REVISED AND UPDATED PROGRAMME CALENDAR REVISED AND UPDATED CHRISTIAN SPIRIT SEASON A BRIEF HISTORY Beginning the 136th Opera Season OF OPERA IN HUNGARY “EVEN THE ATHEISTS ARE CHRISTIAN IN EUROPE!” This statement has never before been used as the title for opening an opera season. But now, there it is. 2019 Former Prime Minister József Antall’s words give an exact summary of everything that is the essence of a common European culture. When we announce Christian Spirit Season, we are driven not by religious or devout fervour, nor do It has been more than 200 years since the publication of the play that was later to be used as the we intend to discriminate against anyone with any different beliefs. We merely want to share the experience that the new, libretto of the first surviving Hungarian musical drama. And even though some form of opera perfor- Christian man was born from the values of ancient Greece and Rome, and from the history and the books of Judaism. mance had already existed in Hungary in the courts of the aristocrats and primates – for an example, Over the course of history, this new man became not only Christian, but also European. And the works composed over the course of thousands of years are a heritage worth protecting. But how can we protect it if we are unable to even identify it? one need look no further than Haydn, who worked at Eszterháza (today’s Fertőd) – the first institu- tion at the national level was the one which opened as the Hungarian Theatre of Pest in 1837 and was Whatever happens, the community with other European nations founded on the solid ground of Christianity is unde- renamed the National Theatre in 1840. The opera company led by Ferenc Erkel and the dance ensem- niably an indelible part of the cultural genome of European man: this has become a fundamental value of our culture and the exceptional intellectual and artistic output that continues to have such a profound and productive impact on ble led by Frederico Campilli were given their own building and independence only at a relatively the entire world. The genres of opera and ballet are the very pinnacle of this multi-century relationship, of feeding from late stage, in 1884. But then they moved into the new building designed and built by Miklós Ybl on Christian roots, and of the resulting artistry, and its values are intrinsically European and therefore Christian - and this the “radial” avenue, and in doing so became the greatest of all of Hungary’s cultural institutions. is where we circle back to our initial reasoning. In Mozart’s Seraglio, the renegade Pasha has mercy on the son of his enemy, who has set out to ruin him and even al- most got away with the object of his love: though there is reason enough for imposing the death penalty, Christian for- giveness still champions. But this same notion of the forgiveness of sins, so incomprehensible to cultures based on the THEMATIC SEASONS 2011-2020 eye for an eye principle, is prevalent in the last scene of A Masked Ball. And what would be left of our beloved TRANSITIONAL Nutcracker if it wouldn’t have the mysterious, vibrantly expectant atmosphere of Christmas? (I am purposely VERDI/WAGNER200 mentioning “indirect’” productions that haven’t been selected to be included in the end-of-season CrossFest.) STRAUSS150 FAUST225 Although in some cases European man might make nihilistic attempts to do so, he can never shed his “Christian skin,” SHAKESPEARE400+ either culturally or morally. Christianity is not only religion and liturgy: it is also law, morality, and order. The wide MAGYAR OPERA200 variety of artists churning out the multidisciplinary genre of opera in Florence 400 years ago existed in a time when the AROUND THE RING heritage of ancient Europe met modern Christianity. Ever since, everything that has been created in these genres (in PUCCINI’S ITALY both opera and ballet) maintains its connection with Christianity. It might be celebrating it, yearning for it, desiring to reform it, disputing it, denying it, or even persecuting it. Be it Stiffelio, the Carmelite Blanche, Tannhäuser, Mefistofele or CHRISTIAN SPIRIT SEASON even Poppea’s Nero: the point of reference, the cross, is always the same. Our only aim with the season is to use the additional enlightenment provided by the selected topic to let our minds and hearts see the vast array of intellectual and spiritual treasures we have, and to experience the fact that the needle of the compass not only shows the direction of good and bad, of north and south, but also indirectly We follow in the footsteps of legendary personalities: which way is east and which way is west. That’s why the Penitent Thief and Klingsor, who represent the “interme- diate state”, both need the compass. And there will be viewers who will be