2016. May June

Eszter Sümegi Shakespeare 400+ Festival The Tempest The Fairy Queen Billy Elliot – the Musical

Bryn Terfel Eszter Csákányi Pál Göttinger Introduction the next 100 Years Dear Music Lovers, www.bmw.hu a vezetés élménye

I am profoundly honoured that the Hungarian State Opera are presenting my opera The Tempest in their excellent programme. The General Director Szilveszter Ókovács and his colleagues have assembled a wonderful cast and production team and I know that it will be a memorable evening. As I complete the finishing touches on my new opera, I look back with a father’s fondness on my first full-scale opera, a work that is very close to my heart, and it is hugely sig- nificant to me that it is to be produced in Hungary, whose music and musicians

I have loved and learned from so much throughout my life. I am particularly Photo by Brian Voce happy to have this work, born on the banks of the river Thames, performed in Budapest in 2016 as we mark the 400th anniversary of Shakespeare’s death.

I send my very best wishes to all of the cast, the conductor Péter Halász, the creat- ive team and the Opera House staff. This is a truly exciting moment for me.

Best wishes

Thomas Adès

izgalmas út áll előttünk. BMW vision next 100.

2 3 PÁL GÖTTINGER 6 Photo by Orlai Production Office 14 19 40 50 64 3 DEAR MUSIC LOVERS, 50 BUILDERS An introduction by Thomas Adès Szokolay85, The Merry Wives of Windsor 6 WORK FIRST, REWARDS AFTERWARDS 52 TRAVELLING THROUGH TIME A conversation with Eszter Sümegi Subscriptions for the Budapest Philharmonic 10 GREETINGS FROM THE ISLAND OF SOUNDS 54 FULL BLAST MAGYAR ÁLLAMI OPERAHÁZ The Tempest Die Walküre 14 AS YOU LIKE IT 56 QUESTION MARKS Shakespeare400+ Festival Il trovatore 19 A WELSHMAN FROM VALHALLA 58 SOMETHING ELSE SZÍNHÁZ An interview with Bryn Terfellel La serva padrona 22 DISAPPOINTMENT, DEFIANCE AND ETERNAL HAPPINESS 60 CURSED PRINCESS

MAGYAR NEMZETI Onegin, The Taming of the Shrew and Snow White and the 7 Dwarfs The Sleeping Beauty 26 PSCHOLOGICAL FAIRY CRIME THRILLER 62 SPACE OPUSES The Fairy Queen Space Fantasy 28 BOXING FOR BALLET 64 YOU HAVE TO SUBMIT TO THE MUSIC Billy Elliot – the Musical Opera Fan: Eszter Csákányi 32 AND THE AWARD GOES TO... Archive: awards and award-winners 36 ADVENTURERS COME, AMBASSADORS GO THE MAGAZINE OF THE HUNGARIAN STATE OPERA OperaAdventure and the Opera’s Ambassadors RESPONSIBLE PUBLISHER: General Director Szilveszter Ókovács PREPRESS: Mátai és Végh Kreatív Műhely 38 A DIFFERENT KIND OF RECREATION PUBLICATION CONCEPT: Dr. Monika Turkovics PRINTER: Keskeny és Társai 2001 Kft. Margaret Island, OperaSziget, OperaFüred Director of Marketing and Communication COVER PHOTO: László Emmer 40 WITH AN OPEN HEART EDITOR: Viktória Filip ADVERTISING CONTACT: [email protected] LAYOUT: Mátai és Végh Kreatív Műhely Printed in 30,000 copies EIFFEL ART STUDIOS The fascinating people of the Opera: Norbert Szabó EIFFEL PROOFREADER: Ildikó Endreiné Szemők ISSN 1789-4093 44 A NEW LOOK AMONGST OLD SPLENDOUR AUTHORS: Anna Braun | Adrienn Csepelyi | Viktória Filip | Viktor Hankó | Tamás Jászay | Zsófia Krupa | Ferenc László | Kornél Magyar | András Oláh Gastronomic developments Tímea Papp | Zsófi Rick | András Várhegyi | Zoltán Zsiray-Rummer 46 LET’S GO! WE CAN STRIKE! PHOTOS: Valter Berecz | Zsolt Birtalan | Szilvia Csibi | Csillag Pál | László Emmer | Péter Herman | Attila Nagy Zsófia Pályi | Péter Rákossy | Tímea Sághy | Sheila Rock | Brian Voce Behind the wings: visiting the carpentry workshop

4 5 Cover story Cover 6 first, first, Work afterwards rewards Kornél MagyarKornél talking. we were that tions major these distinc of wasn’t because just 15 March national holiday.country’s But it the of award on the occasion Excellence of Sümegi, Artist Hungary’s received also who the Opera’s Chamber two-time Singer Eszter Celebrating her in April was birthday early -

Photo by László Emmer my repertoire, but I still enjoy Istill my singing but repertoire, Strauss have and Wagner dominated journey.long few years, last For the a Mimì tofrom has Brünnhilde been professionin 23years, for the and went through my mind, as been I’ve things me. Lotsof beside stood had who teacher, everybody and Ónody, my Márta my and family God, thanked I First great feeling. fantastically and that is an uplifting I’m if sing,and but then rewarded, thatpractice titles I and certificates counting at it on all.been notfor It’s unpreparedfor,and since not Ihad art Hungarian of behalf on achievements award Excellence of Artist receiving the callabout phone I receivedthe rehearsing– Iwas Walküre career... quarter-century nearly now your you’vedistinctions received in other the like gave pause, you maybe and aloop for you knocked on working intensely were you – As . It was completely unexpected completely Itwas unexpected Walküre

for my high-level and exacting exacting and myfor high-level , the news must have must news , the when when DIE WALKÜRE | Photo by Attila Nagy same marvellous Brünnhilde I sang sang I Brünnhilde marvellous same Watson, Linda the with Valkyries, Châtelet du in ParisI appeared Théâtre athe in Elisabeth Tannhäusercame along at Erkel. Then the happening like rejoicing was it, that something other half the while production, the Wagner. audience the Half rejected Lohengrin ous Wagner 11th in the year, omin in the sang Ifirst Leoncavallo’s Nedda. Countess and Mozart’s Iadded then Verdi only I sang Puccini, and and of career my decade first – In the later. came Strauss and Wagner Italian heroines followed, and La in bohème Mimì as was it Budapest, in here House era maschera in pearance was as Amelia in ap first your as Puccini, Verdi and your favouritescomposers, are German two those with – Along thatfor too chance the get I’ll season Next much. Tosca , Madama Butterfly Madama as Gerhilde, one of the the of one as Gerhilde, in Győr, in Op at the and directed by Katharina Katharina by directed . The other other . The and Aida and , and , and Un ballo very very - - - Lear | photo by Attila Nagy that long with it. But even But when it. with that long year-long process, Ispent and at least – Learning like arole that is ideally a days. three every “move in” then back and Sieglinde off” “take just can’t obviously of Walküreperformances so or awoman? six In mother... awife, tobeing toreturn having over and is production the when costume the off peeling or period with the heroine for an extended identifying and role anew ing learn difficult, more is – Which them. envisioned poser lutely singnotes must the com as the Verdi, Wagner Puccini, and abso one music. the With from always starting to makepossible, Itried my it own, in much concept.as As modern very Walküre Holländer fliegende Der in Senta Isang season Last rehearsals. alot tome ready, get including during helped who one person, and artist considerlove alot and her agreat her in March. with Sieglinde Igrew to Aida | Photo by Zsófia Pályi in March interesting was and . Géza M. Tóth’s M. . Géza Cover story Cover , you you ,

- - - 7 Cover story

DIE FRAU OHNE SCHATTEN | Photo by Attila Nagy DIE KÖNIGIN VON SABA | Photo by Péter Rákossy

I wash off the make-up, the character in order to kill Scarpia, the sexual address the father: “Vater, bist du’s? doesn’t vanish inside me, especially blackmailer, on stage out of power- Drohest du mir” – and my father is with difficult roles by Verdi, Wagner ful passion. I have to identify with no longer alive either. It’s very diffi- or Puccini. These great romantic the characters in the opera, but if cult to fight back my tears when works often touch me so much I can’t that doesn’t work, I try to call forth I get to this part, because I know sleep at night: they play in my head some kind of help from my own that one day I will present myself and I feel the melodies in the cells of experience. The beauty of perform- to God in the same way, and I hope my body. You also have to know that ing opera is that I can live through I’ll see my parents again. for a production like this, the words an experience that I couldn’t in my and notes have to be ready to go own life. Every night I can create – You come from a family where and perfect months ahead of time. unique characters, but know for sure faith and work are key. My own ideas might not always jibe that when the curtain goes down, I’ll – I started singing with Calvinist with the directing, but musically I’m still be me. psalms in the church choir as a little generally right on. The répétiteurs girl, and I still regularly appear in always help a lot, and conductor – Yes, Eszter Sümegi, with her own oratorios that include a fair percent- Péter Halász took up the entire op- emotional life, has to be an actress, age of the high points from the era with me much earlier. Tóth’s not just an opera singer. Which is history of sacred music. Verdi’s Re- directing was a unique test because dominant? Or both are equally? quiem is my favourite, but I’ve per- Sieglinde here was a “fashion victim” – There’s an opera I love very much: formed many others too. Singing the whom Hunding considered his Die Frau ohne Schatten. I play the title role of Liszt’s Legend of Saint property, not a partner. That’s why it Empress, and in the third act I have Elizabeth was a wonderful and uplift- was easier, even necessary, to aban- to appear before Keikobad, the father ing experience. Faith is a very per- don it later, because the roles have and chief god. When the plot has me sonal thing. It helps me in my career, an involuntary effect on me. Even reaching the spirit world, the gaze of pushes me along in life and helps while studying the part, I allow the one of the women on stage makes me make sure I’ll handle the beauti- emotions to fully soak through me. me think of my mother’s eyes, my ful tasks of the future better and If I’m singing Tosca, I don’t need to mother who has been gone for better and at an ever higher level. o become a murderer, but I do have to more than 20 years. That’s upset- summon up a very stressful memory ting enough, but then I have to

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hirdetes_190x240_opera.indd 2 2016. 05. 03. 16:40:00 Premiere 10 of sounds of island the from Greetings

Photo by Brian Voce did not take the easy way. easy did nottake the Aus The prose theatre, television, and opera successes major inwith her behind Oakes, Meredith His librettist, 2000. by Jonathan Kent in saw he directed by aWest End dramatic production creationThis by inspired Adès was politics, ethics, oreven life. private as ametaphorfor thetheatre, social in itequally, andcanbeinterpreted reason andProvidence, all appearing the realistic andthe supernatural, and moralemotionalquestions, ship, love, revenge and forgiveness, of themes:itaddresses power,- friend tion, isnotbuiltaround asingleset ofrecapitulabe considered- akind thatThe Tempestthe fact , whichcan ofgenresdiversity ofadaptationis been basedonit.Expandingthe works, 50operashave andnearly it hasinspired vocal andorchestral four Over centuries, lyricism. ordinary island thatgive- thedramaitsextra Caliban, andthesoundsofProspero’s it alsoincludesthemusicto tame songsremainingtwo from it, since beyond themusic –andthisextends dating from 1610-1611,isitselffullof final independentlyauthored work, thatShakespeare’s additionto thefact In - Ric Schachtebeck, who have many who Schachtebeck, Ric colleagues Sabine Blickenstorfer and director Ludger Engels and his design team of well-honed by the staged season, Shakespeare the of premieres exciting most the of we awaitone is heightenedit anticipation with that all coincidence this, no it’s thatAfter Adès. for praise their stinting with premiere,wereworld not critics the the enchanting, –after energy of full Ethereal, incandescent, witty, acters. charof the fluctuations emotional the of expression precise the and implicit story in the tragedy the on instead arias, he lack of concentrates illustration: avirtual also with eschews dissonance from ranging to lyrical, the Adès’s them. instead clarified music, featurestheir into white, and black but at all, didnotsimplify she structure drama’s the changed scarcely and bylarge and intact characters the left she While phrases. certain retained also she tered linguistic the structure, to. al she While nothing to object even will Shakespeare find purists that in rebuilding deconstruction, the in such away text the and story the essence of the and drama the apart pulled dramaturg and writer tralian Santa Fe, Frankfurt, Lübeck, New Lübeck, York Fe, and Frankfurt, Santa Vienna, this is work that is not merely an opera adaptation of Shakespeare, an of opera merely adaptation not is that but a Opera House on 10 February 2004. Coming on 10in Hungary Opera February House May, to following London’s Garden, Covent Strasbourg, Copenhagen, libretto byMeredith Oakes premiered was London’s at libretto Royal The opera The The Tempest The self-standing creative work true to his spirit. to true work self-standing creative - - that Thomas Adès composed to the to composed Adès Thomas that didn’t look interesting:didn’t look years earlier he to work invitation the if the agreed have wouldn’t operas contemporary Naturally, numerous of director the towards, in, each other. faith and have openness of level amaximum that rather theyto but themselves, notthat leaveit’s they each other that stresses He work. of method project,” Ludger Engels explains his on the effect that has afructifying debatesdifferor take place way in a tant means This thing. opinionscan basis intellectual is impor the same words, all, above and having the afew each other from understand motivate each other, that so we can mean that can This we inspire and partners. are we equal decisions, director,I, the have to make final the don’t think in hierarchies. Although who to in ateam work people with like “I concentrated said. he work,” very with experience, good a very was great “It weight. carried director perflumina Salvatore on Halász Sciarrino’s Su Péter with Engels worked had Halász. teamThe also includes conductor belts. their under houses opera and prosetheatrestriumphs in German , and having, and him as music Tímea Papp Tímea Premiere - - 11 Premiere

