethoven’s spirit. (Aladár Tóth, 4 December 1935) piano.) A long dispute had taken The program was compiled splendidly: pinnacle is tonight’s hero, Bejamino Monday a musical event was held This happiness-inducing romance of place early on as both artists modestly Mozart’s Symphony in D major, Brahms’s Gigli (…). With him, we do not feel in the City Theatre the like of which nature was, however, closer to the spirit insisted that the other take the lead. Haydn Variations, Beethoven’s Seventh even the most phenomenal vocal today’s Hungarian audience has never of the artists of the Viennese orchestra. Finally, Fischer won out, saying that, Symphony and Wagner’s overture to effects to be the result of artfulness. He participated in before. What it produced in the symphony was “where Béla Bartók plays, only he Meistersinger.” is honest, open and direct, like a big truly the pinnacle of all orchestral art.” can be the lead player, and therefore child. He feels what he feels in his heart (Aladár Tóth, 23 October 1934) Edwin Fischer shall take the second (István Péterfi, Magyar Hírlap, so strongly that there is nothing for his (Aladár Tóth, 13 April 1935) “At Edwin Fischer’s Thursday concert spot.” The two-piano concert was so 31 October 1933) enormous and rich treasure of a tenor In the City Theatre on Tuesday, we in the crowded City Theatre, the successful that the two artists had

18 19 Great moments Great moments to repeat the entire work, which is something unprecedented in my 30 “It is not an infrequent occurrence years of experience as a director.” for the luminaries of the opera stage ERNŐ DOHNÁNYI | Photo: Opera House Commemorative Collection to visit us only when their glorious (Imre Kun) names no longer presage a similarly brilliant voice. This is probably the reason why only a surprisingly small audience came out to the City Theatre for Aureliano Pertile’s first Budapest appearance on Tuesday. Nevertheless, the great Italian singer still stands at “The next big sensation of our concert the zenith of his career. His voice is life was the performance organised unbroken and he is a cleanly resonant in the City Theatre by the Hungarian- clear tenor in both his fortes and Soviet Society, in which Emil Gilel, pianos, while the suggestiveness and a Soviet pianist hitherto unknown movement of his art, is so compelling to us, took the stage. After his first that he keeps every listener in his spell appearance, so much Gilel-fever broke throughout. In every respect, Pertile out in Budapest, it was a match for the should be ranked among the most interest displayed in Menuhin.” outstanding opera singer personalities of all times. (…) an entire study could (Imre Kun) be written about his wonderful Otello.”

(István Péterfi, Újság, 14 October 1939)

“Neither the summer heat, nor the end BÉLA BARTÓK | Photo: Opera House Commemorative Collection of the season hold back the audience when their favourites are advertised “On 4 May 1937, the Budapest emotions, and not his thoughts, at on the playbill. The Hungarian capital audience once again received a such a time, in the moments after the hardly has a more favoured singer sensational delight from the world concert starts. And on the externalities. than Jan Kiepura. It was here that he class when Béla Bartók, Ernő And on the compelling and varied started his world-conquering career, Dohnányi and Edwin Fischer all programme, which included Vivaldi’s and he has always returned with new appeared in a concert held at the City Concerto in D minor, Beethoven’s accolades. Either personally or through Theatre, playing together Bach’s three Pastoral Symphony, Bizet’s Arlesienne films, the relationship was permanent, “On Monday evening, the world- Piano Concertos in D minor. Here, too, Suite and Mussorgsky’s Pictures at an and, through his Hungarian wife famous Dutch conductor Willem Béla Bartók sat at the first piano. Even Exhibition. The Vienna Philharmonic, Márta Eggerth, he now even counts Mengelberg completed his five- room No. 10 on the 3rd floor of the splendid ensemble that it is, is still himself as one of our own. On Monday concert Beethoven series at the House Music Academy was filled for the great today worthy of Toscanini, whose evening, the spacious auditorium of of Hungarian Culture. The cycle was artists’ rehearsal sessions.” inventions it was able to follow with the City Theatre was nearly full, and an outstanding event not only of the greatest precision and express in from the moment he appeared, a the musical season, but also for our (Imre Kun) bravura form. The maestro and his spirited ovation greeted the world- reconstituted youth orchestra, in colleagues were showered with the famous Polish artist. He started his which the Metropolitan Orchestra “The season begins with the greatest most enthusiastic ovations all evening guest performance series for this also achieved extremely useful of music festivals: Toscanini is from the grateful listeners.” year with one of his favourite roles, pedagogical results that will certainly directing, and this means the very Cavaradossi from Tosca.” have a bearing on its future.” pinnacle of the performing arts. (…) (István Péterfi, Magyar Hírlap, Au reliano Pertile | Photo: Opera House Commemorative Collection Even the critic can only report on his 14 October November 1937) (István Péterfi, Újság, 13 June 1939) (István Péterfi, Újság, 11 February 1941)

20 21 We need the Erkel! We need the Erkel!

More than 60 Hungarian opera singers stars featured that night donated their It was an enormous thrill to sing there: and ballet dancers of worldwide repute fees to the noble cause, and many its acoustics are magical. The Erkel had – including numerous representatives artists even purchased benefit tickets, become part of our lives: we miss it, of the coming generation of artists – since they regard the Erkel Theatre’s and I am very glad that I too am able to took to the Opera House stage at 7 pm renovation as a matter close to their contribute a little to its renovation.” on 18 February 2012. The Opera House hearts and their contribution as an S zilveszter Ókovács , Éva Marton, donated the artists’ fees, the proceeds investment in the future of Hungarian Joining forces Andrea Rost, Erika Miklósa, Ildikó Komlósi, PAL OTÁS DANCE BY THE HUNGARIAN Kolos Kováts | Photo: Tomas Opitz from benefit tickets, as well as the total opera performance. Aside from the DANCE ACADEMY ON THE ERKEL to renovate the revenue from the evening’s auction to revenues from the purchase of tickets EVENING | Photo: Pál Csillag the Erkel Theatre’s renovation and to for the gala night, anyone – private The management and artists of the the construction of a new ballet studio. individuals and companies – was Opera House decided to supplement The special event was even broadcast invited to make a contribution. The the amount earmarked by the live by Hungarian Television, Duna gala – which was hosted by Erika government for the renovation of the Television and Bartók Radio. During Miklósa and Szilveszter Ókovács – Erkel Theatre with a charity gala night the broadcast, the public was invited included performances of popular arias and auction, because, as Szilverszter to join the campaign by making a by Erkel, Verdi, Puccini, Mozart, Bizet, Ókovács said in the winter of 2011, donation. Strauss and Leoncavallo, accompanied “The Erkel’s traditions as a people’s by the Hungarian State Opera House opera, as well as its mission to bring Even from its conception, this Orchestra, while the Hungarian Erkel opera, ballet and musicals to audiences monumental gala night was the National Ballet staged a modern from both Budapest and elsewhere in 100Theatre symbol of this artistic and social dance fantasy, and the students of the year-old Hungary, at affordable prices and in an campaign, the importance of which Hungarian Dance Academy performed easily accessible location, are important was also proved by the fact that a palotás or palace dance. The hostess to everyone.” singer Éva Marton and dancers Imre of the gala, Erika Miklósa, expressed E rkel 100 | Photo: Tomas Opitz Dózsa and László Seregi, all Kossuth how important the Erkel Theatre is They announced the charity campaign, prize winners, agreed to serve as the to her and to all Hungarian artists with its proceeds destined for the event’s chief patrons. Every single one with the following words: “I made my renovation, under the name “Erkell of the Hungarian opera and ballet debut in the Erkel Theatre as Papagena. nekünk!” or “We need the Erkel!” The opening event of the initiative was the Erkel night on 18 February 2012, for which valuable relics connected to the worlds of opera and ballet – including H OSTS OF THE ERKEL EVENING ERIKA costumes worn by famous singers and MIKLÓSA AND SZILVESZTER ÓKOVÁCS Photo: Pál Csillag exclusive paintings and decorative objects – were put up for auction. Photo: Attila Nagy Attila Photo:

22 23 Intermezzo Intermezzo

live the same way we would a record – even in that case we would have to Author: Tamás Pallós declare her Budapest concert one of the highlights of her life,” he wrote of Ella Fitzgerald’s Budapest concert. While it might be said that it was only People’ Stadium in 1965, the greats of in the 1960s that jazz really came into the golden age of jazz started to pay It was with equal enthusiasm that he its own in Hungary, it was well before visits to Hungary at an ever increasing wrote of the singer’s 1970 appearance then that the genre appeared on the rate, with the most important blues at the Erkel Theatre: “This was the Budapest cultural scene. Jazz concerts and jazz concerts being held at the embodiment of performance art: had been organised between the Erkel Theatre. This grand tradition every move she makes is fascinating wars, and the “white king” of jazz Paul started in 1968 with Ella Fitzgerald, and Andrés Pernye’s next report deals beyond words. When she stands at the without exaggeration that we consider Whiteman himself had appeared with then went on to include Count Basie, with Count Basie, the grand master podium, the world is at her command. it a standout concert in the life of his band in the city. (It was Whiteman Dizzy Gillespie and Oscar Peterson, of swing-style big band music. “It Of her 52 years of life, she spent 36 Hungarian jazz. In the programme’s who commissioned Rhapsody in Blue, followed by Lionel Hampton, Ray would be fair to say that the audience at the podium; her career has arced first half, Dizzy Gillespie’s sextet played, and his orchestra that first premièred Charles, Charlie Mingus, Art Blakey, filling the Erkel Theatre to the rafters steadily and uninterruptedly upward to followed by Duke Ellington’s big band George Gershwin’s work, with the Thelonious Monk, Stan Kenton, Stan a few days ago greeted Count Basie’s this day. (…) Ella Fitzgerald puts her all orchestra in the second.” Pernye’s composer himself featured on the Getz, Benny Goodman and many big band with unusual anticipation into creating a lively medium for good review covers the paragon of trumpet piano.) others. and the affection one has for an old music, in order to mould the Erkel virtuosos and Ellington’s musical friend. (…) Even today, we can feel in Theatre’s more than two thousand delights. It is with similar enthusiasm The 1928 Hungarian première of the András Pernye, critic from Magyar Count Basie’s playing the vestiges of listeners into a single audience focused that he wrote of the returning Oscar jazz opera Jonny Strikes Up by the Nemzet (Hungarian Nation) and the Harlem School that flourished in on a single thing. (…) The song Peterson’s evening as well: His trio’s Czech-Austrian-American trailblazer composer of the first comprehensive the late twenties and early thirties – Summertime – like at every Fitzgerald concert in the Erkel Theatre was the Ernst Krenek took place in the City Hungarian book on jazz, set down his but essentially surpasses this school concert – was sung slightly differently apotheosis of jazz music. Theatre. In 1938, the building also concert experiences, in the form of a with his trademark economical, but, here, slightly differently than ever hosted a jazz series as the country’s chronicle. at the same time, endlessly probing before, but was nevertheless once The jazz evenings of the seventies biggest “concert event”. Several improvisation method, which in again the most beautiful part.” made up for lost time by bridging, concerts were also held in 1948 “She knows everything that a the wink of an eye conjures up and at the last moment, so to speak, the and 1949, but after that, most likely performer can and should know. Her suggestively relays to us the true world E lla Fitzgerald Anyone can verify his latter statement, forced hiatus of several decades by because they were considered personal attraction is irresistible, and of the blues. (…) Basie speaks on the since an album was released of the bringing us the great and legendary undesirable in the eastern bloc due to may well simply be effortless. She piano.” recording made from the outstanding ambassadors of lighter (?) classical the kulturpolitika of the time, and as simply sings. (…) What was achieved evening. The record, highly prized music and improvisation in their “American music” were not tolerated in the Erkel Theatre, the art’s elevation In the annals of the jazz concerts among devotees of the genre, has twilight years. and therefore omitted from the to this kind of level, could not have in the theatre’s history, the musical given Budapest and the Erkel Theatre a programme schedule. been foreseen by anyone. Even if summit meeting of 1 November 1971, place in international jazz history. we had somehow switched off the anomalous even by world standards, After Louis Armstrong’s enormously enchantment of her personality, her is certainly deserving of mention. successful and, in terms of its later presence in the full sense of the word, “There was a bona fide jazz festival impact, breakthrough concert in the even if we had been listening to her on Monday at the Erkel Theatre. It is

