[ Back to main page ]
[ Magyar | Deutsch | Francais ]
[ Ticket sales ]
|
 |
March 21st
Hungarian State Opera House, 7.00 p.m.
|
|
| |
VERDI: OTELLO |
| | |
|
|
|
March 23rd
Erkel Theatre, 7.00 p.m.
|
|
| |
J. STRAUSS: DIE FLEDERMAUS (première) |
| | |
|
|
|
March 23rd
Hungarian State Opera House, 7.00 p.m.
|
|
| |
Verdi: Otello |
| | Otello: Dennis O'Neill
|
| | |
|
Dennis O'Neill
|
|
March 23rd
Academy of Music, 7.00 p.m.
|
|
| |
POULENC: DIALOGUES DES CARMELITES (concert performance) |
| | CONDUCTOR: PASCAL ROPHÉ
WITH: MIHÁLY KÁLMÁNDI,CATHERINE DUBOSC,ATTILA FEKETE, NADINE DENISE, ZSUZSANNA FÜLÖP, SZILVIA RÁLIK, MARIE DEVELLEREAU, , , ,PÉTER KISS , ATTILA RÉTI, ISTVÁN ANDREJCSIK, HUNGARIAN MILLENNIUM ORCHESTRA (ARTISTIC DIRECTOR: TAMÁS PÁL) AND THE NATIONAL CHOIR (choirmaster: Mátyás Antal)
| | | In Les dialogues des Carmélites Francis Poulenc (1899–1963) broke with his characteristic sarcastic and frivolous musical style and, in keeping with the seriousness of the historical action and the noble tragedy composed music in a deliberately old-fashioned tone. Poulenc followed in the steps of Monteverdi, Mussorgsky, Verdi and Debussy in composing this opera set at the time of the French Revolution. His treatment of the text and expressive power are reminiscent of the refinement of Pelléas et Mélisande and L’Incoronazione di Poppea, while the sweeping narrative follows the examples of Boris Godunov and Don Carlos. In drawing the characters of the main actors the composer evokes the voice of heroes from earlier operas. Mother Marie reminds us of Amneris, the old prioress of Kundry, the new prioress of Desdemona, Blanche reminds us of Thais and Sister Constance of Zerlina. The opera’s unique orchestration features an orchestra with two harps and a piano, and even a guillotine.
The work was composed in 1953–56 and the premiere was held in the Scala in Milan in 1957. The world premiere was followed by performances in Paris, Cologne, San Francisco and in 1958 in Covent Garden. Among the early performances, the one in Paris directed by Pierre Dervaus and the London production under Rafael Kubelik have become legendary.
The tragic story of the Carmelite convent in Paris is known from the account given by one of the nuns who survived the revolutionary terror. The publication of her memoirs largely contributed to the beatification of the nuns in 1906. The first appearance of the story in literature was associated with the name of Gertrude von Le Fort (1931). The figure of the heroine in the later opera (Blanche de la Force) is the fruit of Le Fort’s imagination. The novella was later made into a film scenario with dialogues written by Georges Bernanos. The dialogues were also adapted for the stage in a play which Poulenc saw in the early 1950s. Poulenc used the work of Bernanos to create the libretto for his opera. | | | (With the support of the French Institute and the AFAA.) |
| | |
|
Francis Poulenc
|
|
March 25th
Hungarian State Opera House, 7.00 p.m.
|
|
| |
Guest performance by the
STUTTGART STATE OPERA |
| | HANDEL: ALCINA | | |
DIRECTOR: JOSSI WIELER AND SERGIO MORABITO
STAGE DESIGN AND COSTUMES: ANNA VIEBROCK
| | | (An event of the Baden-Württemberg Days.) |
| | |
|
|
|
March 27th
Castle Theatre, 7.00 p.m.
|
|
| |
BUDAPEST CHAMBER OPERA |
| | MONTEVERDI: ORFEO – Hungarian première | | | DIRECTOR: PÉTER KOZMA CONDUCTOR: PÁL NÉMETH; COSTUMES: DOMOKOS MOLDOVÁN
ORFEO: MARIO CECCHETTI
WITH: MÓNIKA GONZÁLEZ, ÁGNES VOJTKÓ, ERIKA GÁL, ANNAMÁRIA BUCSI, PÉTER BÁRÁNY, ZOLTÁN GAVODI, JÓZSEF CSAPÓ, MÁTÉ SZÉCSI, LÁSZLÓ JEKL
WITH: ANGELICA GIRLS’ CHORUS, ANGELO MALE CHORUS (choirmaster: Zsuzsanna Gráf), SAVARIA BAROQUE ENSEMBLE
| | | (Performances also on March 28th, 30th.) |
| | |
|
|
|
March 28th
Hungarian State Opera House, 7.00 p.m.
|
|
| |
ERKEL: BÁNK BÁN |
| | |
|
|
|
April 1st
Budapest Convention Centre, 7.30 p.m.
|
|
| |
KIRI TE KANAWA |
| | EXTRACTS FROM WORKS BY BERLIOZ, BIZET, CHARPENTIER, KORNGOLD, CILEA, PUCCINI AND CATALANI | | | CONDUCTOR: ROBIN STAPLETON
WITH:
BUDAPEST CONCERT ORCHESTRA (MÁV)
| | | Dame Kiri Te Kanawa
One of the brightest soprano stars of our time was born in New Zealand (1944). She won many prizes in her homeland and Australia, then moved to London and became a student of Vera Rózsa in the London Opera Centre. In 1969 she was given the role of Elena in Rossini’s La donna del lago at the Camden Festival. Her performance aroused great attention and shortly after she was given the role of the Countess in Covent Garden’s new production of Figaro (1971). Other major opera roles followed in the wake of her great success: Amelia in Simon Boccanegra, Donna Elvira, Violetta, Desdemona, Mimi, Fiordiligi, Manon Lescaut, Arabella and the Marschallin in Der Rosenkavalier. She is regarded primarily as a Mozart and Richard Strauss specialist but she is also at home in romantic Italian operas. She consciously builds her repertoire and accepts only roles that suit her voice and character. Obviously this is one of the reasons why her physical endowments have not faded over the years. She has had many legendary performances, one of the most famous of which was the occasion she was given only three hours’ notice. This sensational replacement was in no less a place that the Metropolitan (in 1974 when she replaced Teresa Stratas at the last moment in the role of Desdemona). She completely disarmed the critics. After that her international career soared. Some of the main stages in this career have been Glyndebourne, Paris, Milán, Sydney, Salzburg and Vienna.
Kanawa is a welcome guest as a lieder singer in the world’s renowned concert halls and she also enjoys roles in the lighter genres (e.g.. Bernstein: West Side Story).
She was created a Dame Commander of the British Empire in 1982, joining the company of other knighted musicians, such as Sir Georg Solti, Sir Thomas Beecham, Paul McCartney and John Lennon. |
| | |
|
Kiri Te Kanawa
|
|