had come to know the work through derstand the reference, the medium, his good friend Moritz Junge, cos- and starting from there, sought the www.fidelio.hu tume designer at the London world answers for Adès’s and Oakes’ inter- premiere. He seized this musical pretation. For example, why Prospero world full of interesting twists and hands over power to the new gener- turns, containing both realistic and ation: Ferdinand and Miranda. supernatural elements, often in par- allel with each other and layers built And of course, there is the lure of atop each other, yet nevertheless novelty, because this was the first easily graspable time for all three of them to work in Budapest, although they had seen The dramatic and spatial realisation several performances at the Opera of the two contrasting levels of this House. Through Péter Halász, how- psychological and natural tempest, ever, they were perfectly clear on most visible in the music and already how the project was going, where perfectly “visible” in the overture, the cast selection stood, and how the presented the most difficult task singers were learning their parts. Still, A zene és az életünk nagy- for set designer Ric Schachtebeck. they were leaping practically into the mértékben hasonlít egymásra Should it be a real storm with a rag- unknown, and it’s no wonder what - mindkettőben meghatározó ing sea and pouring rain? Which is excitement the start of work brought szerepet játszik a ritmus és a more important? Depicting a drifting when they first met the singers and harmónia... ship or showing the people’s internal got to know them. Then they entered struggles in a more abstract form? It a partly calmer, partly more active A zenei élmények megelőzik a beszédet, wasn’t so much the sets as the space state during the rehearsal process, as az érzelmek szintjén működnek. Gyakran that had to be created for the arising they built the characters more and nagyon nehéz verbális módon kifejezni emotions of fear, horror and crisis to more on the characters of the sing- ezeket az érzéseket… Egy pszichotrauma feloldásakor, ott, ahol a szavak megtor- thicken together. The physical and ers, shaping the characters from their pannak, gyakran csak a zene segítségével psychological shipwreck has to be a shared ideas, Ludger Engels explains. tudunk továbbhaladni. Egy-egy ilyen clear and precise image, stresses the- Then a new phase follows, when pszichotrauma olyan, mint az éjszakai atre and film set designer Schachte- the production stands on its own hold. Nagyon messze van tőlünk, de beck, who together with costume two feet, everyone has a deeper and mindig kísér. A zeneterápia segítségé- vel képessé válhatunk arra, hogy ezeket designer Sabine Blickenstofer, has deeper understanding of their role, a lelki megrázkódtatásokat „időbe és nothing but words of praise for the its motivations, and then a sudden bit térbe” helyezzük, azaz „lehorgonyozzuk” Opera’s workshops and their employ- of uncertainty pervades the mood as őket a múlt megfelelő időpontjához, és ees’ “old-fashioned” expertise. they leave the rehearsal stage for the onnantól nem kell tovább „cipelnünk” final new space of the much larger e terheket. A kliens egy fajta módosult tudatállapotba kerül, amelynek során az The director – as already experi- Opera House. The work of building élmény „elragadja” egy lelkiállapotból s enced with dramatic and operatic comfort zones then resumes in order egy másikba repíti, olyan – képzeletbeli versions of Macbeth, was drawn to for the energies to come together – helyre és időbe, ahol közelebb tud Shakespeare, and was curious as to for the premiere. The director and his férkőzni a problémája megoldását jelentő how to express the atmosphere in designer colleagues, however, are not kulcsokhoz. Képletes értelemben a lélek néhány ajtaja csak violinkulccsal (időn- The Tempest in prose and music. They just going to rely on the emails from ként basszuskulccsal) nyílik. read the play and the libretto in par- the assistants and dramaturgs: they’ll allel. They reached back to the 17th fly back to Budapest to continue to (Részlet dr. Kollár János cikkéből. century: the starting point for prepa- monitor the production’s fortunes. o Mindennapi Pszichológia, 2015. 3. sz.) Photo by Europress ration was researching Shakespeare’s era, so that they could precisely un- Ha komolyan szórakozik...

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FIDELIOhu_190x240print.indd 1 4/29/15 6:13 AM Premiere Premiere

As you like it We’re most of the way through the Shakespeare Season, but the best is still to come: a festival of practically unprecedented rich- ness taking place in three venues, with 17 different adaptations, capped by an appearance by the mighty Bryn Terfel himself. Ferenc László THE TAMING OF THE SHREW JESSICA Carulla Leon | Photo by Attila Nagy

“Shakespeare himself was half of The institution of a themed sea- it is when, even if originally there We are offering 17 complete adap- also get a glimpse into the universe Creation,” declared the poet Sándor son is now familiar at the Opera, is no connection, the historical or tations of literary works, from the created by this great playwright. It Petőfi, and even if this laudatory just as condensing programmes aesthetic context creates one later Baroque to the contemporary, from will be an unforgettable occasion, statement contains some agreeable into a festival as the year draws to on. And the most inspiring literary countries ranging from Germany to and one that can scarcely be re- exaggeration, it is because the im- a close, after the Budapest Spring source material always came from America, in styles ranging from inci- peated on this scale.” pact of the Bard of Avon’s oeuvre Festival and before the Wagner in Shakespeare, which is why we leapt dental music and singspiel to opera, As proof of the event’s size, simply truly does far outstrip that of any Budapest festival, is also now part of at the round-numbered anniversary, dance drama and musical theatre. listing the entire programme would other poet or dramatist. This will Budapest’s opera and concert life. construing the little cross marking Anyone who joins us for the entire exceed the limits to this article’s soon be brilliantly confirmed by General Director Szilveszter Ókovács the 400th anniversary of his death Shakespeare Marathon by the end length, and so we can only provide the opera literature, as well as the further outlines the reasoning and instead as a “plus” sign. will not only see Bryn Terfel, they’ll details about a few special events. ballet repertoire, as Shakespeare’s significance behind the approach- Firstly, the Opera House premiere of works have served as the literary and ing Shakespeare-themed series of MACBETH - SZILVIA RÁLIK, Thomas Adès’s The Tempest on MICHELE KÁLMÁNDY | Photo by Pál Csillag dramatic basis for so many musical events: “In its 400 years of history, 21 May (with three more perfor- works for the stage over the last several tens of thousands of works mances to follow) is the most im- 400 years. For that is exactly how have been created in the genre of portant of the festival and one of , BEATRIX FODOR | Photo by Szilvia Csibi long it has been since Shakespeare opera. But the more-or-less agreed the most important of the season. died in the spring of 1616, and this list of masterpieces is also long. Why Adès’s work embarked on its march aestri is the anniversary that dominates not place this treasure in a differ- of triumph in February 2004 at Lon- the Opera’s season this year. The ent prism each year? Each season don’s Covent Garden, performed greatest undertaking of the 2015/16 should be different from the last, by Simon Keenlyside, Ian Bostridge M mbrogio season, however, is just now taking and we can enjoy contemplating the and Philip Landgridge. The work has place: from 18 May to 2 June, the perceived, actual and undefinable made it since then to Vienna and

traditional May Celebration this year interrelationships between various LEAR - ÉVA BÁTORI, ANDRÁS PALERDI, TÓMAS TÓMASSON, to the Met, whose video simulcast alstaff - A F promises a Shakespeare Festival. works. Along with how interesting CAROLINE MELZER, ANDRÁS KÁLDI KISS , SZILVIA RÁLIK | gave millions around the world the Photo by Szilvia Csibi

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OTELLO - MICHELE KÁLMÁNDY Photo by Zsófia Pályi | Photo by ZsófiaPályitory S ide est S MACBETH- RAME LAHAJ, DÁNIEL PATAKI POTYÓK | Photo by Attila Juhász MACBETH - MICHELE KÁLMÁNDY, SZILVIA RÁLIK Csillag | Photo by Pál W

chance to see the magical Prospero’s Opera’s repertoire, there will also be to watch the Shakespeare series. Speaking of “bards”, a famous poem with Iago’s Credo and Falstaff’s operatic island. The Hungarian pre- a number of special productions. They will be at each of the venues, by János Arany means that most “honour monologue”, as well as miere, staged by German director One will be the “other” comic opera including the Liszt Academy, for the Hungarians associate the word with some wicked arias from his success- Ludger Engels and conducted by immortalising Falstaff: Otto Nicolai’s premiere of Britten’s A Midsummer Wales. On 2 June the pride of Wales, ful album Bad Boys. o Péter Halász, with Franco Pomponi The Merry Wives of Windsor, a cham- Night’s Dream (27 May). Bryn Terfel, will crown the festival and Laure Meloy in the principal ber (or in this case, “foyer”) work roles, will soon enchant us. premiering on 24 May and sung by ROMEO AND JULIET - GERGELY LEBLANC | Photo by Péter Herman West Side Story - BOLDIZSÁR LÁSZLÓ, HELGA NÁNÁSI | Photo by Péter Rákossy members of the Opera’s chorus. The National Theatre of Szeged will The other special productions at make a guest appearance at the festi- the Erkel are concert versions of val (on 27 and 29 May) with their per- Hamlet (on 19 May) and, sharing the formance of Sly, borrowed from the same subject matter, Vincenzo Belli- induction scene of The Taming of the ni’s opera I Capuleti e i Montecchi Shrew. Ermanno Wolf-Ferrari’s tragic (23 May) and Charles Gounod’s French 1927 opera will be directed by Pál Romantic Romeo and Juliet (28 May). Göttinger, starring Boldizsár László, who also sings the lead in the two A key feature of the event are the May performances of West Side Story 400 young people (high school and in Sándor Szokolay’s Hamlet. students and primary and university students studying drama) who have In addition to the Shakespeare-themed committed, along with their teach- ROMEO AND JULIET, opera and ballet works from the ers, to spend the semester preparing LEBLANCLILI Herman GERGELY FELMÉRY, Péter by | Photo

16 17 Portrait

A Welshmen from Valhalla

Taking the stage of the Hungarian State Opera 18 May - House on 2 June will be one of the world’s most 2 June 2016 sought-after bass-baritones: Bryn Terfel. We spoke to the Welsh star about the hammer-wielding Donner, low-flying biscuit tins and his other passion: football. But how did Pink Floyd get into it? Adrienn Csepelyi Adès The Tempest – 21, 25, 28 May and 1 June | Opera House Wolf-Ferrari Sly – 27, 29 May | Erkel Theatre Reimann Lear – 29, 30 May | Opera House Verdi Falsta – 20, 22 May | Erkel Theatre, Macbeth – 22, 26 May | Opera House, Otello – 24, 27 May | Opera House

Seregi – Goldmark The Taming of the Shrew – 18, 20 May | Opera House Grammophon Deutsche Budapest Philharmonic Orchestra Concert – concert  Arthur Fagen – 30 May | Opera House Bryn Terfel Recital – 2 June | Opera House

+ Gounod, Nicolai, Bellini, Szokolay, Britten and Bernstein Rock, Sheila Photo:

18 www.opera.hu | www.facebook.com/Operahaz 19 Portrait Portrait

leaf. But then I’d get to experience human greatness up close. If any- body ever embodied the classical ideal of the Maestro and everything the title means, he was the one. Skill, a great knowledge of music and a strong personality that always knew what it wanted and never deviated from it. Even the debut managed to be intense. Solti put me rather to the test, and rightly so: he always drove me to achieve more.