24 25 Reminiscences Rovat

There were later companies that did not collaborate in performances of the Hungarian State Opera. Instead, the audience would see them in the Erkel as part of a one-off evening, a festival or other cultural event. The Budapest Arts Weeks or the Soviet Culture Days, the Great October Socialist Revolution and the Victory Day festival Hunyadi László (1972) Bánk bán (1969) - KAROLA ÁGAI Bánk bán (1969) - ERZSÉBET KOMLÓSSY programmes no longer exist, but the Hunyadi László (1972) - JÚLIA FORGÁCS, - GABRIELLA ZSIGMOND, ISTVÁN Photo: Opera House Archive Photo: Opera House Archive LÁSZLÓ SZIGETI | Photo: Opera House Archive RÓKA | Photo: Opera House Archive pages of yearbooks preserve these as well, just as they do the legendary song nights and concerts. pride, as well as the strength needed Kútvölgyi (in the 1972/1973 season, Reminiscing on the Erkel, stars starting their careers as music for future success. her name was still listed with the note academy or ballet institute students, And then we still have not spoken that she was a “college student”) and or studying direction at the theatrical about the subjective factor, since “The Budapest opera audience in our Teréz Vághegy were Puck in a double college. different memories stay with everyone. day is much tamer than it was back cast. Miklós Benedek took the stage attempting There are those who do not even when it marked down as failures the as King Bobeche in Bluebeard, to no The Erkel Theatre’s photo album is remember the performance, but likes of Caruso and Galli-Curci. The Pest little praise: “In a guest appearance, the Author: Tímea Papp the impossible thick, colourful and unusually rich. rather an entirely personal story, a public is a good one, grateful for the artist from the National Theatre gave Open a few pages at random, and we moment, a glittering pair of eyes – excellent guest artists it could see this a scintillating theatrical performance Let us make one thing clear from performance, jubilee, guest see it would be impossible to count whether belonging to a girl or a boy year, and deserves in the future for with his portrayal of the degenerate, the start: briefly summarising the appearance and dress rehearsal is quite the number of Hungarian opera – glimpsed through the crowd, a date, the theatre’s management to present vain and constantly irate ruler. (…) most memorable evenings from the an event in and of itself. Of course, singers and ballet artists who appeared a lost umbrella, the first sunshine of even more big names, and even from beginning to end, he acted as 60 years since the opening in 1953 there are also occasions when the before an audience here, while it spring or the first snow, something better singers and dancers,” wrote though he were in his home theatre.” of the theatre named after Erkel is a reprise is more of a “façade overhaul”, would only be a small exaggeration good, something irritating, something Iván Kertész in the 1971/72 season practically impossible undertaking. the picking over of the much-worn to say that the guest performers, who entirely unpleasant. yearbook. A good 40 years later, we Can a prose actor receive any greater These walls guard the memories and trampled path – to quote from often raised the evening’s performance can only agree with him. praise from someone in the opera of moments related to Hungarian a 1988 text, Film, Theatre and Music – to a higher level, were lining up at the Thus we can really only undertake world? Prose directors making music and dance, significant dates where the guest artist did not live up door. to illuminate a few frames from this OPERA excursions into the genre of opera – for the artists appearing here, of the to the audience’s expectations. This, legend-filled past, to mention a few although it has to be said their number professional lives of the building’s however, by necessity, is part of what it They arrived from both inside and names and titles. Because the past Hungarian guests is few – have not managed to avoid workers – and, of course, the personal is to operate a theatre. outside the country’s borders, from is extraordinarily rich. Not lacking in preconceptions and prejudices. They experiences of the audience, neighbouring countries and distant lessons, but also offering cause for Tivadar Bilicsi played the father, have had to meet high expectations, which may relate to a significant As we browse through the yearbooks continents. Many came from the opera Christian Tschöll, in Das Dreimäderlhaus and opera critics demanded a novel performance, or to entirely private and read through the articles, departments of provincial theatres, (“Lilac Time”) for many years, and approach of them, regardless of moments. recommendations, gushing interviews, while the favourites of prose theatre Kálmán Latabár came over from whether the piece was well known or reports and post-facto criticism and television regularly played in Nagymező Street to play the jailer infrequently played. Doing so in a telegram style is not an appearing in the contemporary press, operettas and singspiels at the Erkel. Frosch in Die Fledermaus, providing option. Even a list of key performances we might feel some excitement after There were those who did not know an emblematic depiction. János Sárdy Today, it is difficult to explain – and would fill pages. Because, although a few lines for what splendid evenings with whom they would be performing could be seen in the title role of János this is why we should not even try 60 years is a short time in the history the former Köztarsaság (Republic) or singing, because they only got vitéz (“Sir John”), with Róbert Rátonyi – why our first-rate, globe-trotting of a country, it is a long time not only Square has hosted. To such an extent one or two chances to rehearse, as the King of France and Margit Hungarian artists are, purely for in the life of a person, but also of a that one would quite like to sit down while others were able to spend a Ladomerszky as the stepmother in administrative purposes, not members theatre, since every season opening in a time machine to see, at the height longer period with the company, with Pongrác Kacsóh’s beloved piece. Most of the Opera – Lívia Budai (under the Bánk bán or Hunyadi László, every of their powers, those artists whose Budapest artists able to work through certainly among the items of interest name Lívia Budai-Batky as well), Júlia single première, renovation, coaching, voices a generation has only known via the coaching process with a handful of is the fact that in Britten’s opera, a Hamari, Sándor Kónya, who regularly new performer, debut role, understudy digital recordings. Or indeed today’s outstanding conductors. Midsummer Night’s Dream, Erzsébet sings Edgar in Lucia di Lammermoor),

26 Bánk bán (1983) - BÁLINT HORVÁTH, 27 KATALIN PITTI | Photo: Opera House Archive Reminiscences

and the criticism on nearly every single Lescaut. Iván Kertész, the noted opera years of decline and darken the good from Domingo, Nikolai Ogrenich, Ticho occasion began with a paraphrase of critic and constant fixture at the Opera memories of the audience. And then Parly, Klara Barlow and Leonie Rysanek the sentence on how the critic had House and Erkel Theatre, characterised I will wield the director’s baton in my also all sang, and Lucia Stanescut was waited for the performance with great Gardelli, who also received the title of hand.” Give up? Plácido Domingo is also scheduled, but she cancelled anticipation, but also trepidation, since honorary citizen of Budapest, as “the still yet to step aside – to our great immediately before the performance. who could not know what kind of theatre-lover’s guest conductor, the fortune – although he has been Something almost unthinkable today singing condition the visiting world specialist in romantic Italian operas”. conducting for some time. is that all of the guest performances star would be, as the powerful voice We could put it no more succinctly were available as part of season Lammermoori Lucia (1966) - Renata Scotto, József Réti heard on the record could weaken ourselves, at most adding a few The then 32-year-old tenor arrived in subscriptions, with the exception Photo: Opera House Archive on the stairs, and without strong immutable epithets: he painstakingly Budapest not long before his 900th of Rysanek’s Tosca. The Austrian directors and partners, they could builds up the dramatic arcs, gives performance, where he donned soprano’s depiction proved to be the Bergonzi took the stage here in the lose their acting ability, while even the soloists a sure footing, and his the costume of Cavaradossi for stuff of revelation, winning undivided seventies, they wrote that his outward the slightest error on the part of a well temperamental, energetic and magical exactly the 70th time. Asked why he acclaim, and the critics did not hold appearance did not predestine him known performer could easily cause presence was captivating. guest performed this role the most back their rapture: “Leonie Rysanek is to the roles for the voice and was not disappointment. A guest appearance frequently, he responded, “because one of those great artists who restore ideal for romantic lovers, although his is quite important professionally, since Also serving for many years, exactly there is little time to rehearse on a person’s – frequently battered – faith acting shone among his peers. Also A MIDSUMMER NIGHT’S DREAM (1972) - KAROLA ÁGAI, ENDRE ÜTŐ, Teréz guest and host are each measured two decades from 1985 to 2005, tour. Tosca is performed everywhere, in the genre of opera.” considered of a very high standard Várhegyi | Photo: Opera House Archive against the other. was the opera venue’s first guest and the stage directions for it are was Mario Del Monaco, who visited conductor, Rico Saccani, the Italian- the same nearly everywhere.” One As for the other third of the “three the Erkel in 1969, at the age of 54. László Polgár and even Éva Márton – Among the guest conductors directing American conductor who returned thing, however, was different on the tenors”, it was not only the audience His voice was at the time the subject are listed as foreign guest artists. And at the Erkel, one must mention the often to the Erkel. In 1986, he evening of 16 February 1973. Lajos at the Népstadion that had the of sharp disputes across Europe, but while we are on the subject of unusual name of Lamberto Gardelli, who conducted La Bohème with Luciano Katona was singing the role of the opportunity to cheer his performance. the Hungarian audience got to hear stories, we must also mention the fact arrived in Budapest at the invitation Pavarotti, which was followed by sacristan for the 150th time, and on At the start of his career in 1976, Del Monaco, known to them from his that, over the course of several years, of the legendary János Ferencsik Nabucco, Rigoletto and Manon Lescaut this jubilee occasion, he was not only José Carreras came to Budapest for youthful recordings, in the roles of the highly rated foreign guest artist and who did a great deal for the (and, of course, he also conducted at congratulated, but asked what he was the first time, debuting in the role of Otello, and in later years as Samson Anatolij Fokanov became, by reversing development of the Italian repertoire the Opera House in the same period). doing “mit csinálsz?” in Hungarian on Riccardo from Un ballo in maschera and and Caino. his name in the Hungarian manner, and for raising musical standards. stage during the performance, instead Rodolfo in La Bohème, and then later one of the finest Hungarian singers as The Italian maestro made his debut We are now in February of 1973, and of the usual “Che fai?” as Edgar in Lucia di Lammermoor and “Fokanov Anatolij”. in Budapest in 1960 with Le Compte the critics write of someone, “a true in the title role of Don Carlos. Luciano Ory, and, up until his 1993 Aida, world star has come to Budapest, the It is well known that Domingo is not Pavarotti’s name was as yet unknown Foreign guests conducted between these walls a most celebrated tenor of the ’70s. He one for encores: in his career up until in the sixties, but in spring of 1986, it string of operas, including both works has come to us neither callow nor then he had only encored E lucevan became less so when as Rodolfo in La “We have indeed entered the world’s from the core repertoire and lesser aged, but in full flower, and he sang le stelle in Belgrade. And he also did it Bohème, perhaps the role closest to his oft-mentioned musical circulatory known ones, such as William Tell, La to astonish everyone.” “The greatest in Budapest for his partners and the heart, he took the stage at the Erkel. system, namely as a mutual friend. (…) Traviata, Rigoletto, I Lombardi, Norma, singer of recent years, perhaps the viewers: “Henceforth, I will consider the Though reaping a celebrated success There are those who are new to us, Tosca, Ernani, La forza del destino, La finest tenor of the decade, whose Budapest audience among the very – together with his student, Madelyne LA BOHèME (1986) - Luciano Pavarotti, Cavaradossi in February restored Renée – Hungarian critics did pick out Veronika Kincses, Rico Saccani, and thus far only their reputation has Gioconda, La fiamma and Manon best. It was a wonderful evening. I’m Madelyn Renée, László Polgár reached us, but there are also those even the most pessimistic opera- happy that I’ve experienced this, too!” two more than minor details: one that Photo: Béla Mezey who have already taken the stage two, goer’s faith in the meaning and future said the artist, who in 1987 returned his aria was transposed a half-note three or even four times in Budapest,” of the genre.” “The young singing to the Erkel for a performance of Aida, lower, and two, that his physique, to There was, however, no such luck for acknowledges Marianna Gách in titan’s Budapest première was a in which Elena Obraztsova was his put it mildly, was not conducive to Montserrat Caballé, who in the early the Hungarian State Opera House’s true triumph.” Who could this be? partner as Amneris. playing the role in a credible manner. summer of 1971 played Leonora in Il yearbook for the 1970/71 season. As a hint, here is an interview quote: Trovatore and Mimi in La Bohème while “Even today, I have not given up on But let us jump back briefly to the We concede that a tenor’s, especially expecting a baby. (The difficulty was Guest performances, particularly becoming a conductor (…) It is my period around 16 February 1973 when an Italian tenor’s, position is not easy: probably in spite of this, because her those by foreign artists, were also express intention to step aside when I guest singers were truly coming in we expect from them a wondrous colleagues had set the bar high. In accompanied by heightened attention. reach the peak of my singing abilities droves to the stages of the Opera physical appearance and voice worthy the weeks leading up to the Catalan They received a great deal of hype, and possibilities. I will not wait for the House and the Erkel Theatre. Aside of their great predecessors. When Carlo soprano’s appearance, Grace Bumbry, Aida (1987) - Placido Domingo 28 Photo: Opera House Archive 29 Reminiscences