puzzled when they experience the season premiers, festivals, and hundreds of intendants Miklós Bánffy, Miklós Radnai, choreographers Gyula Harangozó and cross-border events and programmes: it all seems like a “normal” opera season, what makes it Christian? The great realisation hidden behind this question is like a rhyme paired with the quote used in the title; indeed, we did not have a Aladár Tóth, Miklós Lukács and András Mihály; László Seregi, stage directors Sándor Hevesi, difficult time of it. Peter’s Pence, doubting Thomas, Pauline conversion, thirty pieces of silver, Sermon on the Mount, musical directors and conductors Gustav Mahler, Kálmán Nádasdy, András Mikó and not to mention the Road to Canossa and the prayers we utter: “Jesus Christ!”, “my God!”, “Lord!”, and of course “Holy Mother of God!” designers Artúr Nikisch, János Richter, Egisto Tango, András Békés; Gusztáv Oláh, We are all just starting to understand: “All seasons of all Europeans are actually Christian.” Sergio Failoni, István Kerner, Otto Klemperer, Zoltán Fülöp, Attila Csikós, Tivadar Márk Ferenc Fricsay, János Ferencsik, and Nelly Vágó, and also in the footsteps of chief 8 April 2019 Lamberto Gardelli, Giuseppe Patané, engineers and technical directors Pál Tolnay and Károdi András Miklós Erdélyi, Ervin Lukács Miklós Borsa. Szilveszter Ókovács General Director and Géza Oberfrank; Hungarian State Opera 2 CALENDAR INTRODUCTION 3 Contents Contents Goldmark Die Königin von Saba 55 Eyal – Behar / Lichtik Bedroom Folk 135 Great Recommendations 181 Premieres (16) 9 Kacsóh János vitéz (John the Valiant) 77 Forsythe / Schubert The Vertiginous Thrill of Exactitude 147 OperAdventure. 8.0 181 Kodály Székely fonó (The Spinning Room) 113 Harangozó Jr. / Kocsák Snow White and the 7 Dwarfs 155 Bach Cross Cantatas 41 Leoncavallo Pagliacci 95 Inger / Ravel – Pärt Walking Mad 125 Special Events (105) 183 Gyöngyösi The Master and Margarita 15 Mascagni Cavalleria rusticana 93 Kylián / Mozart Six Dances 137 Händel–Mozart Der Messias 13 Turandot with José Cura 184 Menotti The Telephone 89 Kylián / Mozart Petite Mort 139 Heggie Dead Man Walking 21 Opera Night in Miskolc 184 Mozart Le nozze di Figaro 75 Kylián / Reich Falling Angels 123 Mozart 31 Die Entführung aus dem Serail Mozart L'oca del Cairo, Giselle on the Island 185 59 Lander / Czerny – Riisager Études 151 Szörényi– Bródy–Gyöngyösi István, a király ossia Lo sposo deluso 29 VeszprémFest 185 (Stephen, the King) Lavrovszkij / Adam Giselle 131 Mozart Der Schauspieldirektor 87 186 van Manen / Massenet – Mascagni – Gala with Grigolo Verdi Don Carlos 39 143 Mozart Die Zauberflöte 63 Stravinsky – Janáček – Tchaikovsky Black Cake On the Island with Álvarez 186 Wagner Parsifal 25 Orff Carmina Burana 57 van Manen / Satie Trois Gnossiennes 121 Celebration on the Island 187 Wojtyła The Jeweller’s Shop (play) 23 Ponchielli La Gioconda 79 Seregi / Delibes Sylvia 141 Transylvania on Wheels 187 Chabukiani – Messerer / Krein Laurencia (ballet) 19 Poulenc Dialogues des Carmélites 103 Venekei / Williams / Dés A Streetcar Named Desire 153 Proms 188 Ekman / Karlsson – Satie – Brun Episode 31 (ballet) 11 Puccini La bohème 73 Hunyadi in Berehove 188 McGregor / Talbot – White III Chroma (ballet) 17 Puccini La bohème 2.0 69 Mixed Genre Repertoire (4) 157 Tata Festival 189 Sarkissova / Animal Cannibals Joyful! (ballet) 37 Puccini Manon Lescaut 101 Sheba Returns Home 189 Velekei / Ramírez Misa Criolla (ballet) 33 Puccini La fanciulla del West 65 The Wives of Henry VIII, or 5 Weddings and 5 Funerals 165 O/A – mini conference 190 Venekei / Stravinsky The Firebird (ballet) 27 Rossini L’Italiana in Algeri 83 John / Hall Billy Elliot – the Musical 159 Night of Theatres 190 Vincze / Ramírez Navidad nuestra (ballet) 35 Rossini Il barbiere di Siviglia 115 Szálinger Chrysanthemums, or the Death of Liù 163 Mr. Elliot Has Grown Up 191 Johann Strauss II Die Fledermaus 71 Szálinger Siegfried Idyll, or the End of a Friendship 161 Honvéd Ensemble 70 191 Programme Series (4) 43 R. Strauss Die Frau ohne Schatten 109 Opera182 192 R. Strauss Salome 105 Concerts 167 Tuning Series 44 World Music Day 192 Verdi Aida 81 Kálmándy30 Gala Night 193 Questions, Questions 45 History of the Opera Orchestra 168 Verdi Un ballo in maschera 99 Furlanetto45 Aria Night 193 Code Decryption 46 Symphonic Concerts 170 Verdi Rigoletto 61 7-Days Programme 47 OperAdventure. 8.1 194 Verdi Stiffelio 111 The Goose of Cairo Flies Again! 194 Children’s and Youth Programmes (10) 175 Wagner 107 Opera Repertoire (34) 49 Tannhäuser Erkel: Erzsébet 195 Sing-along Baby 176 Opera Without Borders 195 Ballet Repertoire (18) 119 Bach–Mendelssohn Matthäus-Passion 97 Weekend Sing-along with Daddy 176 Piano Arias 196 Bizet Carmen 91 Ashton / Hérold La fille mal gardée 127 Enchanting Instruments