– What’s the most important thing that you learned from Solti? – He shaped me into a better per- former: taught me to instantly re- knowledge and anecdotes, that I’d – Ever since I was very young, I’ve – I’d engage Roger Waters of Pink Floyd spond to how he, as conductor, was never even try to follow in their regularly dreamed that I can fly. In and ask for a rock opera. But it would constructing and interpreting. And footsteps. these visions, I’m surveying every- also be lovely if Stephen Sondheim last, but of course not least: if you thing below me, floating silently and would write a musical to the medieval sang with Solti, people listened. Your – What is the funniest thing that calmly. If I really could fly, that would Welsh stories from The Mabinogion. career could take a new direction, you’ve ever read about yourself come with unforeseeable conse- I know that he’ll enjoy these tales just doors instantly opened for you. Solti in the newspapers? quences. (Laughs.) But this is just an as much as I do. Who knows? Maybe built careers. If only I could have – Once somebody wrote that I am illusion. it’ll happen one day. worked longer with that genius! an ardent fan of steam locomotives. Well, that’s not the case. – What’s the most unexpected – They say you’re a big football – Why don’t you hold master thing that ever happened to you fan. Tell us which you’d prefer: classes? – What’s the nicest compliment on stage? watching Gareth Bale lifting the Photo by Sheila Rock, Deutsche Grammophon – Because such occasions create you ever heard from a fan? – Once at the Wiener Staatsoper, World Cup trophy skyward for situations where I don’t feel at all – I can’t highlight anything in partic- during the curtain call at the end of Wales or to chat with Wagner – Is it true, that story that you I went for all or nothing on the comfortable. It might even still have ular, because it’s always terribly Tales of Hoffmann, a crazed fan on about Meistersinger, with the help completely lost your voice before stage. I’ll never forget the relief an effect on my regular repertoire. moving when somebody says my the top level threw a tin of biscuits of a time machine? the finals for the BBC Cardiff when I got to the end of the Dutch- Even at Guildhall I wasn’t too enthu- music helped them get through a at the head of the poor tenor. The – I’d be too nervous and insecure to Singer of the World? What hap- man’s aria. That day, nothing could siastic about such events, and I still serious illness or a difficult life situa- tenor, who was named Plácido Do- step into a room with Wagner, much pened exactly? help me and my vocal chords but think that there are much more suit- tion. And this is what makes me mingo, serenely picked up the pack- less ask him anything... So I’d rather – Yes, on the morning of the contest some steam, lots of liquid intake and able people than I am to come be at think that it’s incredibly worthwhile age from the floor and happily watch Gareth Bale lifting the Cup. I woke up mute. The previous week pure Welsh courage! the centre in this sense. to work hard and with dedication. waved it in the air: it was his favour- The side played wonderfully this had been incredibly difficult for me, ite snack! At first I was so astonished year, and made it to this year’s Euro- since I was representing my country, – How do you recall your first – But is there anybody in music with – Imagine you’re with the gods of I didn’t know what to do, but then pean Cup, while Bale has been per- and I also had my examination con- rehearsal with Sir Georg Solti? whom you’d be glad to sit down Valhalla! Which one do you have a when I saw Domingo’s reaction, forming outstandingly for a long cert at the Guildhall School of Music – The wonderful Welsh bass-bari- with for a few days of training? good relationship with? smiling with a bump on his head, it time. Our footballers deserve every & Drama, where I was then studying. tone Sir Geraint Evans introduced – If I could pick only one person, it – Obviously the frenzied and furious became a fun thing. credit for their hard work and persis- As the day went on, my voice gradu- me to him. He arranged an audition, would be Renata Scotto. I even took ex-boxer-type and hammer-wielding tence! ally started to come back and whereupon I got work in Figaro and classes with her in New York once Donner! – Let’s suppose that you could As we say in Welsh: “Ymlaen a ni!” – strengthen, and inevitably, the Don Giovanni in Solti’s al- and loved them. I was sitting quietly commission a musical work from “Forward!” o life-saving adrenaline rush allowed ready-underway concert tour. I viv- in the dark corner with the Met’s – What godlike superpower any composer of your choice. Who me to sing at the finals that night. idly remember how much I dreaded new administrative director, John would you like to have, and how would it be? Would you ask for an At that point I couldn’t look back: my first rehearsal: I was shaking like a Fisher. Both of them are so full of would you use it? opera or perhaps a song cycle?

20 21 – completely filled the Opera House House Opera – completely the filled name same the of opera composer’s asingleinclude measure the from not music, whichdoes bitter-sweet Tchaikovsky’s happiness. of instead emptiness and disappointment pain, chooses dandy the but istion worth, much Tatiana’s pure sincere and affec he’d life how if from understand just could have boy golden everything Russian young the love.for Onegin, yearn love,perhaps or unrequited likewhat know it’s or toloved, be know to who those speaks still ago ries centu three nearly Puskin’s from story love rejected of story the Onegin: Seregi’s László Onegin was as backin was the repertoire, John Cranko’spassions, for choreography inballets: May, great of the month beloved three tales, timeless Three and defiance Disappointment, Ballet 22 and the Seven Dwarfs Seven the and Anna Braun Anna made is love.really of programme. world the whole Because while Harangozó Gyula Jr.’s happiness eternal eternal The Taming of the Shrew the of Taming The will beon the June - - Snow White White Snow can-born choreographer selected the the selected choreographer can-born Afri jealousy. of South out The to murderusual each other forpeople agreatwas was it when and rarity, passion happy and fulfilled the which in could men, women notapproach when an era ko’s dance depicts drama Cran sensitivity, John incredible With city. the from stranger aloof falls in love who sight atof the first sister, daydreamingfragile the Tatiana, her and Olga young and carefree ful, Larina’sMadame cheer house,the on garden rosethe on of curtain as the , - - - in enchanting costumes. in enchanting Russianwrapped soul, endless the in delight again could audience afewsence years, of this May the 2012, of November an ab after and in to Budapest Itreturned repertoires. continuously it –keep inoperas their state Vienna and Berlin the and Ballet Covent State Garden,Bavarian the –such Met, as world tions the in the institu prestigious most the of Some neverdrags. piece the acts, three arc fills up the story’s the although and feeling, brilliant dramaturgical with novel-in-verse the from excerpts - -

ONEGIN - Aliya Tanykpayeva, ROLAND LIEBICH | Photo by László Emmer

THE TAMING OF THE SHREW - JESSICA CARULLA LEON, JÓZSEF CSERTA | Photo by László Emmer A -A nyegin T liya anykpayeva , L iebich R Fotó: Emmer László |Fotó: Emmer oland the vitriolic humour of self-irony. of humour vitriolic the minute fillingwithplot every the but gently, stridently, more sometimes sometimes woman, and man tween ritual of bickering be and rivalry ancient inthe engage characters two to The on. take her decides dowry Veronaman from alavish for hoping anoble suitors,produces no but intoyoke herself Padua a marriage. Kate, however, intention has no to sister, older born requires. as tradition stub findsher a husband father for until her marry cannot Bianca lovely and created sweet the than solved: hitch easier was plot inThe the Night’s Dream Midsummer A and Juliet Romeo and by eternal in the dance love of preceded Seregi’s the Shakespeare of cycle, part husbandheavy-handed comprises her Paduan girl and fiery the of end leg this The spring. Opera’s stage to hashumour againthe returned dramatic and storytelling master of choreography. by the piece This his for Goldmark music Károly from chose who Seregi, to László thanks fortunately, Shrew own got its Budapest, important. less is no work, also to set Italian the composer’s Cranko’s John although 1969 version, to musicchoreography by Scarlatti, 1954sions Maurice is Béjart’s perhaps ver ballet the of best-known The adaptations. ballet including informs, musical, film and have to come inmany life characters century. five its centuries, past In the Paduangrumbling 16th girlin the endlessly and taunting, big-mouthed untameable, the of story merry and Shakespeare wrote this charming love tames Taming Shrew the The of . : in 1994, Ballet - - - - - 23 Ballet

SNOW WHITE AND THE 7 DWARFS - ILDIKÓ BOROS, BENCE APÁTI, BORIS MYASNIKOV, DÁVID MOLNÁR, BÁLINT KATONA, CSABA HOMMER, ANDREA P. MERLO, RICARDO VILA MANZARANES, ANDRÁS SZEGŐ | Photo by László Emmer

Snow White and the Seven Dwarfs: the feeling that brings adulthood

The story of Snow White and the This charming story first took on life mour Grumpy and want to help poor Seven Dwarfs is one of the best-known in the language of ballet in the early clumsy Dopey. We share the girl’s fear western “legends”. We know both the 2000s at the Erkel Theatre, and now of the Stepmother, and eagerly await Grimm brother’s more horrifying and Gyula Harangozó’s choreography and the Prince just like we did decades sombre version and Disney’s lighter, less Rita Velich’s costumes are returning ago, when our parents read us these terrifying one. Just as The Nutcracker, to the repertoire. Kentaur’s grandiose stories night after night at the side of Swan Lake, and even The Sleeping Beauty sets and Tibor Kocsák’s music are our bed. Snow White’s story is about all belong to the classical ballet litera- proof that our sense of wonder will becoming an adult, but her gift to us ture, the fable of the fair-skinned and be just like it was in our childhoods. is becoming a child. Because, in this raven-haired girl with blood-red lips We are enchanted by the mirror, story, everything is clear and simple: persecuted by her wicked stepmother play together with Snow White in there is no blurring of good and evil, who is saved from loneliness by seven the dwarfs’ two-storey house, and nobility and wickedness, helpful and little dwarfs and from death by love is marvel at the bubbling waterfall as harmful intentions. And for two acts, part of the fairy-tale literature. This story we again meet the pedantic Doc, the we too are sure to live happily ever is more than a fairy-tale: it’s really about ever cheerful but ungainly Happy, after. o a child maturing into an adolescent, the gentle Bashful and the constantly and then an adult. snoozing Sleepy. We pity Sneezy, hu-

24 Premiere Premiere

DESIGNS BY Sebastian Hannak

choreographer Kristóf Widder will be declamation made the text very mu- nearly black-and-white character. Psychological helping them with. sical, which centuries ago was highly A great German designer, Sebastian – With the heroine seeking her way, stylised and poetic, but today’s dif- Hannak, is creating sets we can use then, we could say that something ferent tastes would see it as affected. to create many various spaces, while of Shakespeare’s comedy still re- On the other hand, if we performed the unique costumes portraying the fairy crime mains in it – from its philosophical the prose sections with a modern era are the work of Krisztina Lisz- content. approach, this would entail a huge topád. The recurring element, where – Actually, yes, several of the charac- gap in the sung segments, which I the story returns time and again, is a ters might ring a distant bell, and like wanted to avoid. Nowadays, musical bar, with an actual jazz band playing. thriller the original work, the line between and prose theatre differ substantially dream and reality is blurred here too. in their “mechanism of action”. – The renowned Kornél Fekete­- Standing at the heart of the production of Purcell’s opera Also remaining, for example, is the Kovács and his quintet, no less. The Fairy Queen being staged by director András Almási Tóth eternal question of whether one can – Where did the film noir idea How did they get involved? is a heroine in search of both herself and happiness. This only define oneself through one’s come from? – This was the result of another – I was looking at different associa- big change. Purcell wrote a huge work, evocative of film noir, dispenses with A Midsummer relationships with others, or if first one must be clear about oneself in tions to lend drama to the story to amount of dance music for the Night Dream, the comedy it originally belonged to, but order to form a true connection with replace A Midsummer Night’s Dream. piece, but I’ve taken this out in order retains Shakespeare’s wit. Zoltán Zsiray-Rummer another. Worthily of a true film noir, For me, film and opera somehow to reinforce the dramatic character. we’ll also find a criminal angle. The come from the same source, and I I asked the jazz musicians to replace moment of clarity, however, comes had directed a condensed version of these passages with classic jazz – Based on the cast list on the plot, using the original as a starting at the end like an awakening, as if Purcell’s work as an examination at numbers that are suited to the pro- Opera’s website, you’ve substan- point. It’s really a film noir script the whole story had been a single, the music academy a few years ear- duction’s style, but still use Purcell’s tially transformed the original about a femme fatale, which comes very long night, although the plot lier, when I noticed a similar line of musical motifs. Naturally, we re- piece, using much fewer char- to life through Purcell’s songs. The itself had unfolded over some years. thinking. Now I’ve further developed tained the opera’s other parts, which acters. What have you changed, heroine is seeking both herself and this idea built around those earlier the opera’s orchestra will interpret exactly? happiness through various men, but – Why did you decide on leaving improvisations. on modern instruments, albeit in – The Fairy Queen is a so-called always fails. I got to choose the sing- out the original structure, and A a Baroque configuration. From the “semi-opera”, based on A Midsum- ers, so even while writing the story, Midsummer’s Night Dream with it? – So that means that the stage de- start, we’ve collaborated on de- mer Night Dream, for which Purcell I was thinking of specific artists. – Precisely because of the prose sign will evoke the ‘40s and ‘50s? veloping the production with the created musical/vocal interludes. They have a very complex task, since sections. Performing the comedy – Yes, in keeping with the genre, young Australian conductor Benja- We reworked the structure, using they have to enrich the production and the musical work together with there will be a strong light-and- min Bayl. It seems we’ve assembled only the work of the English com- with their movement and physical actors and singers seemed to me shadow effect, with a great deal a very good team together for this poser, and I wrote a completely new presence, which physical theatre like theatrics from a different era. The of artificial lighting providing the production. o