than applause at a mechanical tempo. Lohengrin offers a unique experience. Hungary does not have much say in The production takes place on two the opinion of Lyubimov, who is good levels simultaneously: on the one enough for the wider world. However, hand, in a musical style that dispenses Hungary is right: in the matter of liking, with the narcotic effect of Wagner’s it is asinine to invoke the argument of music, yet still provides the empathic Don Carlos (1977) - Jose Carreras, prestige. (…) for as long as passions intensity of Wagner’s music, and on György Melis, Penka Dilova Photo: Opera House Archive clash around how Don Giovanni is the other offers a radical criticism A próba (1982) | Photo: Opera House Archive A próba (2005) | Photo: Béla Mezey - Opera House Archive directed, the world is a good place. on a dramatic level of Wagnerian (…) The change of the theatre’s stylisation/mythologisation conflicting the “Black Venus” at the height of structure is always witness to the with the problems of life. What is not in Ballet bravura pieces, and in addition to her by Vivaldi, Bozay, Penderecki and her career, sang Amneris and Eboli change of society’s structure. It is not doubt: Hungarian opera performance superior technical skill, she also gave Rossini, and has translated Mahler’s superbly, while Renata Scotto had arbitrary taste that places the orchestra – not developing organically and While premières of contemporary a shining display of her character – Kindertotenlieder into the language of similarly dazzled the public in two here or there. In seeking its place, the not “up to date” – has not prepared Hungarian operas were held primarily forming ability. György Szakály – Judas ballet, and Visions (according to genre, roles, Lucia di Lammermoor and Mimi.) theatre of today is charging in the the audience for such, and thus the in the Opera House, new performances – excelled with eye-popping turns, prelude postlude to The Miraculous Her figure, in addition to her vocal wrong direction.” problematisation of the unreflectively of contemporary, modern Hungarian a great sense of balance and sizzling Mandarin) was composed to music indisposition, played a part in this: admired masterwork shocks the ballet were on more than one occasion dramatic power. Jenő Lőcsey (sic!) is a compiled of István Márta classics “As opposed to the pretty, well known In the autumn of 1982, heightened conservative majority. But for those given a home by the Erkel Theatre, Jesus figure worthy of the camera of (Bartók, Mussorgsky, Tchaikovsky and stars of our times, she is excessively anticipation surrounded the new who worry about the by no means with its repertoire composed of Swan Zeffirelli or Pasolini.” Albinoni). fleshy, and while this was forgiven direction of Mozart’s opera. The simple or unbroken relationship Lake and other Russian (Soviet) dance After the performance of The Rehearsal, on the opera stage at the beginning performance, however, went quite between art and history, between art classics. several young viewers spoke with György Vukán not only wrote, but of the century and last century, contrary to custom. The excellent and life, and between art the world, unanimous contempt for the also directed Derby (choreographer/ today’s audience pays attention to performances on the part of the the simultaneous processing of the Of these compositions, the most snobbishness of the production and director: Péter Nagy), the ballet the singer’s acting capability and singers and conductor were in vain as, two contradictory depictions, the influential and the one with the its reception. I agree and disagree with adapted from the novel, They talent, and hungers for visual stimulus. right there on the stage, undecorated interference of the two contradictory longest afterlife – also internationally, them at the same time. Truly, the work Shoot Horses, Don’t They?, and was Especially at such expensive, inflated and strewn with straw, was the experiences could provide complex, as it was premièred in several is snobbish. But let us not condemn even featured as piano soloist ticket prices.” The audience gave her orchestra, which Yuri Lyubimov, exciting and even brilliant enjoyment.” countries, and four television channels it for this. In the end, probably many in the production. Some Dutch Hungarian co-singers a much greater from Moscow’s Taganka Theatre, had We have to judge for ourselves where made a film of it – was A próba (The thousands of teenagers now have choreographers came here and ovation, according to contemporary attempted to actively introduce into the scale points and who we hold to Rehearsal). The music was picked out been introduced to the – previously attached Kylián compositions to the reports. Caballé bore the misfortune: “I the performance. Iván Kertész, already be in the right: those who whistle at and compiled by Gábor Presser from unknown to them – genre of dance programme, but we can also find the know, and I am sorry, that my Leonora quoted several times above, takes an every non-historical depiction or the works by Bach, with choreography as a result of their curiousity about names of László Seregi, Imre Eck and did not work well that time, and I am objective approach to the spectacle: other, more tolerant, side. by Antal Fodor. The production was Presser’s “rock ballet” set to synthesiser Sándor Barkóczy on the playbill. Variety very disappointed with myself.” “There is a highly questionable, received with mixed emotions: “The music. could therefore not possibly have been unfocused core concept, and irritating performers: deserving of all praise! a complaint of the audience of a ballet Although we have turned up only a misunderstandings and errors crop They pull out all the stops to bring the Fodor has also staged several of his company boasting such fine artists. few foreign guest directors, two of up in it, while certain situations on best of their skill and the actor’s power own compositions with the company. them, in any case, have succeeded the stage simply remain unresolvable. of depiction. Mária Metzger’s solos are Viva la vita was created from works in making everyone form an opinion At this same time, we saw extremely about their operas. Péter Molnár Gál exciting theatre: the director livens A próba (1982) | Photo: Opera House Archive gave the title The Battle of the Erkel up the piece with brilliant ideas, and Theatre to his critique of Don Giovanni almost throughout allows the music to dominate.” in Élet és Irodalom, from which we Opera | Photo: Housembry Archive quote: “The battle ensued. Lyubimov was whistled off. One might believe Scarcely a decade ago, considerably that this is rudeness. It is not. It is a greater passion was provoked race Bu healthy expression of dislike. A timeless by Katharina Wagner’s Lohengrin, right of the viewer. To my ears, the conducted by Yuri Simonov, on theatrical whistle is more pleasant which Géza Fodor opined “the new (1971) - G (1971) ida A

30 A próba (2005) | Photo: Béla Mezey - Opera House Archive 31 Pas de trois Pas de trois

LAJOS BÉRES, DEPUTY CEO OF LAKI ZRT., AND SZILVESZTER ÓKOVÁCS SIGNING THE RENOVATION CONTRACT | Photo: Tomas Opitz I love Erkel CAMPAIGN Photo: Pál Csillag 51 visitors to the site each evening, Opening performance on 1 March 101 people (fifty couples and one Pas de trois – a trio on the dance stage. solo visitor) in total, to “like” the post The Erkel Theatre’s re-opening was referring to that evening’s production celebrated in a joint performance were invited to see the production from the Hungarian dance world: the at a ticket price of 101 forints. The Hungarian National Ballet, the Győr In a joint evening performance, three Hungarian ballet members of the audience winning the Ballet and the Pécs Ballet put on in companies opened the approximately 2000-seat Erkel Theatre, “Facebook” tickets took their seats in three one-act performances for the which, after having been closed since 2007, welcomed an a separate Balcony named after the first visitors to the re-opened theatre. portal. The “Facebook Balcony” was For this special programme, the audience on each of 81 evenings between March 1 and June 9 introduced on the web interface on Győr Ballet presented its Hungarian after the completion of the first phase of reconstruction. February 14, Valentine’s Day, which Rhapsody choreographed by Zoltán the Facebook I Love Erkel campaign Fodor to the music of Liszt, the Pécs supported with these surprises for Ballet performed Cameron McMillan’s people in love. choreography In the Garden of Good and Evil, while the Hungarian National “The Erkel is all about access. Anyone István Mozsár and Lajos Béres, the giant frescoes by the grand buffet on Ballet performed Whirling. paying tax money into Hungarian representative from Laki Zrt., the the upper floor. At the end of the tour, opera culture, that is, everyone in company performing the construction the visitors were shown the I love Erkel The trial run lasted until June 9, and this country, should have access to work, showed the attendees the parts photo montage on the stage, in which also included pieces from the Erkel popular operas, ballet performances, of the theatre being renovated first. the artists and employees of the Opera Theatre repertoire, including some and concerts,” General Director The stage will receive an overlay that can be seen in different areas of the promising family fun – János vitéz (Sir I love Erkel BUILDING TOUR Szilveszter Ókovács said in summary will make it suitable for the 81 spring theatre – most of them appearing as John) and King Pomade’s New Clothes – Photo: Pál Csillag of the re-opened venue’s mission performances, and major restructuring their “private selves”, smiling into the as well as several popular operas: Don in spring of 2013, adding, “It is plain is going on in relation to the stage’s camera with their partners beside Giovanni, Aida and Don Carlos. During that there is a great demand for the technical equipment, last renovated them. the short season, in addition to the Erkel, since advance sales of tickets in 1961. The entire wiring systems and Opera House’s Chamber Singer award- for the spring performances have wet areas are also being replaced, and The Erkel as online winners Eszter Sümegi, Zita Váradi and been brisk.” Ókovács, Secretary of most of the dressing rooms are being community space Facebook BALCONY | Photo: Péter Herman Gábor Bretz, internationally renowned State for Culture László L. Simon, as rebuilt. István Mozsár said that the aim The Erkel Theatre’s mission is to opera singers, including Ildikó Komlósi, well as acting managing director and of the first phase of reconstruction address communities, and therefore also performed. technical director István Mozsár, led was to put in order the parts of the to also reach opera fans visiting the In March, the Primavera series featured representatives of the press around the building that most directly support world’s most popular online social opera companies from theatres still-under-renovation building, where, the artistic work, while preserving the network. In honour of the 101 year- outside of Budapest, who performed Pas de Trois - János Kiss, Tamás Solymosi, in light of Valentine’s Day, all of the important parts of the Erkel Theatre old Erkel Theatre’s reopening and for their most recent works for the Erkel Balázs Vincze | Photo: Péter Herman participants received I love Erkel pins. as a monument, for example, the two the duration of the season, the first Theatre audience.

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From Closing to Opening Those living in or passing by the area of the Erkel Theatre will have seen major changes taking place during the spring and summer of 2013. Spring saw the square starting to feel populated as the trial run commenced, during which time ballet and opera were added to the repertoire, with audiences including significant numbers of young people. In summer and early autumn, cordons surrounded the scaffold-covered building draped in protective coverings. These disappeared one by one, and in place of the sad greyness and crumbling plaster, the building had received an immaculate white exterior. Time shifted, and lost time became the present. Author: Tímea Papp

What is being built here? deteriorating technical conditions. would rent back the building for the submitted a joint bid. Also entering in with the ballet Coppélia. It was the last Now, however, a new chapter can Opera’s use for 120 performances a a joint effort were Mányi Architectural season before the closure, for which, in The Erkel Theatre opened its doors as open in the history of the Erkel year. On the remaining days, the new Studio Kft., renovaters of the Madách the ministerial commissioner’s opinion, the People’s Opera on 8 December Theatre. The building had not been investor would be able to make use Theatre and the Budapest Operetta there were two reasons: a sagging iron 1911, and as Budapest’s second significantly renovated since 1961; in of the building. In the course of the Theatre, together with Közép-Európai support structure and the theatre’s opera house, where an audience of 1996, there was a movement to close renovation, they intend to install some Építő és Szerelő Kft., while the third failure to fill more than 50 to 60 per 3,200 could amass to applaud the it, and several governments since 2002 of the region’s most modern theatre bidder, a Belgian investment group cent of seats. artists. Over the decades, the building have discussed its fate: renovation or technology: the configuration of the imagined a 56-storey building in the would be used as a cultural centre, a demolition and reconstruction. side stage would entail the creation shape of an exclamation point. From ballet to ballet cinema and a variety venue. Even a of a single modern theatre hall.” Let us No giant exclamation point building boxing match was organised inside In January of 2005, for example, there hasten to add that the reconstruction came of all this, but a punctuation Thus, on 30 June 2007, the Erkel it in the 1930s. In 1950, it came under was a rumour that “this spring a pre- was planned simultaneously with mark could have been placed as Theatre closed: the last performance the control of the Opera House, and tender for the renovation of the Erkel the construction of the fourth metro a warning in numerous locations was Our Contemporary Stars – Step-by- received the name of “Erkel Theatre” in Theatre is expected to be announced. line and redevelopment of – what around the Erkel Theatre – the Step. The finale of the modern ballet 1953, becoming the Opera’s second If all goes well, the contract will be was then still called – Köztársaság increasingly unreliable and obsolete night showcasing the work of several performance venue. It was here during concluded in February 2006,” said Square. The expectations were that stage machinery, the amenities, the young choreographers was Miklós the Opera House’s reconstruction Miklós Szinetár, Intendant – General the Opera would run performances artists’ dressing rooms. And despite the Dávid Kerényi’s composition So really?! between 1980 and 1984 that the Director of the Hungarian State Opera. 120 days a year, and on the other days pre-tender’s moment of promise, the In 2011, the dancer/choreographer company performed. In the decades “The construction is to take place as the investor would be able to use the story did not end there. Instead, the revealed what had inspired him: “I that have elapsed, the Erkel Theatre has a PPP (Public Private Partnership), as building for its own purposes.” question marks multiplied. thought one could not just quietly played host to numerous high-profile the intention is to finance it with the For the pre-tender, the trio of TriGránit In the summer of 2006, Ministerial walk away when they closed a premières and guest performances, introduction of a private investor – subsidiary Fejlesztési Rt., Duna Sétány Commissioner Lajos Vass ordered a century-old theatre, where each even though artists and support a strategy also applied to the Palace Székház Kft., and the architectural static load test, as a result of which the evening two thousand people had staff working here had to meet the of Arts. The establishment would firm Zoboki, Demeter and Partners, Erkel’s – now non-life-threatening – watched us, and where we too had audience’s expectations amidst remain the property of the state, which designers of the Palace of Arts, season could only begin on October 7, spent half our lives. I was filled with a

34 35 CímlaponCountdown Rovat

o KING POMÁDÉ’S NEW CLOTHES (2013) o Hunyadi lászló (2013) | Photo: Péter Herman o Don carlos (2013) | Photo: Péter Herman o Öt tánc (2013) | Photo: Attila Nagy Photo: Szilvia Csibi o Háry jános (2013) | Photo: Szilvia Csibi sorrowful pride that the Erkel’s curtain opening of the 2011/2012 season, be convertible into a cultural meeting Part of the renovations took place in the eye, not the wide and draughty below-stage lifts, the audio booth, had been lowered for the last time Szilveszter Ókovács, as the government centre. a less spectacular fashion. The first entrance where we so often huddled scenery-moving equipment – but on my piece.” This was followed by commissioner, hoped that after viewers were iinvited to judge how away from the rain. The staircase, these also serve to enhance the examinations by the opera faculty of renovation in December 2012, the February 2012 witnessed the ErKell well the facelift had worked out on 1 however, has not disappeared and has performance experience. And, since the Ferenc Liszt Music Academy from Erkel could re-open on the 101st nekünk! (We need the Erkel) gala night, March 2013, the start of the three-day been, in practical fashion, relocated their general destination is also the works of Leoncavallo, Donizetti anniversary of the building’s opening. in which both young and seasoned Pas de trois13 ballet festival, in which into the interior of the theatre behind important, the area around II. János and Smetana (Pagliacci, L’elisir d’amore The government set aside 1.8 billion opera singers and ballet dancers the ballets of Györ and Pécs and the the entrance door, while access for the Pál pápa tér has also been renewed. and The Bartered Bride), and then the forints for the work over two years, took the stage. A charity auction Hungarian National Ballet performed physically impaired has also become One thing, however, has remained building was locked up. Or rather, it that is, enough for the building to be was also held, with items including Hungarian Rhapsody, In the Garden of easier. An effort to increase personal unchanged: the Erkel’s excellent was not, because even though it was renovated to a condition suitable for exclusive costumes, paraphernalia and Good and Evil and Whirling. The end contact can also be detected in the acoustics. closed to the audience, a successful holding performances. handcrafted works. These proceeds, of the month saw Primavera13, the configuration of the box offices and static load test meant it could be used together with those from the Opera opera festival that showcased the Győr information desks: audience members OperaKaland “OperaAdventure” on as a rehearsal hall for Opera House With the renovation now hailed as the Ball, were used to supplement the and Szeged National Theatres and the and theatre employees are no longer the Facebook balcony productions. “opportunity of the decade”, the focus Erkel Theatre’s coffers. Kolozsvár (Cluj-Napoca) Hungarian divided by a glass window. After the was on the backstage area, where Opera. Both spring event series young ushers have checked their The Erkel Theatre’s re-opening is Meanwhile, not one of the many efforts were made to increase the The closed Erkel functioned not only started with the intent of establishing tickets, visitors can enter into the connected to one of the Opera House’s unknowns was resolved. There was comfort level of the dressing rooms, as a rehearsal venue, but also as a a tradition. The trial run, however, ground-floor foyer with its mini-buffet greatest challenges: acquainting news that a multifunctional building install a revolving stage, mechanise warehouse holding around 200,000 did not result in any loss in tempo: and exhibition space. Once they have young people with the genre and would be built by the autumn of the movement of scenery previously costumes. The employees of the in addition to the popular repertoire deposited their coats in the cloakroom instilling in them a fondness for it with 2012, where the opera would perform accomplished by hand, and make it Hungarian Theatre Museum and productions Don Carlos, Don Giovanni, and adjusted their makeup in the a programme aimed at developing an for 180 days, and the construction possible in the future to, on the basis Institute picked through them first, Hunyadi László, János vitéz (Sir John) greatly renewed washroom, they can appreciative audience for the future. tender would be issued shortly of the development already done, filling several trucks with materials to and the children’s opera King Pomádé’s enter into the auditorium. The Erkel As part of this, every Hungarian (September 2008), or that pursuant easily implement a technical upgrade be conserved and displayed in future New Clothes, a ballet première (Five can now accommodate “just” 1,900 enrolled in a high-school level to a government resolution, the to meet the needs of the 21st century. exhibitions. They were followed by Dances – Modern Ballet Evening) and spectators – to which we quickly add educational institute is invited to a New Erkel Theatre was also part This meant there would be a side costume designers from those of the the Wagner200 Festival Gala) also both that it still remains the country’s largest performance. In spring 2013, this was of the government’s long-term stage, the roof would be made ready country’s theatres that have opera received space on the programme. theatre – but the elegant, grey rows Hunyadi László, followed by Háry János developments (October 2009), or that to have a rehearsal hall built on it and departments and others from the Music of seats offer the audience enhanced in autumn 2013, with two one-act there was a realistic chance that the new intelligent lighting would be Academy, then by wardrobe managers Completed with the painting of comfort. What perhaps cannot be seen works scheduled for spring 2014: Der Erkel would reopen in 2011, with an installed (the wish list could have gone from other Hungarian theatres. In this the building for the full opening on by the naked eye are the kilometres of Schauspieldirektor (The Theatre Director) independent director and chief music on). However, one thing was even way, the Erkel’s glorious past lives on, November 7, the new façade proudly new cable wiring, the new fire alarms, and Mario and the Magician. “The director, but sharing an intendant more important than all this: After the albeit in a different location. proclaims, in silver letters, the name and the air conditioning, intelligent aim of OperaKaland is for every high with the Opera (January 2011). At the renovation, the Erkel Theatre should “ERKEL”. This is what now catches lighting, the new stage floorboards, school student in every corner of the

36 37 PremierCountdown CountdownPremier

o pas de trois (2013) | Photo: Péter Herman o Hunyadi lászló (2013) | Photo: Péter Herman o János vitéz (2013) | Photo: Attila Nagy

country to be able to graduate with OperaKaland has been an undisputed this was not an everyday opportunity strong portrayals. It was practically a “like” it on the most popular social an experience of the genre of opera or success: over the course of three to get the chance to watch, in such a full house, and it was always possible networking site can win two tickets ballet in a major theatre,” stated General months, 27,000 students from format, a performance boasting such to sense whom they were rooting to the Facebook Balcony for that day’s Director Szilveszter Ókovács to Opera 350 educational institutions in stars.” (Bence Haidekker, Fazekas Mihály for, they could empathise with the performance, while the 51st wins one. magazine. The performances, however, 122 communities took part in the High School, Budapest) story so much and they differentiated are not given for the high-school level: programme, including 15,000 from between the characters: with the “Hey, I’m taking a photo of this!” called they are of the highest quality, that outside of Budapest. The thank-you The responses also attest to the fact performers playing antagonists, for out excitedly a teenage boy who is, they are not abridged or simplified letters support the need for continuing that, while for many, this was the first example, they felt that they did not had arrived with his class for one of productions, and they are interpreted the programme: “We gratefully encounter with the opera – and there like them so much. I received a great the October performances of Háry by the finest singers. Helping to thank you for giving our students are even those for whom this was many messages on Facebook from János and was thrilled by the size of deepen this acquaintance are materials the opportunity to watch the opera the first experience of a theatre – the teachers, who reported – not just after the theatre. “Let’s go to the middle, available online – lesson outlines and Hunyadi László free of charge. It was genre has won not only a battle, Hunyadi, after Bánk bán, too – what an where we can get a good look at other background materials – as well a true pleasure to see the children’s but a war, in generating committed electrifying effect the opera had,” Klára both pictures!” said a little girl, who as other solutions. At the beginning eyes shining; everyone enjoyed the opera fans. And it was not just the Kolonits, who sang the part of Erszébet appeared to be around seven, as she of the work (during the overture) performance very much. We especially young people for whom it was the Szilágyi, said recently of the Erkel dragged her parents to the upstairs the players, projected on the screen, thank you for the luxurious seats!” (Zita subject of Hungarian, history and work included in the OperaKaland grand buffet, to a spot offering a are introduced, so that the students Köveskuti Schwarczinger, Vásárhelyi music classes for days afterwards, programme. perfect view of the Aurél Bernáth can get to know them more easily András School, Várpalota) and even discussions in break time, frescoes. The re-opened building and learn the names of the artists. In but also for the artists featured in the The Erkel Theatre was opened on 7 is amazing, the performances are Hunyadi László, oral comprehension “We thank you very much for the performances. “It was an amazing December 1911 as a people’s opera, an experience. The ever-increasing was aided by electronic supertitles, opportunity to watch yesterday’s experience. Of the 30 performances, and continues to operate as such numbers of participants in while in the case of Háry János, an performance of the opera Hunyadi I did five, and on each occasion the without change in the 21st century OperaKaland, ticket-purchasers and exhibit in the foyer illuminated the László as part of the OperaKaland children went into such frenzied with a new and contemporary Opera “likes” all prove that there is a demand origins of Kodály’s work and its musical programme. The cast was absolutely excitement at the end, it was like a image. In keeping with this, on a for the opera, for community, and for and cultural background. fantastic; we also told the children that pop concert. They really rewarded the given day, the first 51 people who their point of intersection, the Erkel. o Hunyadi lászló (2013) | Photo: Péter Herman