26 27 Premiere Premiere

and his mining family’s hard life for ballet lessons. The Opera’s manage- ment has made no secret about wish- ing for something similar: to channel young people toward dance and the magic of the stage and help develop the next generation so that in ten or 20 years there will still be excellent Hungarian ballet dancers for the MNB and other ensembles. For this, nothing could be more inspirational than this musical based on the 2000 film that won several Oscar nominations. The librettist, Lee Hall, and composer Sir Elton John conceived of the idea OLIVÉR LUKÁCS, DÁVID BORKA, ZALÁN KAMARÁS, JOHN BAILEY MCALLISTER, ÁRON VIZLENDVAI, KAMILL HÁMORI KÖKÉNY, ILDIKÓ HŰVÖSVÖLGYI, ILONA BENCZE, ESZTER CSÁKÁNYI, TAMÁS SZIRTES, SÁMUEL GÁSPÁR, MÁTÉ PÁL DÁNIEL, BERCEL TÓTH, ANDRÁS HREBENÁR | Photo by Zsófia Pályi SZILVESZTER ÓKOVÁCS, TAMÁS SOLYMOSI | Photo by Zsófia Pályi for the piece after the film’s premiere. The multi-Grammy-winning composer considers the work to be one of the Tamás Szirtes (and including Solymosi, to audition from other dance schools tition to join the production. A sep- most rewarding experiences of his life. Emese Soós, head of artistic adminis- and large cities around the country. arate selection was held for the girls As he put it earlier: Boxing for ballet tration, and conductors Géza Köteles Not everyone took the age restriction age 9-12 from the Madách Musical “The talented young performers who and István Silló, voice teacher Mária seriously: there was one little rascal Dance School. have become part of our Billy Elliot Toldy, choreographer Ákos Tihány, who was barely seven years old, but The candidates for the adult cast – invited family have amazed me with their Multiple rounds and eventual triumph: Billy Elliot – choreographic assistant Ferenc Molnár, with seven miles of talent, he truly from among the country’s best known achievements from the very start. Each the Musical had its title character. A replay of the most director’s assistant Eugénia Vaszilenko enchanted the audience. actors – took part in a three-day au- time I have revisited the show, I have dition, and in January of this year the been moved by Billy’s heart-warming important moments of the exciting match! Viktória Filip and elocution teacher Zsuzsanna Fe- hér) failed to find a suitable candidate. But the staff members still could not adult dancers were selected from over story and his determination to achieve As Tamás Szirtes indicated in an earlier just sit back and relax, and the 20-25 a hundred applicants, and the chorus his dreams. I am so delighted that new edition of Opera Magazine, “it’s not children who made the cut only got and orchestra members were also sur- audiences around the world will now enough for the lead performer to be three weeks of holiday themselves be- veyed. The reason was simple: “the cast have the opportunity to experience In February 2015 news spread It wasn’t easy at first though. The first nice and sweet: he has to be able to fore participating in intensive training. was the most important thing; it would this extraordinary piece of work.” that the HSO was looking for child round took place last year in March, sing, dance and master prose at a high Taking the lead at this point were the decide the production’s fate.” performers, and for an important when over four days and nearly 40 level.” Of the candidates from Hungary teachers involved in the production: The musical has enjoyed continu- assignment at that. There began a hours, with more than 100 youths par- and the neighbouring countries, Mária Toldy and Brigitta Kovács (voice), Fate, which the story has Billy Elliot ous success since its premiere: April “search” for a boy of around 10 with ticipating in the review of their danc- 13 would continue, a less-than-reas- Zsuzsanna Warnus (répétiteur), Zsuz- altering by replacing boxing lessons marked 11 years of its West End run, good physical attributes, stamina, an ing, singing and acting abilities. The suring result, since suitable performers sanna Fehérné Kovács (elocution) and excellent sense of rhythm and other first audition examined their classical had to be found for the triple cast and Csaba Jantyik (acting). Teachers from skills needed for dance. Voice not ballet skills, including barre and centre the substitutes. In addition, children at the Madách Musical Dance School cracking, pure singing voice and with practice, jumps, and then made the this age can undergo relatively rapid and High School under Gyula Sárközi experience in tap dance or classical boys prove their skills in street dance, vocal and physical changes, and the in particular are doing a great deal to ballet; a bit of background in any kind tap dance, modern dance, acrobatics jury had to take this process into con- ensure success: since May, they have of acrobatic athletics wouldn’t hurt and improvisation. The second audition sideration as well. been helping the performers with their either. Some asked whether Hungary involved scale and rhythm exercises, preparations in modern dance, classical actually had such a multi-skilled wun- the required songs from Billy Elliot: As a result of the more targeted search, ballet, tap dancing, and with music derkind who could carry a full-length (Expressing Yourself and Electricity) and a second round ensued at the end of lessons. show. Ballet Director Tamás Solymosi a monologue, as well as a song of any May for which at the recommendation was optimistic from the start: yes, he genre chosen by the candidate. The of professional colleagues, a good But the casting still hadn’t ended: four existed. professional jury led by the director, number of boys, around 50, came more rounds remained in the compe-

28 29 NIKOLETT GALLUSZ, AUKSZ, ÉVA JUDIT LANDINEK Photo by ZsófiaPályi Premiere

Librettist: Lee Hall

Composer: Sir Elton John

Original director: Stephen Daldry

OLIVÉR LUKÁCS, BERVCEL TÓTH, ZALÁN KAMARÁS, ÁRON VIZLENDVAI, Director: KAMILL HÁMORI KÖKÉNY | Photo by Zsófia Pályi Tamás Szirtes where it has won numerous awards Japanese-language version coming (including four Olivier Awards), to Tokyo in 2017. Now joining this with more than five million viewers illustrious group are Budapest and Translator: Billy: Mum: attending some 4600 performances. the Opera, where the musical will be Ferenc Bárány, István Puller Dávid Borka, Zalán Kamarás, Renáta Krassy, Boglárka Simon The Broadway version can boast 35 on the programme from the end of Choreographer: Olivér Lukács, McAllister John Bailey, Mr. Braithwaite: drama awards, including including July. This justifies the exacting and Ákos Tihanyi Máté Pál Dániel, Áron Vizlendvai Bálint Ekanem, Zoltán Mezô, Pál Ömböli ten Tonys, while the productions careful selection process in order Tap dance choreographer: Michael: running in Canada, Australia, South to ensure that the uplifting story of Boglárka Szikora Sámuel Gáspár, Kamill Kökény Hámori, Also starring: Attila Barát, István Fillár, Veronika Foki, Korea, Brazil and the Netherlands young Billy comes to life with similar Set designer: Máté Pál Dániel András Hrebenár, Gábor Jenei, Zoltán Kiss, András Kôrösi, are similarly successful, with the first beauty and quality. o KRISTÓF NÉMETH | photo by Zsófia Pályi István Szlávik Tall boy: Gyöngyi Molnár. Costume designer: András Hrebenár Featuring the dance ensemble and the orchestra of the production Alida Kovács Yvette Mrs. Wilkinson: and the Children’s Choir of the Hungarian State Opera. Conductor: Éva Auksz, Nikolett Gallusz, Judit Ladinek Géza Köteles, István Silló Dad: Children trained and prepared in part by: Lighting designer: Kristóf Németh, András Stohl, Zsuzsanna Fehér, Csaba Jantyik, János Madarász „Madár” Sándor Tóth Brigitta Kovács, Mária Toldy Scenist: Grandma: János Szûcsborus Ilona Bencze, Eszter Csákányi, Director’s associate: Ildikó Hûvösvölgyi The children featured in the Opera’s production have been trained Eugénia Vaszilenko Tony: and prepared in partnership with the Madách Musical Dance School Richárd Borbély, Balázs Csémy, and the Hungarian Dance Academy. Attila Fejszés Premiere: 29, 30 and 31 July 2016; Opera House | Further dates: 1–21 August 2016 ILDIKÓ HŰVÖSVÖLGYI, SZILVESZTER ÓKOVÁCS, TAMÁS SOLYMOSI, This production of Billy Elliot – The Musical has been developed with special permission from Music Theatre International [MTI, 421 West 54th Street, New York, New York 10019 – tel.: (1) 212 541 4684, www.mtishows.com], using material it has made available. 30 ILONA BENCZE, ESZTER CSÁKÁNYI | Photo by Zsófia Pályi ÁKOS TIHANYI | Photo by Zsófia Pályi 31 Archive Archive And the goesaward to...

ILDIKÓ KOMLÓSI | Photo by Attila Nagy SZILVIA RÁLIK | Photo by Attila Nagy GÁBOR BRETZ | Photo by Tomas Opitz ZOLTÁN OLÁH | Photo by Attila Nagy

Often quoted is G. B. Shaw’s sour bon mot that rather than bear the rank of Étoile of the Hungarian the vast number of books produced in by the critics in an online poll. The top rejecting accolades, it is better to avoid having one’s name Ballet through the next cycle. Hungary, regardless of genre. The an- ten represents the crème de la crème come up for consideration in the first place. There are always nouncement of this short-list is subject of contemporary Hungarian literature, exceptions to this rule, of course. But what’s the situation with other insti- to great anticipation, and the “winning” including Zsuzsa Rakovszky, János Térey Tamás Jászay tutions of cultural life in this country? In names are highlighted in the media. This and Pál Réz. Another novelty is the At the Opera, June is a time for sum- this compilation, we have a look at an isn’t surprising, given that past winners Attila Hazai Literary Prize founded in ming things up and looking ahead. (incomplete) list of some of the prizes have included such heavyweights in the 2016, aimed at helping young and mid- A time between the past season and awarded by professional bodies to the local literary world as György Spiró, Péter life writers with a sum of half a million the upcoming season, when there is a best in the branches of literature, music, Esterházy, and Imre Oravecz in 2016. forints. Imre Bartók was the first winner moment for the management of the the fine arts, and of course, theatre. selected by the professional jury. House to point out to both the artists And new ones are also coming: the and the audience the extraordinary If we look at which non-governmental Libri literary prize is on its way, together The Béla Bartók-Ditta Pásztory Award accomplishments that were made here. award-winners cross the media’s stimu- with a sum of 1 million forints, which has been bringing classical musicians Traditionally, they have handed out lus threshold, then what unsurprisingly is decided on by a panel of four pro- renown for over 30 years. On the an- prizes of significant moral and material comes first to mind is literature, with its fessional jurors after voting in multiple niversary of Bartók’s birth, the board, value to the outstanding soloists at the “award market” dominated by the Ae- rounds. The most important criterion consisting of professors from the Music season-closing Night of Stars Gala Night. gon Art Award. for the organisers is the efficient and Academy, hands out the plaque and Since 2012 the title of Chamber Singer Founded in 2006, and being handed out widespread popularisation of contem- cash prize, partly funded by royalties

of the Hungarian State Opera House for the 11th time this year along with a porary, Hungarian literary works. In collected from Bartók’s oeuvre. Photo by Attila Nagy has gone to the best soloist, and since three-million-forint prize, this recogni- addition to having a list of the nearly 2015 the title of Chamber Artist of the tion was linked for years to a so-called 200 works from the first round of vot- In the past decades, exceptional Hun- Hungarian State Opera House has gone co-award in connection to the sister arts. ing online on their website, there is garian artists such as György Kurtág, to the best orchestral musician, while An independent, professional jury se- an audience prize based on the best Péter Eötvös, llona Tokody and Ilona LILI FELMÉRIY | FELMÉRIY LILI the finest ballet dancers will get to lects the ten best works of the year from works from the ten finalists selected Prunyi have had the chance claimed this

32 33 Archive prize. The two current winners are Zsófia Tallér and Dénes Várjon. For a few years now, Müpa Budapest has been focusing somewhat differently on its most fa- voured artists. In addition to being named artist of the season or band of the season and appearing in the insti- tute on a regular basis throughout the season, their performances are given an 25 JUNE 2016 OPERA HOUSE NIGHT OF STARS AWARDS CEREMONY independent season pass, so their loyal - GALA NIGHT OF THE BEST OF THE SEASON fan base can follow their current work.