38 39 Exhibition

o Photo: Vasárnapi újság (1911)

Notes to an exhibition

o Photo: Gyula Nagy - Fortepan Author: Márton Karczag

There can hardly be a theatre building The story of the Erkel Theatre is a new technical achievement, would auditorium, targeted a less prosperous of the staircase leading to the buffet. anywhere in Budapest whose previous gripping and, to this day, unresolved, head off each summer for Hungarian audience with inexpensive tickets The gigantic auditorium was rebuilt life has seen more vicissitudes than chapter in the history of Budapest’s villages. Only at that time and in this during a time when even the Royal several times: first between 1916 and the Erkel Theatre located on II. urban development and culture, environment could a moment arise Opera House could rarely boast a full 1920, when, based on the plans of János Pál pápa tér (Pope John Paul which also leaves a sort of imprint when the conductor of an opera house. The Márkus family failed in László Vágó and Pál Klunzinger, there II Square). The square has been at from the country’s last century. The house, assembling his family council, their enterprise within three years. Nor was an attempt made to correct the various times named Lóvásár (“Horse time of its opening, the start of the conceive the notion of building his did the directors coming after them acoustics, previously described as Market”) Square, Kálman Tisza Square 1910s, was the final moment of “happy own new theatre. The decision of the find greater success, despite trying catastrophic, while the central box and and Köztarsaság “Republic” Square; peacetime”. Although the enormous Márkus clan – Miksa, chief editor of everything to entice the audience. parterre still in place today were also the theatre has been called the Austro-Hungarian Monarchy was the Magyar Hírlap newspaper, and the In addition to the operas, ballets, configured. After the war, between People’s Opera, the City Theatre, the already creaking at the seams, Franz president of the Hungarian Association operettas and works of folk drama, 1949 and 1950, the auditorium Labriola Variety Show, the House of Josef’s empire was nevertheless of Newspaper Writers, Géza, architect dramas and concerts were also played received another make-over based Hungarian Culture and then again the flourishing, and dusty Pest had of the Palace of Delights in Kecskemét, in the theatre, which also welcomed on the designs of Oszkár Kaufmann, City Theatre, before being attached become a metropolis in time for the together with the conductor Dezső, appearances from the world’s famous and between 1959 and 1962 the to the Opera House in 1953, when 1996 millennium. The growth seemed the conductor, and his spouse, Ilonka classical and popular music ensembles, facade and public areas were rebuilt, it received the name that it bears unstoppable. A single city, where night Szoyer, the era’s coloratura star – was and even to boxing matches and according to the plans of Iván Kotsis, today. However, it was not only the and day fuse together, where born followed, in record time, by deed. The displays of “Chinese gadgetry”. If Géza into the form we know today. Aurél name of the People’s Opera that has in the cafés were such intellectual blueprints were submitted in March Márkus and his architectural associates Bernáth’s two murals, The Tragedy changed over the years, but, with even products as the periodical Nyugat (The 1911, the theatre’s structure was built Marcell Komor and Dezső Jakab were of Man and A Midsummer Night’s greater frequency, if that is possible, its West) which shines its light even to this by the middle of August, and no later to find themselves in II. János Pál pápa Dream, were completed in 1973. The managers, its company (when there day, where such painters of European than December 7, the curtain rose. tér today, they would hardly recognise meticulous overhaul of the theatre, happened to be one), as well as its standing as “The Eight” would create, the building they had designed: most closed since 2007, was started last year function. and from where Bartók and Kodály, The People’s opera on Kálmán Tisza likely their handiwork could only be under the direction of the Zoboki- equipped with a phonograph, a Square, with seating for 3,200 in its indentified in the foyer and the railing Demeter architectural firm. Most of

40 41 Exhibition Exhibition

o Photo: Pál Csillag o THE OLD AUDIENCE BAR | Photo: Pál Csillag

the renovations took place behind the managed to sign a world star for a few from the Vasárnapi újság newspaper. Hungarian secret police are hanged wings, but some of the public areas performances. The theatre’s managers Almost no-one has attempted to work in front of it, as digging goes on have undergone major work as well. – many of them, throughout this time through the theatre’s entire history: so beside them in search of underground – were well aware of this fact, and far only partial solutions have come to dungeons. Since the change of When we consider the history of constantly endeavoured, despite their light. More precise documentation is regime, the theatre’s renovation and/ a theatre, we usually think of its slender resources, to present the stars only available from 1951 onwards, but or closure has been a recurring topic company. The Operetta Theatre of Vienna, Milan, Paris and New York at even since then, no record has been of discussion. After so many ups and invokes the names of Hanna Honthy, Kálmán Tisza Square. Over the years, kept about those concerts that were downs, it has now once again opened Kálmán Latabár and Kamilla Feleki, there were innumerable young artists not opera house productions. its doors and, in its renovated state, and the Comedy Theatre brings to – including Anna Báthy, Orosz Júlia reinvigorated the Márkus’s idea of a mind Éva Ruttkai, Judit Halász and and Oszkár Maleczky – who got their By virtue of its stormy history, the Erkel people’s opera, offering its audience András Kern. In the case of the Erkel start at the City Theatre and whose Theatre found itself in the spotlight for inexpensive tickets and popular Theatre, however, the building and the careers were later consummated at the reasons other than its performances. It operas. company are completely separable. Opera House. The theatre’s permanent was recognised early on that, owing to The degree to which the Márkus singers, whom the constantly its enormous size, it was very suitable There can be few more difficult family and their associates took the changing directors generally re-signed, for holding large-scale events. Even as undertakings than to reconstruct People’s Opera seriously in 1911 is have today largely been forgotten. early as 1919, during the short-lived a theatre’s history from so many clearly attested to by the fact that Who nowadays remembers the names Hungarian-Soviet Republic, red soldier scattered sources. From 7 November they contracted with two directors, of Béla Csóka, Miklós Szedő or Dezső nights were held in it, and in the 2013, in our exhibition entitled From four conductors (one of them, Frigyes Kovács? However, each of them sang 1940s the popular “Gyöngyösbokréta” People’s Opera to People’s Opera in “Fritz” Reiner, was to become a world principal roles for years. Hardly any folk dance performances, while in the Erkel Theatre’s renovated foyer, I star), 33 soloists (including Adelina memory at all remains of them, and 1943, István Balogh filmed his war will, together with my fellow curator Adler, Mária Basilides and Ilona Durigo, their artistic careers remain almost propaganda film “Hungarian Request Nóra Wellmann, attempt to show the as well as Sándor Várnay and Mária totally obscure. The theatre’s history Concert”. A year later, we see shocking outstanding moments of this storm- Jávor – the parents of Astrid Varnay), is full of grey areas like this. Since photos of Budapest Jews being led tossed theatre’s 102 years through and a 60-member orchestra and a nobody thought to keep the poster into the theatre building with hands surviving blueprints, photos, and chorus of 70. The City Theatre most for the opening performance, we only raised. A similar scene features in posters. frequently made the news when it know the original cast list for Quo Vadis a photo series from 1956, when

42 43 Architecture Architecture

Author: Anka Józsa

Antecedants of European Theatre Following the changes at the turn Contemporary Budapest theatres Architecture of the century, the need for people’s theatres and people’s operas grew in In 1837, the Pest Hungarian Theatre The glory days of big city theatre prominence. The historical precursors – later renamed the National Theatre architecture came in the second half of this type of theatre stretch back to – was built in Budapest according of the 19th century. The theatres of the core concepts of ancient Greek to plans by Mátyás Zitterbarth, Jr. the era of historicism still followed the and Roman theatres, and thereby to This building in the classical style, traditions of the Baroque era in terms the shape of the audience area. It was whose façade was designed by Antal of the shape of the seating area and following this line of thought that Szkalnitzky in 1875, was not able to the stage engineering. The hierarchical Richard Wagner and Dresden architect satisfy growing demand, which is layout of the viewing area could be Gottfried Semper worked out their why a new city theatre, named the felt in the use of multi-level rows of plan for a Munich theatre. Although it People’s Opera, was built on today’s boxes and the ruler’s middle box, never came to fruition, their intentions Blaha Lujza Square. The building, while, at the same time, the theatres can still be seen in the shape of a constructed based on the plans of of the era were the meeting places seating area that gives every viewer Viennese architects Ferdinand Fellner of the burgeoning bourgeois society. equal ability to see and hear. Wagner and Herman Helmer, later housed the In accordance with this, these high- also applied this template later in National Theatre. The Opera House capacity, highly symbolic buildings the famous Bayreuth Festspielhaus, (earlier named the Dalműszínház, were built to include spacious areas the venue of the popular Bayreuth or “Opera Theatre”) has functioned for the audience and community. Festival. The seating area is different since 1884 and was designed by the Frequently utilised solutions were from previous hierarchical layouts architect Miklós Ybl, who was born the central grand staircase, the royal in that the rows of boxes have been nearly 200 years ago. After the National or imperial staircase and a capacious discarded, and a fan-shaped ground- Theatre was demolished in 1908, the foyer, as well as assembly rooms floor amphitheatre seating area put in idea of building a new theatre was and salons. These eclectic European its place. conceived. Photo: SzilviaPhoto: Csibi, Attila Nagy theatres, for example the Paris, Vienna and Budapest opera houses, were built o almost as complexes of total art.

44 45 Architecture Architecture

Photo: Zoltán Máthé (MTI)

Erkel Theatre (László Ödönfi, The People’s Opera When the theatre was built in 1911, the century. Aside from Vágó, civil improve the acoustics. By installing were the buffets, washrooms, foyers, building in progress, Contractors Journal, no money remained from the already engineer Pál Klunzinger worked on the a wooden acoustic panel in the staircases and so on, which, in the At the turn of the century, the 23 August 1911) tight budget after the auditorium was areas outside the theatre hall. Vágó auditorium, the proscenium walls were interests of economy, were of frugal building of theatres in Central Europe completed for the adequate fitting raised the stage four metres into a rebuilt, and today’s defining plaster and makeshift construction. Similarly was dominated by the Viennese The building and architects out of the stage and installation of recess in the auditorium by creating a articulation of the arch wall and ceiling rudimentary design was reflected architectural firm Fellner and Helmer. the missing corridors. The theatre, in proscenium and shifting the orchestra was configured. in the façade as well, whose raw Between 1870 and 1904, they also The design competition announced the end, was not built according to pit, also refitting the entire proscenium industrial mass it was attempted to designed numerous theatres in for the building was won by Dezső the Viennese Secession style seen in arch. The following refitting took place In 1961, the Erkel Theatre was enliven with plaster and classically Hungary: the Comedy Theatre of Jakab (1864-1932), who crafted the plans, but was realised in a form in 1950 according to the plans of reconstructed according to the plans coquettish secession forms […] Budapest, the Somossy Orpheum, and the designs for the People’s Opera influenced by the German Jungendstil. Loránd Kismarty Lechner. of architect and Technical University In front of the current, somewhat the theatres of Szeged, Kecskemét, together with architects Marcell Komor professor Iván Kotsis (1889-1980). colonnaded façade, I installed a Temesvér (Timisoara) and Pozsony (1868-1947) and Géza Márkus (1872- The theatre building changed Among the available plans plans Kotsis replaced and modernised similarly colonnaded front addition, (Bratislava). 1912). Marcell Komor and Dezső Jakab functions several times: it was a variety prepared in 1950-1951 by an the missing public areas, while a which on the ground floor contains a had been among the students of the show, a cinema, and even a circus. It architect of Hungarian origin named, spacious entrance hall was added portico with a wide covered staircase, The Hungarian architects of the time well-known fin-de-sièce architect Ödön also changed names several times. Oscar Kaufmann (1873-1956). The to the ground floor. He designed a and above, foyers running the lengths would have liked to participate in the Lechner and worked together in a joint It operated as the People’s Theatre contemporary professional literature portico in front of the main entrance, of the second and third floors, with building of Hungarian theatres and architectural firm from 1897 until the (1911-1917), then several times as the even named Kaufmann as a “modern which still today gives the principal buffets and wide staircases at each to play a role in the design of theatre end of the First World War. City Theatre (1917-1932, 1933-1940 theatre specialist”. Starting in Berlin façade its character. Of the theatre’s end. Above those, I placed another buildings with all their complicated and 1946-1953), for a while as the in 1906, he designed six theatres, redevelopment, Iván Kotsis wrote, “the buffet opening out onto the roof functions. In the journal Contractors, One of the aims of people’s operas Hungarian Cultural Centre (1940-1945), and theatres with a single box on the Erkel was built in 1912 and boasted a terrace. All of these I managed to the contemporary periodical of the and people’s theatres is to build, from as well as the Labriola Variety Show upper floor were called “Kaufmann- fine auditorium. In accordance with integrate quite smoothly into the architecture and building sector, the as small a budget as possible, a high- (1932-1933). type” after him. During the refitting new principals, it was in the shape existing designs, so that no one might following was written regarding the capacity theatre offering low ticket of the Erkel Theatre, he increased the of a trapezoid with excellent lines of notice the subsequent addition, People’s Opera under construction: prices. The Budapest people’s opera Because of its early deficiencies, depth of the stage, rebuilding the sight and seating for 2,400, of which as the old and new spaces merge “The Hungarian Engineers and was also built according to these many people designed plans to refit proscenium as part of this, turning the great majority were in the stalls completely.” Architects Association has decided criteria. The building’s character is the building, most of which can be the proscenium box toward the and the balcony. Little emphasis was (Autobiography of Iván Kotsis, editor: to banish this ghost by announcing such that the quality of the stage and found in the blueprint section of the auditorium, moving the front panel of placed on the side boxes, which it Endre Prakfalvia, Budapest, published a design competition for a modern auditorium is outstanding, but the Budapest Metropolitan Archives. The the side boxes forward, and expanding would have been better to dispense jointly by HAP Tervezőiroda Kft. and theatre. The aim was to provide the public areas, operational and service stage was reconfigured as early as the storage area for scenery. with altogether, leaving the theatre the Hungarian Architectural Museum government with undeniable proof of spaces were designed with frugality 1917 according to the plans of László with only a parterre. In contrast to the in 2010) the talents of Hungarian architects and in mind. Vágó (1875-1933), one of the most Under the direction of Dr. Tamás fine auditorium, the public and storage their theatre-building capability. sought-after architects at the turn of Tarnoczy, quite a lot was also done to areas were extremely primitive, as

46 47 o Photo: Szilvia Csibi, Péter Herman, Attila Nagy Exhibition Exhibition

o JÁNOS SCHäFFER AT THE ARTISTS’ ENTRANCE TO THE CITY THEATRE

o A PHOTOGRAPH OF THE YOUNG Author: Nóra Wellmann JÁNOS Schäffer o Anna Gyenge (Anne Roselle)

Sometimes serendipity unexpectedly articles – documents of the era’s guest and film star Jan Kiepura, whose in the more familial atmosphere of the memory of the figure of the popular forwards all kinds of messages, both drops a treasure into one’s lap. appearances that had until then been popularity once matched that of pre-war theatre world. Uncle Schäffer, porter in her Theatrical Life columns: those given in person and by telephone. Although a rare occurrence, it can completely missing. During this period, today’s pop stars, after fleeing to the of German extraction and with a “In and in front of his booth unfolds the Throughout all this, the porter is one of and does happen that a museum nearly every single major foreign artist roof of his car, found himself obliged humorous Swabian accent, was the all- social life of the theatre’s lesser minions the most important creative elements of collection gains an outwardly modest, took the stage in the City Theatre, as its to distribute autographs in front of powerful custodian of the City Theatre and foot soldiers: the girls, the boys, the the theatre’s complicated organisation. but incalculably significant item. capacity was twice that of the Opera the City Theatre in order to avoid and, by all accounts, a colourful understudies and stagehands would […] Uncle Schäffer has since taken on This is what happened not long ago, House. The list of names is impressive: being crushed to death by the crowd. individual. His granddaughter related treat him as they would one of their the prefix “the late”, but those of us who when a kind-hearted lady telephoned from Beniamino Gigli to Maria It was probably not only for himself how the entire family lived in the key patrons, and around the end of the for decades revelled in the unique and the Opera House: she was the Jeritza to Feodor Chaliapin. Genuine that Uncle Schäffer was collecting the theatre, and in one photo showed the month, as they would their bankers. spontaneous humour of his being still granddaughter of the City Theatre’s curiosities had also been pressed into handwriting: his collection yielded narrow window from which her father, Should the bon vivant in question have think of him fondly. His person was a former porter, János Schäffer, and the albums: a dedicated photo of Teiko eight signatures from George Baklanoff as a child, used to leap down to the “accidentally” found himself without symbol of the great assimilative magic she would be pleased to offer the Kiwa, the first Japanese Cio-Cio San, or and fourteen from Titta Ruffo. It street. The porter’s position was one of spare change, or the girl already of the culture of the Hungarian stage: memorabilia in her possession to the the signed – partly in Cyrillic – group appears that the avuncular porter solemn responsibility: he had to know exhausted every “account”, they would despite his native language being archive. picture of the Don Cossack’s Chorus, was unable to find a market for these everyone from the director to the ask him for a loan for supper. In any German, he was an enthusiastic servant which had given a guest performance among fans. stage hands, carry out assignments, case, it was a smart idea to be on his of the Hungarian theatre.” Excitedly, we unpacked the little in 1928, and lots of autographs on and deliver messages and letters. good side, because he knew what kind package. Two scrapbooks containing little cards. The relics of an autograph But who was this János Schäffer, the of face the director was wearing when The most interesting photos from dedicated photos and autographs hunter, a once flourishing “art form”. addressee of the better part of the Throughout all this – as a somewhat he arrived at the theatre: was he in a János Schäffer’s album can be from the international singers, dancers Today it has been almost entirely photos and autographs? We know absent-minded person – now and pleasant mood or a rage, and would it viewed among the materials of the and conductors appearing in the forgotten what an enormous crowd that a good porter is even today one then an error would creep in. Hanna be approaching him with a certain slip of Erkel Theatre’s exhibit, from People’s City Theatre during the 20s and 30s, once awaited the singers at the artist’s of the most important people in the Honthy, who started her career at what paper, the denial of which would mean Opera to People’s Opera, opening on 7 along with a handful of newspaper entrance. For example, Polish tenor theatre – and this was particularly true was then the People’s Opera, wrote a a fateful financial blow? He accepts and November 2013.

50 51 Exhibition Exhibition

o Ferenc Lehár o MEMBERS OF THE DON COSSACK’S CHORUS o Hanna Honthy

o Titta Ruffo

o JAPANESE SINGER Teiko Kiwa

Beniamino Gigli 52 o 53 Tour Adventures in the Erkel Theatre Première of Háry János as part of the OperaKaland series Erkel Theatre, 14 October 2013

Following the successful trial run at necessary funds available pursuant to The principal behind the Audiences will now step into an and experience of technical staff and Photo: Szilvia Csibi, Péter Herman Péter Csibi, Szilvia Photo:

the Erkel Theatre in the spring, the Government resolution 1393/2011 renovation o auditorium with a completely new artists resulted in the implementation building’s renovation continued apace. (XI. 18.) for the reopening of the image, during the construction of of numerous action points, and the The second and third phases of the theatre following closure of more The Erkel Theatre’s public areas and which the architects made every effort artistic management, with continuous work were timed around one of the than five years, during which time auditorium had over the decades to ensure that its fantastic acoustic resource management, synchronised institution’s most important missions, its future was in doubt. This enabled retained a functional capability that properties remained unchanged. A the additional tasks to take into the start of the OperaKaland autumn the Hungarian State Opera House to had been modern in its day, while the factor that will greatly increase comfort consideration the requirements of the series one month before the official restore the Erkel Theatre to a condition backstage area behind the proscenium is the improved seating area with its entire company, so that it was also opening on October 6. During this suitable for holding performances. provided spartan conditions to the modern ventilation system. Although possible to start those construction time, more than 20,000 high school Following a public procurement artists and technical staff alike, even the number of seats has been reduced tasks not requiring a permit without students visited the opera house once procedure, the theatre’s renovation at the beginning of the 20th century. from 1935 to 1819 by refitting the rows interfering with the rehearsal and again. and architectural programme was This is why the architectural firm of of seats for more comfort, the theatre performance schedule. Overall The Erkel Theatre, opened in 1910, is completed, together with architectural, Zoboki-Demeter (Managing Designers: nevertheless still retains its rank as the preparations for construction took Hungary’s largest theatre building. building diagnostic and structural Csaba Silvester, Zoltán Turi and Gábor highest capacity theatre in Hungary. place simultaneously with this, such as Its history is closely intertwined evaluations of the building. Zoboki) developed an architectural scheduling and acquiring permits for with the golden age of opera programme concentrating on Construction and unique features the use of public areas. performance in Hungary. In 2007, the The Government resolution decreed improving the technical conditions of the design process Hungarian Government made the the renovation would take place for performing opera. The volume As a result of the above, nearly in accordance with the 1.7 billion of funds issued by the Government It is one of the Erkel Theatre’s core 30,000 students were able to attend forint programme package and the expressly for improving operations missions for new generations to be performances of László Hunyadi given provision of the funds. The public with the most economical technical exposed to opera and ballet culture during the Erkel Theatre’s trial run from procurement procedure announced solutions available was what guided through performances of high 1 March to 9 June 2013. for the renovation was won by a joint the builders: there could be no artistic quality. The OperaKaland bid from Laki Épületszobrász Zrt. and discussion of a total reconstruction of (OperaAdventure) programme, a The comprehensive reconstruction, the architectural firm Zoboki-Demeter the theatre. subject of special focus, launched in lasting less than 100 days, entered its and Partners, who were awarded the the spring of 2013, during the first final phase in accordance with the contract on 1 January 2013. Following The lion’s share of the refurbishment phase of design and construction. permit schedules in late September this, Government Order 27/2012 has taken place behind the wings, 2013. Up until the official handover (III.06.) decreed that the matters with the soloist and group dressing The theatre’s technical management and opening on November 7, of public administration related to rooms, renewed and expanded along and architects, in parallel and numerous minor tasks and a handful the restoration of the Erkel Theatre with the common areas. The stage’s in coordination with the artistic of spectacular surprises are still being to a condition suitable for holding technical equipment underwent management, began the initial prepared. On October 6, however, the performances were of great interest major modernisation, while the better planning processes and the youth series was re-launched with 24 to the public. part of the building’s mechanical construction tasks, which later performances. systems (water, plumbing, heating and substantially aided the further design ventilation) were renewed. process, to allow the artistic work to commence on 1 March. The comments