The first marquee names belonged to GABRIELLA LÉTAY KISS | Photo by Attila Nagy Zoltán Kocsis and the Ferenc Liszt Chamber Orchestra, and this year we and is worn for one year, including by EIFFEL ART STUDIOS can enjoy the performances of László the likes of Géza Tordy, Iván Darvas, SIMÁNDY JÓZSEFRŐL EIFFEL Fassang, the Purcell Choir and the Orfeo Róbert Alföldi, Enikő Eszenyi, Erzsébet IRODALMI PÁLYÁZAT Orchestra, while next year it will be Kútvölgyi and Barbara Hegyi. It is also the Kristóf Baráti, and the production of artistic community who gets to award the Contemporary Ballet of Szeged. the 13-year-old Erzsi Máthé Award at the A Kistarcsai Kulturális Egyesület József Katona Theatre, to such winners Simándy József születésének 100. évfordulójára egy kötetbe In the area of fine arts, we should men- as Ervin Nagy, Adél Jordán and Zoltán gyűjti össze a művésszel tion the MúzeumCafé Award presented Bezerédi. The National Theatre founded kapcsolatos visszaemlékezéseket. by the editors of the Museum of Fine the Imre Sinkovits Award, which has Arts’ publication, MúzeumCafé. Foun- been awarded to actors ded in 2011 with the goal of drawing Zsolt Trill and Attila Kristán so far. And Pályázatunkra amatőr és attention to the profession’s innovations, the accolades also manifest in a differ- rendszeresen publikáló szerzők tollából is várunk eddig még meg they have recognised, for example, the ent way, by uniting, so to speak, all the nem jelentetett műveket. permanent exhibit in the Mór Jókai companies in the country: any Hun- Memorial House in Balatonfüred and garian-language theatre can make a the creation of the museum exhibit nomination for the Attila Kaszás Award, A legjobb pályázatokat rescuing the Goldberger collection. then the nominees themselves select, pénzjutalommal díjazzuk: This year, three curators were high- by secret vote, the three artists who will I. díj: 100 000 Ft lighted: Krisztina Jerger, András Rényi ultimately be chosen by the audience. II. díj: 30 000 Ft and László Százados won the presti- Past award winners included József III. díj: 20 000 Ft gious prize, accompanied by special Szarvas and Zoltán Mucsi, and last year Péter Mátyás Wels artwork for their concept of the Tibor Mészáros was handed the presti- successful El Kazovsky exhibit at the gious title. A pályaműveket postai úton kérjük eljuttatni a következő címre: 1969–2016 Hungarian National Gallery. This overview cannot hope for com- Kistarcsai Kulturális Egyesület After originally studying to be an opera Matyi was to the opera like a percussion Numerous theatres have an “in-house” prehensiveness; it simply picked out a 2143 Kistarcsa, Bercsényi u. 18. singer, the editor/reporter conducted a instrument in a musical work. He wasn’t prize, perhaps the most well-known few exemplary initiatives recognising A beadási határidő 2016. június 1. huge number of interviews and reports always there, but he always reliably for the viewers is the annual one at the the very best with cash, fame, and glory. Galafor the news programmes of TV2, the appeared at key moments, giving A pályázat részletes kiírása Budapest Comedy Theatre, where the And if we began with Shaw, let’s end a www.kike.hu honlapon olvasható. Opera’s strategic partner. In cultural significance to our news the same way society members hold a secret vote to with him: the author of the famed quote matters, we could thank him, as a fan a timpani sounds: precisely and with pass out the Éva Ruttkai Commemor- proved himself wrong when, after long of the theatre and opera, for the most unquestionable impact. ative Ring on 30 December. The excep- hesitation, he finally decided to accept meaningful and credible accounts, and Farewell, Szilveszter Ókovács, Monika Turkovics, tional jewellery, signed by the legendary the Nobel Prize in Literature in 1925. And we were shocked to learn of his death. Judit Várkonyi and Zoltán Balla actress, has been handed out since 1987 how right he was! o

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peramag_simandy_1_3_60x240_03.indd 2 11/05/16 15:55 Caritative Caritative Adventurers coming, Ambassadors going

Photos by Zsófia Pályi

2015/16, the Ambassadors gave 1602 each series, the letters pour into the come from outside Budapest, new lectures in 268 communities, going to OperaAdventure mailbox and clearly schools are constantly joining and each at least four times a month, but indicate that we have succeeded taking note of the notices sent each sometimes nearly every day. in reaching the young people both time to every high school. “Over ten The interest is huge, which reflects literally and figuratively. Anyone who days, 25,000 students came to us, an both the internal need for music in is ready to watch an opera after a astonishing number in itself. For our Photo by Zsófia Pályi the country of Kodály and Bartók and long train ride isn’t there just to check part, I feel we’ve organised as ratio- the gaping void in arts education. off the cultural programme... we’re nally as possible.” because they have to relay the very Also addressing this gap is the Op- talking about real fans here, and this It has been three years since two initiatives were launched highest level of understanding about eraAdventure programme, which tar- places a huge responsibility on us.” One might ask how one could make under the aegis of the Opera to develop a sensitive, informed the genre of opera.” gets ninth-year-students, who each the youth-oriented programmes even and music-loving audience across the country. The quantita- academic year get to attend a per- Based on the final registration for better. Éva Bátori sees opportunities The Ambassadors first provide basic formance series: one in the autumn May’s The Magic Flute, the total atten- for development with subjects better tive data from the organisers of the OperaAdventure and the background over the course of four and one in the spring. The two pro- dance numbers for the Adventure integrated into the curriculum, an IT work of the Ambassadors speaks for itself, but the result is sessions before they can move on to grammes help each other, because now exceeds 175,000. During each connection, and a separate image and quite a lot better even than this. the specific works in the fifth. “I con- the Ambassadors often do the prep- series, the groups come from well music archive and costume and prop Viktória Filip sider it important for them to estab- arations for the trip to Budapest and over 400 institutions in around 130- collection, while Dr. Noémi Kiszely is lish a long-term partnership with the then, returning home, discuss with 160 communities. Now expanded, working to increase the 90% discount “Good day to you!” The burly opera “Any artist from the Opera or another institution (whether it be a school, the students what they’ve seen and with the involvement of the public Hungarian State Railways already gen- singer who greets the classroom theatre with an opera staff who has cultural organisation or club). To heard. Dr. Noémi Kiszely, head of the collections, into the CultureAdven- erously gives the students. So the com- he’s entered with a deeply sonorous not yet reached the age of retire- show up somewhere once and then Erkel Programme Office, says that the ture, the programme is now in its ing and going continues, and when and resounding bass voice com- ment, who no longer takes part in not nurture the seeds is a waste of change in attitude and opera-attend- seventh series, but interest remains it comes to opera, this exponential mands instant attention. The ballet actual productions, but still would energy. The hardest task is to address ing habits is already palpable. “After intense. Two-thirds of the students growth can only be for the good. o dancer who intersperses with a few like to see their decades of expe- different age groups in the appropri- cleverly executed and spectacular rience put to use may become an ate language. Some of the Ambas- turns has a similar effect, as does the Ambassador,” said singer Éva Bátori, sadors specialise in certain subjects musician who pulls out of case after the programme’s technical manager. or generations, but others are drawn strange case beautiful instruments “They keep up with developments, to being able to present about the that make the most remarkable meaning they can put together and same matters to kindergarteners and sounds. This is the personal magic perform a high-quality presentation pensioners alike,” Bátori continues. that captivates even these hard-to- using genuine costumes and props, reach teenagers. Nobody, however, which they are able to flesh out with The programme now encompasses the thinks that just their presence and some kind of personal, small-scale entire country, and even extends into a few sentences will be enough to programmatic material. So, they have Transylvania. Over two academic years, complete the mission. to meet quite high requirements, therefore not including the data for

36 37 Opera summer Opera summer

A different kind of recreation Photos by Zsófia Pályi

Open-air performances of La traviata and Otello with world Photo by Attila Nagy stars, the premiere of Billy Elliot – the Musical, as well as a gala programme at Balafüred’s Anna Ball and a light-hearted initiation as part of the Sziget Festival. András Oláh mer season, between 19 and 24 July music, will in all certainly once again the city is organising the fourth Anna meet with effusive enthusiasm from houses on three continents. Also Festival offering colourful cultural the audience. o noteworthy is the fact that this will be events enhanced in prestige by the The Hungarian State Opera will be and Florence, among other opera the last chance to see László Vámos’s Opera’s now tradition OperaFüred presenting two popular works by stages, to great acclaim. production with costumes and sets programme series. Each evening on Verdi, with unique casts, at the Mar- by Attila Csikós and Nelly Vágó. The the great stage on Gyógy Square, the garet Island Open-Air Stage. On June A month later, on 29 and 31 July, production was originally developed chorus, orchestra and its soloists will 24 and 26, on what will hopefully be visitors to Margaret Island will get a in Szeged, also for the open-air stage, select gems from the opera literature. sultry summer nights, Ferenc Anger’s look at Otello, Verdi’s most mature and now 25 years again, hopefully un- The opening dance of the Anna Ball new production of La traviata will Shakespearean adaptation. The part of der a similarly starry sky and to noisy will be performed by the dancers of debut before the autumn premiere, Desdemona will be sung by interna- acclaim, it will enter retirement. The production will include such the HSB on 23 July, while the final day with the world-famous Hungarian tionally-tested Hungarian soprano luminaries of the prose theatre as will feature an opera film of Verdi’s coloratura soprano Erika Miklósa, who Andrea Rost, partnered with Marc A few days later, the Opera House will András Stohl, Kristóf Németh, Eszter Otello. just celebrated the 25th anniversary Heller in the title role, as the the be hosting the Hungarian premiere of Csákányi, Éva Auksz, Nikolett Gallusz of the start of her career this year, cre- superb American tenor sings in Buda­ Sir Elton John and Lee Hall’s Billy Elliot – and Eszter Balla. This unique run also The Opera’s other, also new, tradition ating the role of Violetta Valéry for the pest for the first time in a career that the Musical, which was hugely success- features the HSO Orchestra conducted is its regular appearance at the Sziget first time. Partnering with her will be has taken him to prestigious opera ful in the West End and on Broadway. by Géza Köteles and the Children’s Festival. The organisers of Central Italian lyric tenor Giuseppe Filianoti, With 30 performances between 29 July Chorus. Europe’s biggest popular music event who with a nearly two-decade career and 21 August, the production is being on Óbuda Island are always happy under his belt himself, has played the directed by Tamás Szirtes, director of Travelling to the shore of Lake to welcome representatives from Photo by Attila Nagy amorous figure of Alfred Germont the Madách Theatre, which has put Balaton and the capital of its ex- the sister arts, and four years ago the at Covent Garden, the Wiener Staat- up such classics of the genre as Jesus clusive northern shore, we arrive Opera got the chance to present the soper, as well as in Barcelona, Madrid Christ Superstar, The Phantom of the at Balafüred’s Anna Ball, a tradition most popular arias to festival-goers Opera, Les Misèrables and – running dating back to the 19th century and from close up. Each evening between Photo by Zsófia Pályi continuously for more than three dec- taking place for the 191th time this 10 and 17 August on the Classical, ades now – Cats. The Opera’s partner year. In connection with the out- Opera and Jazz Stage, there will be a in training the children featured in the standing society event of the sum- 90-minute OperaSziget production non-replica production being run with with audience participation. The a triple cast was the Madách Musical songs, enhanced with humorous Dance School and High School. elements and accompanied by live