54 55 Interview Interview

As soon as it was decided that the building more than 100 years old and centimetres, and a new ventilation government would choose the most last renovated almost 50 years ago, system was also installed. The colour Anyone who loves the opera cost-effective option available, we had so our expectations had to be kept scheme was shifted towards the to keep to a relatively narrow path realistic based on the funds available. neutral to allow the audience to focus and make only the most necessary of We knew that there would not be their attention fully on the stage. cannot be a bad person… changes. The job of the architect in this enough money to replace much of The reception area received fresher scenario is like that of a conductor. We the existing equipment, only to repair hues, the glass walls of the lobby had to be able to play a little on every and renovate it. So the building itself extended right up to the front of Cost-effectiveness, harmony and dynamically phased work. The instrument but never forget the main did not cause major surprises. We were the building, and the building also reconstruction of the Erkel Theatre in a nutshell. We discussed aim, which was to find the most cost- surprised, however, by the solidarity we received attractive exterior lighting. the redevelopment of the Erkel Theatre to be opened on 7 effective and functional solutions. experienced during the work. It is rare But I would stress that what the public November, the 203rd birthday of Ferenc Erkel, with Szilveszter to experience collaboration between sees is just the tip of the iceberg as Ókovács, General Director of the Hungarian State Opera, Gábor Péter Laki: This is precisely why a client, planner and contractor of the the reconstruction of the mechanical Zoboki, managing director of architects Zoboki-Demeter, our task was so difficult. Personally kind that developed in the course of and technological systems – a major speaking, it was a greater surprise to renovation of the Erkel Theatre. It is proportion of the work – took place and Péter Laki, chairman and managing director of Laki encounter the neglect that had eaten a testament to the work that it was behind the scenes. Épületszobrász Zrt. We also asked Acting Managing Director and away at the Erkel Theatre over the past completed in harmony, cost-effectively Musical Director István Mozsár about technical developments. five or six years than to be confronted and according to an agreed deadline. SÓ: Despite these limitations, I feel that Norbert Vass with the structural, mechanical and we have achieved our goals – ensuring electrical condition of the building. You talk of value built into walls and safe operation for many years through The re-opening of the Erkel the work carried out in the second, Of course, we had an idea of the pipes, limited scope for planning everything from electrical insulation Theatre in November 2013 after its four-month phase is something for equipment we were likely to find in a and harmonious collaboration. and fire safety to air conditioning, as closure in 2007 for an unspecified people to make their own minds up I would be interested to hear well as making the audience areas time was brought about by a about. But before you pass judgement, which parts of the building were clean and attractive, and increasing the Government Directive two years please take into account the fact that renovated as a result of this. comfort of operational areas. ago, which made funds available to more than half of the Ft 1.8 billion commence restoration work. What of government support and the Ft GZ: During planning, we focused You did not have much time to condition was the building in prior 400 million of the opera’s own funds primarily on the artists and the complete the work. Also, rehearsals to the renovation, and what was required for the “restoration of the technical side. We renovated the began in the building on 1 March. the nature of the reconstruction building to a state fit for performance” entire dressing room complex, Did you have a chance to consult project? was spent on items of hidden while the other areas that serve the with the artists? After all, the value – walls, plumbing, cabling and performances also received new reconstruction was also carried out Szilveszter Ókovács: The building equipment. furniture and fittings. It was a major to make their workplace feel more was not only considered a risk to improvement to the stage technology welcoming. mortal health by the public. The Gábor Zoboki: The building had to replace the vast majority of the audience in excess of 100,000 become increasingly run-down since manual pulleys with powered ones, PL: Artists operate on a higher level. people – among them almost 30,000 2006, and, as the General Director said, so I can safely say that very many Otherwise they would not be able to students – who attended the trial the elements are remarkably quick to Central European opera houses would enchant and entertain us. Although we season from March to June 2013 will set about a poorly heated and cooled be delighted to have the technical were not in direct contact with them, have known the situation well. Since building. So it is not easy to describe apparatus that the Erkel currently has the project office set up by the Opera the closure in 2007, the entire gutter the technical state the Erkel Theatre at its disposal. But – and I’ll whisper in its capacity as moderator allowed system had disappeared, resulting was in in the years running up to it quietly – we could have asked for us to remain in contact. In general, I in innumerable leaks and, as is often 2007. Suffice it to say that the artists much more. The most striking change can say that we were not confronted the case with houses left to their own of the company often went home took place in the auditorium. The with enormous demands on their devices without an owner or use, even from performances and rehearsals audience area was darkened while part. And it is important to add that Photo: LászlóPhoto: Emmer

those parts that could have stood firm with pieces of plaster from the ceiling o keeping all the acoustic surfaces as the collaboration of those working sagged. But this situation could be in their bags. This was the sad reality, before. The chairs were reupholstered, here was also necessary to ensure the rectified in just over eight weeks, while so this is what we had to cook with. legroom was increased by 10 handover took place on time.

56 57 Interview

perform there, and it is primarily Over the next five years, I can only Opera productions that are staged. envisage limited improvements. The The General Director emphasised A total of 200 performances will be square around the theatre will be that the Erkel Theatre’s primary held annually, which will be dedicated renovated by March, while a larger air mission is to widen access to the to reaching as wide an audience as conditioning system, more furniture opera. How much do developments possible. I think this is one of the Erkel and stage technology may arrive made in the construction Theatre’s most important missions. in the summer. But the goal now is contribute to this aim? This is also the venue for OperaKaland, to maintain the current state and Hungary’s largest cultural programme to undertake developments to the IM: This need was addressed in for students, but we also need to institution’s property portfolio that will multiple areas. The house has been reach out to those sections of society ensure the operation of the Opera for opened to the physically disabled. – pensioners, large families, public the coming quarter century. Using a new lift, we assist them servants, and those living outside from street level to the space of Budapest and beyond our borders – We spoke of dreams and desires. the entrance hall, and we have who cannot afford the prices at the To close, I am curious to know what created areas in the rear orchestra o Péter Laki Opera House, but who are devoted you dream of seeing on the stage of o Gábor Zoboki o istván Mozsár balconies that are easily accessible to opera and ballet or can be made the Erkel Theatre. Photo: BMW Group Hungary/Péter Sorok to wheelchairs. The number of to feel that way. I firmly believe in the washrooms has been expanded, Hungarian saying that anyone who SÓ: I have a long wish list. For example, taking into account asymmetric usage GZ: Following very many interviews loves opera cannot be a bad person. I would like to see a young, up-to-date performers have also included Jelena but probably even more important by men and women. In reconfiguring with staff, as architects we had to If you open yourself up to beauty La bohème that does not replace that Obrazcova, Placido Domingo and than this is that we were able to bring the seats, we strived not only for make some sad decisions laden with and total art, you become a better of the old-fashioned opera house, Fiorenza Cossotto. The walls of the the lighting mounts further out into maximum comfort, but also to fulfill responsibility and to brutally cut back individual. And that is something that but instead offers an alternative. It as theatre have heard an unbelievable the auditorium, and thus the entire today’s stricter fire safety regulations. on the flourishes that went beyond everyone benefits from. it is wrong to keep a masterpiece in a quantity and quality of music over the perspective has changed. Another the budget. We were helped in this gilded box for 80 years. And it would years. My greatest desire is to welcome important development is the fact Where do we stand now compared task by architect Katalin Reményi, Do you dare to have bigger dreams? be a very special feeling to see my the Ella Fitzgeralds and Yves Mondands that we have put in 16 mechanical to concert halls elsewhere in who was responsible for the project favourite Mozart opera in a few years, of our day to the Erkel! hoists in place of the old hand-driven Europe or in the United States? at the Opera. It took five years for the GZ: I am convinced that the ideal one I have wanted to show the world ones, and that the archive has been mistakes and advantages of the Palace scenario is for there to be two opera for more than two decades. Gradually, even CDs are becoming significantly modernised. We also IM: There’s always room for of Arts to be fully felt, and I think the houses in Budapest. As an architect, obsolete as data carriers, and renovated the stage itself, although improvement. Everything in the world Erkel Theatre company and audience however, I need to think in decades, PL: I wouldn’t name a single so it is difficult to imagine what we had no way to install any new can be improved and perfected. Thus, will need a similar period to get to and with an eye on the future, I think performance, and although it might kind of equipment the Erkel lifts, since that would have required to say that we do not need more of know and inhabit the building. the city needs a building with a far seem strange, but the thought of Theatre building was using before rebuilding the entire understage. anything or better anything is almost more professional technological desires and wishes brought to mind the reconstruction. What developments In addition to all this, we also had unthinkable. If I think of the previously It is important for Budapest background to allow it to entertain idea of donations. As I was browsing were made in the area of audio, to significantly alter the building’s mentioned specification of the task, that one of its key venues has those interested in musical theatre. the history of the Erkel Theatre, I lighting and stage technology? overall mechanical infrastructure in that is, “bringing it into a state suitable reopened, and that the city will There is no theatre in the capital where chanced upon the name of Szentendre compliance with the latest standards for theatrical productions”, then the have two opera houses again from performances can be held before a citizen Emil Ábrányi. Ábrányi – having István Mozsár: The government and to meet the need for more American level is not the standard. November. What role do you as large audience at affordable prices. conducted in Cologne and Hanover – resolution for reconstruction efficient energy use, as well as in order If we take into account the House’s General Director envisage for the This applies not only to opera, but to led the people’s opera, then known as prescribed a state suitable for to maintain operational capability. mission, then, however, I can say that Erkel Theatre? everything that is music, from “light” to the City Theatre, for three years in the theatrical stages, and these resources we have succeeded in implementing total musical theatre and jazz concerts. twenties. His dedication and example were ordered accordingly. In the area development that will allow the Erkel SÓ: Both of the Hungarian State I am dreaming therefore that one day gave me the idea to follow in his of staging, we spent around Ft 390 Theatre to comfortably put on, with Opera’s venues are important to us, the Erkel will be Budapest’s Chatelet. footsteps and support a production or million with different suppliers in this equipment, all of its existing our operation would be restricted two in the near future. order to expand the range of technical repertoire pieces, all of the pieces without both these legs to stand SÓ: Well, the biggest dreamer always possibilities. The budget included that can be “transplanted” from the on. Opera employees work in the has to be the designer. My vision is GZ: The stars I have seen on the Erkel major lighting development, with the Opera, and all of the wider hospitality Erkel, singers, dancers and musicians more down-to-earth than Gábor’s. stage have included Jorge Donn, but integration of around 100 new lights, functions of a theatre.