38 39 The fascinating people of the Opera

– Was that the hardest point? goal. Then, when I saw it in real life… – No, that was when we started the An amazing experience! Indescribable! journey. That’s your last chance to an decide not to go. Once you sit in the – How can you go back to every- With kayak and set off, there’s no turning day life? back. And you have to make the de- – It took four years to reach that peak, cision knowing that you don’t have and we got there, but afterwards open heart any idea what’s in store later on. You you have to come down, and it was just go, but you don’t know where. seriously hard work. Either we fall into That’s why, psychologically, the first the void, or we consciously, step-by- We are starting a new series in the magazine to introduce you five days are incredibly difficult. To step, make our way down, nice and to people who work at the Opera and who get up to some rather be honest, I cried every day. At that slowly. How we do it depends on us. remarkable activities in their spare time. We kick things off with point I still couldn’t control myself to The downwards journey can be a Norbert Szabó, who earned his degree in economics, but has been the point where I could cope with the descent into the depths, or a way of THE RAKE’S PROGRESS | Photo by Szilvia Csibi working at the Opera for two years as a supernumerary, and last stress. It’s like aching muscles after moving on to the next goal. One thing training. At the start it hurts a lot, but I’m sure of is that if a person wants to year crossed the Atlantic Ocean in a kayak with his friend Levente then you get used to it. In the begin- put themselves into such an extreme Kovácsik. Viktor Hankó ning I had the sensation that my sur- situation, once is enough. – And you get this feeling even vival instinct was doing everything to when you’re an extra? A love of the sea and ocean has been a while we were hardly able to move We did four hour shifts: four hours of stop me from setting off. After a while – And before and after these ocean – Yes, because there are still tasks or big part of Norbert’s life for a long time, at all. Barely 150 metres away from us work, four hours of rest. Morning till you realise that it’s just a mind game. adventures you have worked as part roles where you can really feel the and he has also always known that he there were ships the size of a football night. For months on end. of the supporting cast in the Opera… presence of the crowd, though maybe would like to see the world. With this pitch. We really had to be careful. – What was it like when you ar- – I ended up here because of a very it’s just because I’m overly sensitive to in mind he – as he puts it – wanted to – Didn’t it all get too much after a rived? kind actor friend. Originally I was everything. cook up a project that no one else had – Of course there were some more while? – We landed at the island of Antigua, only meant to help out for the Opera ever done before. Inspired by a book, relaxing moments too... – The bad times, like the ocean waves, in the northern part of the Caribbean ball, but I ended up staying. It’s not a – Please give us an example of he got the idea that, rather than taking – Naturally! The nights on the open tended to come at regular intervals. Sea. Before that point, for 63 days we big surprise, since I have always like when you have felt all this energy! a solo or group trip as others had done, water, for example, were simply spec- I noticed that every five days or so a hadn’t seen anything except sky and performing. To put it simply, it’s good – I’d say The Rake’s Progress. I play Tom’s to sail the ocean with one of his sport- tacular. I would be paddling alone with dark moment would come, where water. For two months, while we were to be on stage. I get an incredible alter ego, so the whole play starts with ing friends as a twosome. Let them be a thousand stars shining above me. And I would ask myself what the heck paddling we could only imagine our amount of energy from the audience. me. I’m lying on a small sandbox like the first! In 2013, after long preparation, there weren’t even any waves. It was a I was doing there. And each day had a homeless person. Then at the end they set out to complete the journey, stunning sight to see how our little boat its emotional swings. In the mornings of the play I come back again, hold but various factors, including a cyclone, parted the water in that calm, night- it was a bit depressing, the afternoon Anne’s hand and stand there on the got in the way. Two more years of train- time ocean. At the same time there was better, and at night everything stage with the main cast. It’s a fant- ing followed before they made their were many tens of thousands of tiny was totally relaxed. astic feeling! second attempt in October 2015. That’s plankton which glowed green when I where Norbert takes up the story. disturbed them with my paddle. Just In the middle of the 20 day there was – What do you get from the Opera? me and the infinite. And the glowing a major problem: we ran into a storm. – It might seem a bit over the top, but – How did this adventure start? green ocean. Like in some wonderland. We really had to pay attention to the I would say happiness. It’s good to – Quietly. Then after a few days we strength of the wind, because if we come here, to work here. I’ve found met our first serious challenge in the – What do you mean when you say didn’t have the wind coming from be- great company and true friends. There Strait of Gibraltar, when we had to that that you were paddling alone? hind, then the boat gets flipped round, are only a few things which I do gladly, squeeze past ocean liners and tankers. – That we only both paddled if the the waves tilt it, and the wind tosses but this is one of them. I take on every It can best be described as like try- weather was bad; for the rest of the it from side to side so everything gets test happily, and I always look forward ing to crabwalk across the Hungária time we took it in turns. The entire soaked. It’s pretty hard to get the boat to the performances. That’s unbeliev- Boulevard in rush hour on your hands expedition lasted 85 days, and there back in the right direction when water’s ably important, because people are and knees. There were boats coming were only about 10 days where we coming in. You need a lot of technical only useful if they do what they do past continuously from left and right, paddled together, the rest we did solo. skill in this kind of situation. with an open heart. o

40 41 THE RAKE’S PROGRESS | Photo by Szilvia Csibi H E R E N D P O R C E L A I N időtlen szépség, örök érték

A világ kedvenc gasztromagazinja

H E R E N D . C O M • F A C E B O O K . C O M / H E R E N D P O R C E L A N 1014 BUDAPEST, Szentháromság u. 5. • 1051 BUDAPEST, József nádor tér 11. • 1052 BUDAPEST, Klotild márkabolt, Kígyó u. 5. • 1061 BUDAPEST, Andrássy út 16. • 1184 BUDAPEST, Liszt Ferenc Nemzetközi Repülőtér B U D A P E S T • B E R L I N • S Y D N E Y • L O N D O N • M I L A N • M O S C O W • N E W Y O R K • T O K Y O már 5. éve Magyarországon

190x240_5mmkif_GF hirdetes_opera.indd 3 2016.05.09. 11:07:33 Development Development

of workshop, its worth is measured by sure that the gastronomic offerings have also had the option of ordering the number of visitors,” is how General and appearance matched the world- first-class breakfasts, with everything Director Szilveszter Ókovács, who class standard of the Budapest Opera from French toast to egg dishes to took a leading role in reinventing the House, and studied 12 of the world’s croque monsieurs and breakfast cer- institution’s gastronomical amenities, most famous opera houses in the pro- eal, with the menu also renewed with expressed it. The Opera Café consists cess, including Sydney’s and London’s. a wide range of coffee specialities, A new look of two seating areas – the 120-seat ice creams desserts and a wide range terrace operating seasonally from late The Thonet chairs and round marble of wines, cocktails, spirits and liqueurs amongst old splendour March until late October, and the clas- tables are meant to provide a Grand and beers. The high-quality courses sic indoor dining area accessible from Café-type atmosphere. Past and are offered at prices that people wan- Hajós Street tried to convey a café at- present meet at the Opera Café’s dering in off the street to marvel at mosphere from the Austro-Hungarian counter, where state-of-the-art infra- the building will be willing to pay, not To sit out out on a marble table by a boulevard with a Empire, with modernity and the past structure – including the most up-to- just those hungry for culture’s loftiest meeting in imperceptible harmony. date coffee machines – merge with genre. With its completely renewed coffee, seat turned toward the bustle – this essential To develop the concept, refurbish the the motifs and styles of the Opera’s café, previously only an evening affair, sense of big city life was hitherto something only space and operate the café, the Opera boxes. The menu was created under the Opera from now on provides a Paris had been able to elegantly provide. Up until now. chose – based on a tender – a 33-year- the direction of Zsolt Litauszki, one complete and informal experience Zsófia Krupa old family business, which also of the country’s top chefs. The Opera for both opera fans wishing to dine reconceived, along with the ground- Café’s welcomes guests with classic and sip champagne before or after floor units, the first-floor Feszty Bar, fare, including soups, starters, Italian the performance and morning visitors the third-floor Confectionery and the pasta dishes, pizzas and new-wave ready to tuck into lunch after their buffets at the Erkel Theatre. During the sweets. Starting from mid-April, guests coffee, in the hope that in time the Photo by Péter Rákossy development phase, the The Zsidai latter will become the former. o Gastronomy Group strived to make

The Opera Café, with its terrace have supper. by the stately institution’s Sphinx The Opera’s own café also opens up statue, gives guests seated on its the theatre building to those who trademark wicker chairs this experi- have only seen it function from out- ence on spacious Andrássy Avenue side. “If one recalls any European city the feeling of being where the world they’ve ever visited, they surely will unfolds. The café, opened in autumn recall a café terrace in the city centre. 2015, does not only to seem to fill a Budapest had to wait a long time gaping hole in the capital – the fact before it could create this atmosphere that Andrássy’s Avenue’s wide pave- that would allow masses of locals and ments had previously largely been tourists alike to feel they owned the unused – but also provides a unique city. It is very important for the Opera experience until now enjoyed only House, as both a monumental tourist by the narrow segment of opera and site and as the country’s premier cul- ballet fans: consuming our food and tural centre, to seize this opportunity, drink in one of Budapest’s grandest and not simply be an open house building in an incomparable culinary welcoming well-dressed audiences visit. The Opera House, with 132 years each evening. of history and performers past and present, makes for a unique place to This temple dedicated to art must Photo by Attila Nagy open its doors, since like any house

44 45 Behind the Wings Behind the Wings Let’s go! We can strike!

The snappy exclamation in the title is a recurring sound in the Opera House’s carpentry workshop, where nothing is impossible for the industrious craftsmen when it comes to implementing the designers’ constantly shifting ideas. We plunged into an atelier that will soon be housed in a much more modern building, the Eiffel Art Studios. András Várhegyi

For the time being, however, work area and machinery. This is where continues at the Andrássy Avenue the incoming lumber is shaped building, where – except for one into standard lengths and then into move when it moved from one skeletal structures. Photo by Attila Nagy wing to the other – sets have been constructed for the productions The carpentry shop is where the sets, boards piled up to the ceiling. Here too, verisimilitude is key, or as supervised everyone else at one time master, who says requirements have since the very beginning. The huge platforms, ramps and stairs used in Although it all just looks like wood Szick puts it, there are objects here or another. “In order to handle theatre changed a lot since 1974. “Previously, space is divided into two sections: the productions are created, and to us, to the 13 employees in the that also exist in real life. “With sets, work, you have to be able to adapt. the sets were substantially simpler, the ground-floor gallery is used for frequently furniture and props as shop, these are the castle walls in we have to aim for simple utility, but This isn’t a factory where the whistle and the repertoire was also smaller. developing the frameworks, while well. “The range of tasks is incredibly Bánk bán, the genteel salon in for the props, they really are what blows and you put down what you’re the basement houses the storage varied, which is what makes the Le nozze di Figaro, the ballroom in- they seem to be. The toy cannon in doing. This occupation requires ded- Back then, if someone wanted a gun, theatre world so exciting,” said man- terior in Don Giovanni and the bal- The Nutcracker, for example, can really ication and much patience,” says the it was enough to cut it out of ply- ager János Szick, who for 33 years cony for Romeo and Juliet. fire, and in creating interiors, in addi- now has been working to create the tion to being faithful to the styles of wonder of productions at the Opera Preparing a set ordinarily requires one various eras, another important cri- House and Erkel Theatre and so that month, although the carpenters fre- terion is they have to be usable. the performers can take the stage in quently work on several productions a realistic-looking setting. at the same time. “In recent weeks A theatre employee has to be aware we’ve been making three sets: For that his creations will be subject to Primarily pine wood is used in the The Sleeping Beauty, Billy Elliot and more use than is usually the case. shop, for practical reasons: “We like The Martian Chronicles. We don’t stop “They don’t teach this at carpentry it for its weight, since it is very light for a second,” said the chief carpenter, school, and we have to learn through and easy to work with. These days, who is always collaborating with the experience how much a material can however, directors sometimes ask Opera’s machinist and paint workshops. withstand and how many wheels are us to use styrofoam. This is a thin needed to make it moveable,” Szick material, much harder to work with After the scaffolding is built ac- explains. Here too, one can also learn because of its fragility, and also be- cording to the designs, it goes via a the ins and outs of the craft from the cause it’s difficult to make adhere. nine-and-a-half metre lift to the paint great predecessors of old. The oldest Carpenters, after all, are fondest shop, where it gets its canvas, colour carpenter in the shop is Imre Tóth of wood,” Szick adds, gazing at the and styrofoam decorative elements. who, in 42 years with the opera, has

46 47 Behind the Wings Photo by Attila Nagy

wood and paint it. But today we have several trapdoors. This is a time-con- to give it an extremely sculpted look, suming process for us. At the Eiffel primarily because of the television building, the forklift will bring the recordings,” he adds. wood directly into the workshop, saving us a lot of time. Another im- Naturally, the available tools have portant change is that in the current also developed along with the re- space, two columns prevent us from quirements. While initially all they laying the scenery walls completely had were a few hammers, handsaws, side by side, but we will be able to in angles and an worn-down jigsaw, the new building,” the shop manager now they work with battery-powered adds, who will also be in direct con- machines, drills, sanders and other tact with the other teams, since the modern equipment. The big change, various assembly units will be however, will take place in the housed in the neighbouring spaces. planned move, when the entire workshop will go to the Eiffel Art The move will allow the backdrops to Studios, entailing a new chapter in the Opera’s productions to be cre- the history of set production at the ated with old know-how and mod- theatre. ern circumstances, thus further ex- panding the rich stock of sets János Szick starts his list of the new remaining from the Opera’s perform- site’s advantages with how improved ances of the last more than 130 receiving lumber will be. “Currently, years, thus not only erecting a lasting the wood comes in through an monument to, alongside the produc- emergency exit on the street one tions themselves, the dedicated piece at a time, and then through craftsmen who worked on them. o

48 Orchestra Orchestra

The greatest Hungarian cultural in- This same problem affects orchestra Close observation was also an im- serves the non-twelve-note sound in stitution can be expected to offer a and chorus members, too, because portant teacher for composer Sándor such “extroverted” scenes as the char- broad spectrum of quality programes the academic training teaches them Szokolay, who despite being the acters appearing on the scene. that address every age group and primarily solo and chamber pieces. father of four boys and one girl had The other important point that can are accessible for as many segments At an audition at the opera house, more than his own children’s futures help the novice listener through the of society as possible, and are also on the other hand, having excellent at heart. With more than 100 hours structural complexity is the uniquely appealing to foreign visitors. They score-reading skills is a major advan- of music composed – including four suggestive and imaginative treatment.” should also be heart-warming, tage, proof that the new employees operas for children and seven for thought-provoking, entertaining, will be able to join in an existing adults – and with several decades A concert version of the piece innovative or even simply provide production as soon as possible. “This of teaching at the Liszt Academy, recorded live at the Opera House, an overarching cathartic experience; also goes for the chorus when I say as well as working as a radio editor the venue for all of Szokolay’s world whether commissioning new works that they don’t need to be solfège and television presenter, did much premieres, will mark the 85th anniver- or reviving the classic grand operas, champs, but rather musicians with to raise the level of public taste. His sary of the composer’s birth on it must be a catalyst in musical life. the same standard of sound quality first opera, Blood Wedding, based on 19 May. Szokolay originally planned One may ask what the Opera can do as the opera singers,” Kocsár added. the drama by García Lorca, won him to become a missionary, showing further for the sake of cultural literacy. “While with a soloist, the conductor the Kossuth Prize and widespread how he always considered the soul’s In addition to its OperaAdventure tries to direct the instrumentalists in international exposure and placed development to be paramount. He and OperaAmbassador programmes, the pit so that they don’t smother special attention on his second major taught his students that “art is not a competitions for students, and chil- the vocal part, while the chorus also dramatic work. He had set out to hobby, and not entertainment. And it dren’s activities, how deeply can it has to be able to sing through the translate Hamlet into musical notes certainly makes people better.” So affect education and what can it do orchestral sound night after night. starting from his academy years and there have been a few cracks here to make sure both the stage and au- This requires very serious technical found special inspiration for the and there at the Opera House since ditorium are populated with cultured preparation.” libretto and structure on a French 1884, but there will always be tal- people? island in the Atlantic Ocean, although ented teachers who, with both minor The skill level and standard of per- the composition itself – often done corrections and great edifices, ex- Principal Music Director Balázs Kocsár formance of the current members in parallel with that for Blood Wedding pand the Opera as the institution of thinks the opera has a clear respon- is a good sign that the professional – took ten years. He needed the time a musical genre. o sibility in this regard. “I’ve been a singers of the Opera’s chorus will also to create his work adapted in four lecturer at the University of Pécs for be able appear as soloists in chamber different languages, syllable for syl- seven years, and I know both how operas from year to year. Next in line lable, from the original Shakespeare.

SÁNDOR SZOKOLAY education works in Budapest, Szeged after Gounod’s Mireille, Giordano’s “János Arány’s translation proved to and Debrecen and the dedicated em- Fedora and Rota’s comic opera Il be the most incomparably perfect, ployees there. But the simple fact is cappello di paglia di Firenze will be precisely following both the high and that the opera master’s course is only Otto Nicolai’s chef d’oeuvre The Merry low vowels of the original,” the com- two years long, which sadly limits the Wives of Windsor. The composer, who poser said. opportunities for students. There is a was also the founder of the Wiener huge need for the Budapest Opera, Philharmoniker, died at a young age The critic from The Times reported Builders like other major opera houses around two months after the work’s success- very approvingly and in great detail. the world, to operate an opera studio ful March 1849 premiere in Berlin, and “Hamlet’s soliloquy (“To be or not to Many legendary personalities have enriched Hungarian opera tasked with continuing the education ten years before its discovery by the be.”) floats impressively between and vocal training of talented sing- international music world. Popular in parlando singing and sung speech. culture over the past 200 years. Intendants, conductors, music ers graduating with both vocal and both New York and London, the com- There are lyrical passages as well, directors and general directors, choreographers, stage directors, dramatic tasks and familiarising them position was later declared the fore- especially Ophelia’s mad scene. singers, instrumentalists and, last but not least, composers. with the opera repertoire. A bridge runner of the Romantic comic opera. The role of the Ghost is underscored The building still continues, but there are gaping holes in need must be constructed to link the ac- After a hiatus of 60 years, the Opera is with a hazily and electronically of immediate repair. tual working artists with the young- again presenting the work, updated emerging, and undulating, sound, Viktória Filip sters and also offers an attractive by the dramatist, university instructor, giving it a hair-raising and other- career model,” the music director said. editor and dramaturg Róbert Markó. worldly sound. The composer pre-

50 51 Orchestra Travelling through time

The Opera’s list of subscriptions for this year will entice lovers of instrumental music with two concert series that have both promising talents of the future and superb musicians of the Ion Marin present paying tribute to the outstanding figures of the past. Viktória Filip took such a gripping path, will be per- forming the legendary work under the The concert will be conducted by baton of Pinchas Steinberg. Romanian-born Ion Marin, whose evoc- ative performance style and technique During the period after ‘56 and around are sure to sparkle again as he directs the regime change, there was always Dances of Galánta (which was originally surely something to be said about Ilona premiered by the same orchestra), Tokody and her 40-year career. As a Two Songs and the Budavári Te Deum. globe-trotting soprano, she had and The 5 June rediscovery of Czinka Panna, has a superb view of conditions in Kodály’s third singspiel, will be special for Hungary, and we hope that she will another reason. After its premiere, falling somehow recount these experiences at in the communist “year of the turning her jubilee concert on 13 March 2017, point” fizzled, now it is up to present-day for which she herself is compiling the listeners to judge the merits of this work programme and list of performers. JÁNOS BALÁZS about the daughter of a Gypsy “prímás” Szórakozol violinist and a brigadier’s love. Now in the present, we should note Each of the Budapest Philharmonic the young talents who themselves can Orchestra’s series of four concerts and Paging over to the next chapter of Hun- be expected to write history. One of an additional bonus concert provides a garian history, we reach the revolution the pieces ringing in 2017 on the velünk?! genuine historical overview of both dark of 1956. On the eve of the 23 October 1 January concert will be composer times and happier ones, of eras that are protest, György Cziffra – in place of a Bálint Karosi’s Overture. Ivett Gyöngyösi, uplifting or full of horrors, periods when Chinese pianist – performed Bartók’s also familiar from television’s classical there worked artists who left their im- Piano Concerto No. 2 at the Liszt music talent search, and young pianist print on the annals of music history. Academy. Exactly 60 years later on Mihály Kocsis, who has gained the no- One such crucial figure is Zoltán Kodály, 22 October, the Liszt Award-winning tice of Zoltán Kocsis, will be giving a who worked through both World War János Balázs, who is behind the com- performance together with Erika Two and the communist era with the memorative festival honouring the Miklósa on 24 October, two day after same devotion as during his more pla- brilliant icon of the piano whose life Liszt’s birthday, as part of the Piano Arias cid years of collecting folk music. In series. Again spinning the wheel of time, 1945, after the February siege of Bud- we return to the 19th century, engraved apest, the Opera House’s cloakroom with the names of Liszt himself, Miklós hosted the premiere of his Missa brevis, Ybl, István Széchenyi and the Budapest a mass pleading for peace, and this Philharmonic Orchestra, founded in exceptional composition will be played 1823, as well as one of its legendary again in the same spot on the morning conductors, János (Hans) Richter. They of 6 March 2017. The evening’s event are the ones evoked by these two sub- will also focus on the charismatic Kodály IVETT GYÖNGYÖSI scription series, which look both back Photo by Zsolt Birtalan, Liszt Academy funzine.hu on the 50th anniversary of his death. to the past and to the future. o

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2016 hirdetes Opera 190x240 hegedus.indd 1 2016.05.04. 15:11:01 Looking back GERTRÚD WITTINGER, ÉVA BÁTORI, BEATRIX FODOR, SZILVIA VÖRÖS, ÉVA VÁRHELYI, Looking back ZSÓFIA KÁLNAY, ERIKA GÁL, BERNADETT FODOR | Photo by Attila Nagy

experienced Linda Watson. Well into it, she A consistent and coherent directorial concept, the finest played the ageless, playful girl-child who Hungarian and international Wagnerian singers, unique has fun doing what she does until her duet technical effects – this is what characterised the March with Siegmund, when she realises her true performances of Die Walküre at the Opera House, where we duty, and is filled with a sense of responsi- Full bility. Watson performs this transformation are able to witness the evolution of a unique tetralogy. with astonishing human smoothness, singing the part free of the heroine tradi- tion. A bel canto Brünnhilde...” blast (zéta, CaféMomus)

Tomasz Konieczny | Photo by Attila Nagy ESZTER VÁRHELYI, SÜMEGI, ÉVA LINDA WATSON | Photo by AttilaLINDA WATSON Nagy

“Young conductor Péter Halász and his Hungarian State Opera Orchestra suc- ceeded in bringing the score to captivat- ing life. He built passages full of tension and expressed love for the details with musical emphasis on the dramaturgically significant moments. (…) There were “As Sieglinde, Eszter Sümegi gives a por- “First of all, István Kovácsházi’s Siegmund “What many felt was extravagant and shouts of “bravo” for all the soloists, trayal of a uniformly high standard. The tre- held his own, which next to Linda Wat- questionable in Das Rheingold becomes both the house’s and the guests. We are mendous dramatic heat of her singing, her son is a great feat in its own right. Eszter completely acceptable in Die Walküre. (…) eagerly waiting to see how the director sure-footed high notes, her lovely melodic Sümegi gave a great portrayal. As Hund- At last year’s premiere, I liked this spectacle tackles Siegfried in 2017. ligatures and the flawless suppleness of her ing, Andreas Hörl not only sings well, portraying totality in a constant flow on (Harald Lacina, Der neueu Merker, Der voice did not disappoint this time, either. his acting is good, while Judit Németh’s several screens at various depths of the Opernfreund)

In her representation, Siegliende is a timid Linda Watson | Photo by Zsófia Pályi Fricka reached the required standard, and stage, which made it three-dimensional, wife famished for love. (…) Judit Németh Tomasz Konieczny was very expressive. but I admit that there were debatable parts. sang Fricka with great stylistic understand- Linda Watson’s Brünnhilde and Koniec- Now, despite fewer visual ideas, the visuals ing, precision and superb articulation. (…) “Géza M. Tóth’s production and every- zny’s Wotan were absolutely world class, are still more intense and “denser”, and The group of singers portraying the Valkyries thing it contains: the nervously colourful it was worth going just for their duet, better suit the music, which truly meshes ESZTER SÜMEGI, ISTVÁN KOVÁCSHÁZI (Gertúd Wittinger, Éva Bátori, Beatrix Fodor, metropolis, the twins in white and grey while the Hungarian singers making up with Kedd Kreatív Műhely’s creative work. Photo by Zsófia Pályi Szilvia Vörös, Éva Várhelyi, Zsófia Kálnay, dreadlocks who are alien there, the the Valkyries ranged from acceptable to The visual design is 21st century, while the ANDREAS HÖRL, Erika Gál and Bernadett Fodor) gave a grey-suited big-haired Hunding and his better, and the orchestra under Péter story evokes an ancient mythical world. (…) ISTVÁN KOVÁCSHÁZI | Photo by Zsófia Pályi high-quality performance not only vo- two canine companions give the strange Halász was at times completely capti- A huge volume of sound flows from the or- cally, but also did a fine job of mastering feeling that the story, without particu- vating. (…) Set designer Gergely Zöldy Z chestra, with raging emotions bursting out “It was a genuine sensation musically, and Marianna Venekei’s choreography.” lar self-consciousness or swordplay, is varied the spaces well, creating inter- of the pit, assailing not only one’s eardrums, a visual experience as well. (…) Following (Zoltán Péter, Opera Portál.hu) about us. This is something quite rare in esting relationships through the use of but one’s entire being, practically shaking up on last year’s Das Rheingold, director

ZSÓFIA KÁLNAY, ÉVA VÁRHELYI, ERIKA GÁL, a Wagnerian opera, and if one is not a the various planes. (…) Ibolya Bárdosi’s the walls as much as the audience. The and video artist Géza M. Tóth also endows TOMASZ KONIECZNY, SZILVIA VÖRÖS half-naked demigod and is older than costumes, however, are worthy of note: orchestra, conducted with impressive in- Die Walküre with powerful flash and flair. Photo by Valter Berecz 20, is reason enough in itself to come. the Valkyries’ clothes fit the concept, and tensity and expressiveness by Péter Halász, (…) It is completely extraordinary what (…) But it is not just drama, but music as all the costumes formed a unity, and even soon gets to show its teeth, which feels wonderful Wagnerian voices the Hungarian well, which Péter Halász does not con- the wigs were thoughtfully applied as like a furious wild animal gnawing at one’s State Opera has. (…) Péter Halász, at the duct with delirious white heat, instead hairstyles.” body. (…) A huge amount of human talent, helm of the Opera’s orchestra, provides the providing clean musical foundations, (Eszter Veronika Kiss, Magyar Nemzet) willpower and teamwork came together to multi-layered and colourfully varied sound. and Eszter Sümegi here too is absolutely make this production rival the standard of Every detail from the score is in its place.” top class.” “The incredibly difficult part of Brünnhilde Müpa Budapest’s Wagner festival.” (Jörn Florian Fuchs, Deutschlandfunk, (Miklós Fáy, Népszabadság) was executed with ease by the highly (Gábor Bóta, Népszava) Nordbayerischer Kurier)