58 59 Première Première Bartók’s Bluebeard

In the spring of 1911, Béla Bartók was immersed in an unfamiliar task: he was writing an opera. Although the composer, as yet untested in the area of theatrical music, attached great hopes to his work in progress, the creative process, as he reported to Frederick Delius with some undeniable pride and excitement on 27 March 1911, was not by any measure free of problems. Zsuzsanna Rákai

“Now I’ve taken on some hard work was composed in under six months critical reception was starting to more The single-act ballet traditionally – a single-act work,” – Bartók wrote and was submitted to a competition intensely concern the composer, who performed together on the same in a letter describing his attempts to run by the Lipótváros Casino. The had been stubbornly experimenting evening, often based on the way compose after his bitter review of piece was nevertheless rejected as with new forms of self-expression for they have been received, is the the orchestral standards in Hungary. unperformable and unsuitable for the more than a decade), it did not receive loosely related work The Wooden “Unfortunately, I have never written stage. a great ovation, and was removed Prince. However, on the Erkel Theatre’s anything like this, and you can imagine from the programme after only a November programme, Bluebeard will how much at times – in the beginning Since it included neither scenic few performances. In Hungary, the instead be followed by Mario and the – the text troubled me. But now it theatrical tableaux nor daring drama, production was not even revamped Magician, a work dating from the late is going better. And I think that this this – similarly to Richard Strauss’s until 1936, but in opera houses 1980s. While revealing the similarities music is the sort of thing you will Salomé and Elektra – concentrated, abroad, starting in the 1920s, it began between the two works no doubt like. This summer, I am going to Paris dense, and progressive work nearly to enjoy increasing success. While belongs in the realm of free association (around June 20). Will you be at home disappeared forever into a drawer of Bartók himself was still highly sceptical games, their plots, wrapped up in the then? How I would love to show you Bartók’s desk. In truth, it was another with regard to the reception of the fallibility, dependence and cruelty my work!” The text that “troubled” the composition that brought it back out composition – as he expressed to of the human psyche, can without creator, relatively inexperienced in the again: the dance piece from a year Ernst Latzko, the conductor of the 1925 undue mental effort and intellectual area of dramaturgy built from words, later, The Wooden Prince, whose 1917 Weimar production, he thought that, legerdemain be projected onto one was the work of Béla Balázs, Duke première again raised the possibility despite the interest of the theatre- another, at least insofar as Béla Balázs’s Bluebeard’s Castle. Although Balázs had of bringing the opera to the stage. goers, Bluebeard “could not count on famous question regarding the role originally intended the mystery play for The première even then underwent lasting success with audiences” – the of the dramatic work is concerned. Kodály, it was Bartók who immediately several delays, but nevertheless finally creative work has slowly but surely While both works are performed found himself drawn to the theme took place in the Opera House on 24 taken the place it deserves among the on a double stage, if the dominant and its essentially simply expressed May 1918. Although the piece by and most significant operas of the 20th element of both is reflexivity, the only yet enigmatic psychological layers. To large received laudatory criticism (after century. difference is that Bluebeard, if you such an extent that the opera’s music the relative isolation of the 1910s, his like, is about the impassibility of the

60 61 Première OperaKaland boundaries of the personality, while in the other; but the achievement, Mario and the Magician is about just the extraordinarily difficult and nerve- the opposite – the permeability and shattering achievement is his, the capability of being dismantled, and leader and organiser’s, in whom will the manner of being compelled to becomes submission and submission Opera voluntarily resign from individual becomes will, whose person is the autonomy. Although Bluebeard is birthplace of both […].” for every the story of two people’s personal drama, it nevertheless questions In Bluebeard, the idea of submission, school student! the integrity of the individuality of the defeat of love expected audience members sitting in their unconditionally from Judit, leads seats at quarters at least as close as in to the conclusion that emotional Thomas Mann’s 1929 classic, where the surrender is impossible. Meanwhile, “The OperaKaland’s aim is for every All of the performances start between strangely dressed, humpbacked and Mario and the Magician poses cruelly high school student in every corner 11 am and 5 pm in order for groups unpleasant “charlatan”, the hypnotist unsettling questions in relation to of the country to be able to graduate from both inside and outside Budapest Cipolla, prefigures certain aspects of individual responsibility, consciousness with exposure to opera or ballet in to be accommodated. As part of the Mann’s later Satan figure and alludes in and ethical conduct. It is true of both a major theatre,” General Director programme series, one opera or ballet his behaviour to the arrival in inter-war plots, however, that the tragedy is not Szilveszter Ókovács told Opera is staged in each phase – making political life of “illusionists” acquiring inherent in the construction upon one magazine. Every Hungarian enrolled two works per school year/season. greater and greater power. another of the various events in the in a high-school level educational In the autumn of the 2013/2014 story, but in the depths of the psyche’s institute can take part in the season, Kodály’s singspiel Háry János As far as Thomas Mann’s stance is functioning. As Béla Balázs writes, “The programme, regardless of their family’s was performed, to be followed in the concerned, there was no question world outside is full of armies, but that financial situation or where they live. spring by two one-act operas: Mozart’s for the writer living in the time of the is not what kills us, gentlemen and The theatre offers the highest quality Der Schauspieldirektor and János Vajda’s Weimar Republic, which would still ladies.” productions with performers of the Mario and the Magician. remain in existence for years despite first rank. The performances are not grappling with numerous problems, abridged or simplified productions – In order to prepare for the opera that the extremist manifestations of that is, the students can enjoy them visit, a complete set of teaching the desire for power were founded in full. materials is prepared with the aid on the subservience of the individual of experts in music pedagogy and and the spiritual need for submission, The Opera House has notified every made available on the Opera House’s which is not only stronger than the high school-level institution of the website. For Hunyadi László, a timeline, will and the defiant struggle for OperaKaland programme, including a director’s message, audio material, resistance, but goes hand in hand with students and teachers at high an introduction to the historical figures it. As his repellently victorious hero, schools, technical high schools and and András Batta’s work The Birth of Cipolla, expresses, “the capability […] trade schools regardless of the entity Hungarian Musical Drama was available that we exceed ourselves, that we running the institution, so schools from the website in advance. become a tool, that we obey in the administrated by the state, religious most unconditional and full manner, organisations and foundations are all As a guiding principles, the performed is just the reverse of the other, that welcome. The guiding principal is that works are performed without we will and command. Both are one no student is excluded because of abbreviation or simplification. In and the same capability. Command their family’s financial circumstances. addition, the performances are and submission are consubstantial supplemented with additional aspects, and create an inseparable unity; he For each school year and theatrical which – without harming the unity of who can submit can also command, season, the programme runs in two the work – aid in its understanding. and vice versa: the idea of the one phases: autumn (in October) and In the case of Erkel’s opera Hunyadi is contained in the other, just as the spring (in May). Each performance László, performed in the spring of masses and leader are each contained series comprises 19-24 performances. 2013, images of the characters were o Photo: Péter Herman

62 63 OperaKaland OperaKaland

o Photo: Szilvia Csibi o Photo: Szilvia Csibi, Péter Herman

projected at the beginning of the group (dignified, attractive, uniform all this, the students – 1,900 a full Dear Organisers, Dear Dr Noémi Kiszely and Judit of high school students, when large work (during the overture), to help appearance)” . The gift for the Opera house – watched and listened to the Molnár, families and pensioners visit us with students easily recognise and learn House prepared by the integrated performance to the end, quietly and First of all, I would like to extend my the help of specially discounted the names of the artists. For easier institutions raising mentally disabled with discipline, clapping only at the thanks on behalf of the Áron Tamási I would like to send our thanks season ticket series, when we organise comprehension, electronic surtitles youths was acknowledged with the appropriate times, and applauding Elementary and High School for your through you to every member and themed events free and for the public, were used. “nicest thank you” award. the performers with enormous bravura performance (June 5, 5 pm) employee of your theatre for the print a complimentary magazine, offer enthusiasm. Feedback received about of Hunyadi László, which proved a true fantastic experience you provided ten percent of our tickets to students Accompanying specials Observations the programme, both orally and in pleasure for the school’s pupils and today. The performance was for many for a euro’s worth of forints, or invite writing, has bee exclusively positive. their escorts. I ask you to please express of the students (trade school students) Hungarians living outside Hungary The spring of 2013 saw the launch The figures from OperaKaland’s Here are a few excerpts: our congratulations to the performers their first experience of real theatre, for the first performance: all of these of the “Hunyadi travelling trunk”. experimental phase in May/June 2013: and directors! It truly grabbed us how and what we heard on the way home make the costly ripened fruit of total The item, with central significance 27,000 students from 350 educational Dear Organisers, you melded “old and new” in your was unforgettable. art available to everyone whose tax and symbolism in the most recent institutions in 122 communities took performance, and special thanks are If the school supports our initiative, money – or whose parents’ or children’s production of Hunyadi László, served as part in the programme, of which On June 5, I saw the opera Hunyadi due for the many gestures with which you can depend on us to come in the tax money – has contributed to the both a communication link between 15,000 were from outside of Budapest. László with my students as part of the you strived to make the events more autumn. For us, the teachers, the day creation of these treasures. All of us are schools and a notification of the The behaviour of the participating wonderful special offer. I state sincerely understandable and easier to follow, was also a cause for much happiness. sensitive to beauty, but for many the programme’s existence. The theatrical students and the reception of the that this was a tremendous pleasure, just like a depiction of emotions (here The happiness of our children with this opportunity to enjoy it simply never prop, together with a copy of the Holy performance exceeded the organiser’s as many of our students were visiting I am thinking of the subtitles and the great performance was unforgettable. arises. We sincerely believe that it is Crown of Hungary, visited 20 schools, most audacious dreams, and it may a theatre for the first time. I would like portrayal of László’s dreams with dance, Thank you! beneficial to the nation, to society, if where it was received as part of a small well have been that, for most of to extend my thanks to you for doing which truly enchanted us, the viewers, more people know and love the opera. ceremony, and then sent on its way to them, this was their first theatrical/ such an excellent job of organising and as did the projections to no lesser Yours sincerely: Or in other words, anyone who loves the next institution on the list. cultural experience. From a teaching preparing every single detail of this extent, using the latest technology – Ildikó Gősi Ferá the opera cannot be a bad person.” point of view, the target audience is a programme. Truly professional work. it was amazing!) Mátyás Hunyadi Trade School In addition to this, participants can “difficult” age group: youths between Congratulations! and Technical High School, (Szilveszter Ókovács, Opera Magazine, receive various awards, for example, 15 and 18. The production was Thank you for the opportunity. Mosonmagyaróvár Interview with András Oláh – excerpt) the “group arriving from farthest around three hours long, and heavy Thankfully yours, Sincerely yours, away”, the “largest group”, the “largest and serious in terms of its history, Henrietta Lékó Nagy Krisztina Szamos “When we send our new recording group arriving from farthest away”, the music and libretto. Comprehending Count István Széchenyi Catholic High French-Italian High School Teacher to the crib of every little Hungarian “toughest adventurers (wheelchair the Hunyadi production required School, Technical High School and Áron Tamási Elementary and Bi-Lingual citizen, when we host soldiers, when division)” and the “most elegant preparation and attentiveness. Despite College, Jászapáti. German High School, Budapest we play before tens of thousands

64 65 Afterword

Dear Reader,

Let me wax lyrical for a moment: the Erkel is a dream.

It is a dream of opening a new phase of life for a written-off building abandoned at just under 100 years of age. A dream of maintaining the legacy of Sándor Svéd, Mária Gyurkovics and József Simándy, along with Viktor Fülöp, Zsuzsa Kun and János Ferencsik – or perhaps the Three Tenors individually, and Scotto, Toscanini, Furtwängler and Gardelli. Of a space for the Hungarian arts, where, whatever talent artists have brought with them and developed diligently, they can show it off. o Photo: László Emmer A dream which allows us, in the midst of a global financial crisis, to believe in the elevation of the spirit. Culture is a great relief, or at least a comfort and a source of relaxation, which this is why it deserves, in an extraordinarily difficult position, extraordinary support. The Erkel dream is that the opera and ballet can find a place in a practical, comfortable building, together with the finest grand operettas, folk dance, jazz, symphonic music and high-quality pop culture, just as Yehudi Menuhin fitted in here with Ella Fitzgerald, and Yves Montand with Oscar Peterson and the Festival of Dance Music.

But the Erkel is most of all the audience’s dream.

It is a dream that there can still be an enjoyment of art even without a fur coat or tails, and without a limousine or taxi. Even without great wealth or a well paid job, ordinary people can have a substantive and respectable desire for opera and ballet. Clean shirt or worn-out suit, bus or – coming soon – metro, thanks to tickets issued at cinema prices and season tickets, it is now more than possible to take a peek at the most complex theatrical world, at the same level of quality as in the opera house, and with the same artists. And we also dream that, while our less active parents can still find their most favourite works here and we can come out here to see or hear ground-breaking and supremely talented artists – if we are left with a drop of strength after work – our children will also have the opportunity to decipher the cultural codes and receive the gift of understanding, or at least the feeling of, total art.

The Erkel is an investment in minds and hearts – and at the same time a profit- oriented institution: in service of society’s aesthetic sensibility and emotional well-being.

Anyone who loves the Erkel cannot be a bad person – the Erkel is a dream come true.

Szilveszter Ókovács General Director

66 Az Opera által rekonstruált plakát, melyen a második előadás szereposztása látható! A ránk maradt első emlék a második bemutató előadást hirdeti. 67 Erkel-Fest