54 55 Looking back Looking back

After Miskolc, the Budapest audience “The singers deservedly received sus- tained applause, especially Ildikó also got to see Judit Galgoczy’s Komlósi, who sang the role of the gypsy Question production of Il trovatore, which woman Azucina, and Michele Kálmándy, focused on the recognition of the as the Count di Luna, as did conductor marks importance of one’s own destiny and Ádám Medvecky.” individual history. (Zsuzsa Mátraházy, HVG)

“Ildikó Komlósi’s Azucena will remain an eternal memory. For me, this interpre- tation was one of the best defined of my Azucena-experiences thus far. (…) Ádám Medvecky conducts superbly; it is a great experience to hear the orchestra; the KAMEN CHANEV, ANDREA ULBRICH | Photo by Péter Rákossy

NADIN HARIS, ANDRÁS PALERDI | Photo by Rákossy Péter chorus sounds great, the Miserere is still resounding in my ear. Each singer brings A VIEWER’S OPINION a high level; Michele Kálmándy’s Count “For many years, we have been sub- di Luna is forceful, Gabriella Létay Kiss’s scribers to your magazine. I order your Leonora was transfigured. Chanev Ka- periodical each year for my mother’s The chorus excelled from every per- men’s Manrico is passionate, but András birthday, but whenever we had the spective. On each occasion I marvel at Palerdi’s Ferrando, Erika Markovics’s Ines, opportunity I claimed a second copy their lovely, homogeneous sound, and and Gergely Újváry’s Ruiz are also pleasant for myself. We always received the pa- now I could see now how differently musical experiences. Ildikó Komlósi, how- per with great anticipation and read each also fulfilled their dramatic role ever, soars above all this with her musical the valuable, interesting articles with as determined by the production. Their dominance, somewhat rearranging the pleasure. The fact in itself that we have GABRIELLA LÉTAY KISS, ERIKA MARKOVICS enthusiasm, collaborative spirit and the singers’ balance of forces in the acts. the opportunity to subscribe to such a Photo by Zsófia Pályi artistic humility are all amazing.” (Eszter Veronika Kiss, Magyar Nemzet) high-level publication is of great ben- (ppp. Café Momus) efit in today’s world, where we have to GABRIELLA LÉTAY KISS | Photo by Zsófia Pályi “Chanev Kamen sang well this time too, endure the onslaught of worthless media with assured technicality, superb high products, which we have practically no notes, consistently clear sound, fluidly, way of avoiding. This, however, was not never shouting. (…) With him, the the- where the enjoyment ended this spring! atre could now again present an inter- national-calibre Manrico. This wasn’t In March, we were pleasantly surprised the first time that András Palerdi sang to receive a registered letter from the Ferrando’s narrative so well. (…) Erika editor containing two tickets for the per- Markovics’s oft-seen contribution in the formances of Il Trovatore and Rigoletto at thankless role of Ines was also reliable. the Erkel Theatre. I can’t even tell you We must make separate mention of the how happy this singular gift made us. chorus, which in this production is not (…) After Il Trovatore – during which we simply a collaborator but truly a main could hear an extraordinary interpre-

character in the singing as well as the Photo by ZsófiaPályi tation of Verdi’s delightful music – but

drama. Photo by ZsófiaPályi with Rigoletto still to come, I would like They start 20 minutes before curtain, to take the opportunity to thank you strolling the hallways and, on a tempo- for giving us the good fortune, through KAMEN CHANEV, GABRIELLA LÉTAY KISS | Photo by Zsófai Pályi rary bridge across the auditorium, arrive your generosity, to enjoy these marvel- on stage to participate in an undefined lous works.”

theatrical reception. (…) ILDIKÓ KOMLÓSI | (Viktória Pesthy) MICHELE KÁLMÁNDY |

56 57 Looking back KULTÚRÁBAN OT THON VAGY U NK.

ANDRÁS KISS, SÁFÁR ORSOLYA AZ OPERÁBAN IS. Jó szórakozást kívánunk!

ANDRÁS KISS, ORSOLYA SÁFÁR

Something Photo by Szilvia Csibi else Using sign language on a staircase in the middle of an opera? In fourth-year directing student Péter Varsányi’s first musical theatrical production, La serva padrona, this really happened. Friends of thew Opera were happy to see the performances held on the Royal Staircase in April. DOMOKOS KOVÁCS, ANDRÁS DOMOKOS KOVÁCS, KISS ANDRÁS KISS, SÁFÁR ORSOLYA

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NSZ_OPERA_TAMOGATOI_190x240.indd 1 04/05/16 14:21 Looking back

World-famous choreographer Sir Peter Wright constructed his dance work The Sleeping Beauty by building on the foundations laid down by Marius Petipa. The contemporary dance piece was created with a set of picturesque beauty requiring painstaking handiwork, and was made all the more magical with spectacular costumes and Tchaikovsky’s splendidly tailored music. This April, following in the footsteps of companies in Vienna, Amsterdam CRISTINA BALABAN, GERGELY LEBLANC ANNA KRUPP, ZSUZSANNA PAPP and England, the dancers of the Hungarian National Ballet have brought one of the the most beautiful of fairy tales to life on the ballet stage. Cursed princess

Photos by Szilvia Csibi, Zsófia Pályi, Péter Rákossy TATIANA MELNIK, IEVGEN LAGUNOV ALIYA TANYKPAYEVA, DMITRY TIMOFEEV suzsanna IEVGEN LAGUNOV CRISITNA SUZSANNA BALABAN, PAPP, LEBLANC GERGELY app Z

ANGELA MINGARDO ALIYA TANYKPAYEVA, P

ALIYA TANYKPAYEVA, VLADISLAV MELNYK, MARK JAMES BIOCCA

BENCE APÁTI, ANNA KRUPP, ALIYA TANYKPAYEVA, KARINA SARKISSOVA

60 61 Looking back Looking back Budapest DANCE THEATRE

Interplanetary-themed one-acts about the dangers of apocalypse and the colonisation of a new world were related in the language of dance. Dóra Barta’s Planet in Turmoil and Béla Földi’s The Martian Chronicles were brought down to earth by the Hungarian National Ballet, some experts on modern dance, and the Solaris ensemble.

Space opuses DANCE THEATRE DANCE THEATRE Photo by Péter Rákossy udapest udapest B ALEXANDRA KOZMÉR B

Budapest DANCE THEATRE , ISTVÁN KOHÁRI olen bengül P ezmis O G JÓZSEF MEDVECZ, JÓZSEF BIANKA ROTTER, TAMÁS CSIZMADIA

Budapest DANCE THEATRE olen P ezmis G DANCE THEATRE ALEXANDRA KOZMÉR, KERÉNYI, MIKLÓS DÁVID ISTVÁN KOHÁRI, KSENIA KULIKOVA ISTVÁN KOHÁRI, KSENIA , KULIKOVA bengül O udapest

62 B 63 BIANKA ROTTER, KSENIA KULIKOVA Opera fan Opera fan

– Countless times on the stage and – Did your childhood experiences difficult musical material planned, it’s on the screen, you’ve burst into song with music help in Kaposvár? within the limits that my abilities can or portrayed music-loving characters. – It was more that Kaposvár rein- tolerate. I wouldn’t take on some- In your “civilian” life, what is your forced this kind of openness. Through thing that I might fail at. relationship with music? music, I understood how important it – An essential part of my existence. is to let things act on my emotions. – In Billy Elliot – the Musical, you I was raised for this ever since I was very You just have to let it touch you, and got the role of the Grandma small: I was six when I started to study notice where exactly it hits you. through auditioning. Wasn’t it piano, I’d listen to opera records with I really need good music. I want to strange that the director, Tamás my grandmother in the evening, and and work to understand it and make Szirtes, clearly knew that you could we had a ballet subscription at the it part of me. This helps in my acting sing the songs, but still called you Opera. Later on, this faded a bit, and to this day. I’m sure that if my voice in for a try-out. even though I played piano until age was better, I’d have chosen some – The audition isn’t about proving 13, I wasn’t around music so much any kind of singing career. whether I can sing or play something. more, as I was as a young schoolgirl. It It’s about whether there’s a harmonic came back when I wound up in – Was it hard to recognise this and relationship developing between the Kaposcár in the ‘70s, where nearly not stick with it? director and the team. When I came every production had contemporary – My voice teacher wouldn’t be so out of the hall, I knew that I had done Hungarian composers like Zoltán Jenes, happy to hear this, but my great defi- everything I could and it was no lon- István Márta, György Selmeczi, László ciency was my narrow range. No ger up to me. I had sung the way I Melisa and László Sáry actively involved matter what we tried, I don’t have the wanted to, and if they didn’t need me, with the company. I owe a lot to Piroska attributes to be a serious musical that wouldn’t mean I’d done badly. In Molnár, too: she introduced me to Péter performer. I recognised this early in the end I got it, which made me very Eötvös and his works, and to the songs my career, and decided to become an happy, and I’m having a go. The pre- of Tamás Cseh. Both then and now, actress who can also sing. But in mu- miere will be at the end of July, with Photo by Tímea Sághy I look for what is behind the voices, sical roles, the dramatic acting is 50 performances running until De- what arouses my curiosity, offers some- primary. Of course, I learn the notes, cember with a triple cast. I’m happy thing new, and why. The finest theatri- but the interpretation and correctly because I’ve never worked with such In the course of her career, Eszter Csákányi has cal production cannot provide the performing the situation are more a big team before, with such a large sung operetta, Brecht-Weill songs, chanson, opera same kind of catharsis and overwhelm- important for me, and this is when crew and so many dancers, but obvi- parodies, folk music, art songs... In the middle ing experience that music can. acting helps. I maintain my voice and ously it will be very professional. go to lessons; I don’t let myself go. I’m curious how it will turn out too. o of summer she’ll be taking the stage at the Erkel – Does it matter if it’s instrumental What I know I won’t be able to do, Theatre in Billy Elliot – the Musical. We discussed the or vocal? I don’t undertake. Although there is relationship between the notes and the musical roles. – Actually, yes. For example, I try to You have Rick Zsófi make it to the Budapest Festival Or- chestra’s concerts, but I also listen to Balázs Szokolay Dongó, who always to submit to the sends me his latest albums. Somehow he knows that I want to follow what he’s doing, but only rarely get to hear him live. The opera is in an entirely dif- the music ferent category. I think you need time for it. As a child, I didn’t understand it at all, but now I like it more and more. I like the work of Peter Sellars and simi- lar directors; next to them a 40-year-old adaptation looks terribly dated.

64 65 ESZTER CSÁKÁNYI, TAMÁS SZIRTES | Photo by Zsófia Pályi OPERA HOUSE

1 June THE TEMPEST | THOMAS ADÈS

HIRDETÉS: 2 June Bryn Terfel Recital

4 June Song Recitals on Dalszínház Street

5, 6 June Anna Karenina | Piotr Ilyich Tchaikovsky (production of the Eifman Balett)

17, 19, 21, 23 June THE FAIRY QUEEN | HENRY PURCELL

28, 29, 30, 31 July and 2, OPERAFESZTIVÁL 3, 4, 5, 6, 7, 9, 10, 11, 12, BILLY ELLIOT – THE MUSICAL 13, 14, 16, 17, 18, 19, 20, SIR ELTON JOHN / LEE HALL 21 August

17, 18, 24 September I pazzi per progetto | Gaetano Donizetti

17, 18, 24 September The Telephone | Gian Carlo Menotti

17, 18, 24 September Il campanello | Gaetano Donizetti

21 September István Széchenyi225

23, 24, 28, 30 September LA TRAVIATA | GIUSEPPE VERDI

25 September Second Éva Marton International Singing Competition Gala

ERKEL 3, 4, 5, 7, 8, Snow White and the 7 Dwarfs 10, 11, 12 June Gyula Harangozó Jr. / Tibor Kocsák June 16, 18, 22, 24, 26 June Rigoletto | Giuseppe Verdi July August 30 June Festival of Dance and Song50 September 6, 7, 8, 9, 10, 11 Billy Elliot – the Musical September Sir Elton John / Lee Hall

16, 17, 18 September West Side Story | Leonard Bernstein

19 September Flying Start - Recital by Gyula Orendt

23, 29 September KYLING IT | JIŘÍ KYLIÁN, JOHAN INGER

25 September Simándy100 - With Jonas Kaufmann

26 September Zsura60

30 September London Philharmonic Orchestra

66 Miskolc Megyei Jogú Város Önkormányzata ÁRON VIZLENDVAI

SUBSCRIPTIONS AVAILABLE student of the Hungarian Dance Academy UNTIL 30 JUNE

BONUS BONUS+ FLEXIBLE SEASON PASS SIX-PERFORMANCE CARD

First of All

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