Tag Archives: opera

5 Sold Out Opera Shows/ 5 teltházas operaelőadás

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May 29-30-31, the revival of last year’s ‘The Giant Baby’ production at the Warehouse Stage of the Budapest Operetta Theater. It is great to have three more performances, all sold out, by the talented cast of the Kolibri Theater, and a select cast of fine singers, directed by Janos Novak.
http://www.kolibriszinhaz.hu
After these three shows, On June 2&5, I will be conducting two performances of La Bohème, both of them sold out, at the newly opened “Eiffel Art Studios” of the Budapest State Opera. The show is entitled La Bohème 2.0, which will be my first non-traditional stage production of this beloved work. These performances will be the part of this season’s “Puccini Festival”.
http://www.opera.hu

Május 29-20-31-én az Operett Színház Raktárszínházában felújításra kerül a Novák János által tavaly színre állított Az óriáscsecsemő című operám énekesekre, színészekre, zenészekre és bábokra. Nagy öröm újból látni és hallani a kíváló énekeseket, muzsikusokat és a Kolibri lelkes csapatát.
http://www.kolibriszinhaz.hu
Június 2.-án és 5.-én, a Magyar Állami Operaház Puccini Fesztiválja keretében debütálok a nemrég megnyílt Eiffel Műhelyházban. Ezúttal a Bohémélet 2.0 előadásait vezényelem majd, úgy is mint első nem-tradicionális rendezésű La Bohème produkciómat. Mind az 5 előadásra az összes jegy elkelt.
http://www.opera.hu

Hungarian Orchestras and Eötvös Foundation/ Magyar zenekarok és az Eötvös Alapítvány

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Liszt: From the Cradle to the Grave
Gregory Vajda: Gloomy Sunday Variations
Liszt: Piano Concerto No.2 in A (Peter Kiss, piano)
Mendelssohn: Symphony No.5 “Reformation”

the program above is on tomorrow for my debut performance with the Kodály Philharmony (Debrecen, Hungary). This concert marks another milestone in the series of concerts in the last couple of years in which I finally had the chance to work with all the major local orchestras in Hungary. I am privileged to work with the Pannon Philharmonic Orchestra a couple of times a year for multiple seasons now (they are based in Pécs, Hungary), but as of 2019 I have had the pleasure to work with the Györ Philharmonic orchestra (last summer for the European Clarinet Conference), the Miskolc Symphony (just last month with two concerts and a beautifully challenging program of music by Brahms and Stravinsky), and the Szeged Symphony (Schumann and Mahler, but I also conducted them in Mozart’s The Magic Flute as my London debut). I have worked with the Savaria Symphony as well, a group I have known for a while from the Bartok Festival and Seminar, and to which I will be returning next season for a subscription concert.

The month of April was busy with the last Casual Classics of the season in Huntsville (Alabama Storytellers II), a conducting an composition masterclass at the Budapest Music Center, where I was teaching alongside with the world famous composer Kaija Saariaho, Peter Eötvös and the former General Music Director of the Budapest Opera, Peter Halász. The Peter Eötvös Foundation has also made my role with them official and named me Program Director. In a week I am looking forward to returning to Huntsville to conduct the 6th Classical Concert of the 18-19 season with the wonderful Susanna Phillips as soloist.

http://www.hso.org

A fenti linken olvasható az idei szezon utolsó nagy klasszikus programja, amelyet a a Huntsville Symphony élén vezényelek. A Metropolitan Opera sztárja, Susanna Phillips énekel majd Strauss Négy utolsó énekében, és a W.B. Yeats versére írott zenekari dalomban.
Áprilisban Kaija Saariaho, Eötvös Péter és Halázs Péter professzortársaként taníthattam a Budapest Music Centerben, és a mesterkurzus zárókoncertjének apropóján az alábbi interjút adtam a Papagenónak, amelyben a Programigazgatóvá való kinevezésemről, és az Alapítvány terveiről is szó esik.
http://www.papageno.hu

Holnap (április 23) a debreceni Kölcsey Központban debütálok a Kodály Filharmónia élén az alábbi műsorral.

Liszt: A bölcsőtől a sírig
Vajda Gergely: Szomorú vasárnap variációk
Liszt: Piano II. zongoraverseny (Kiss Péter -zongora)
Mendelssohn: V. szimfónia, “Reformáció”

A koncert egy újabb fontos állomása annak a szerencsésen alakult sorozatnak, amelynek részeként az elmúlt pár évben karmesterként bemutatkozhattam az összes nagyobb magyar zenekar élén, bizonyítandó, hogy Budapesten kívül is van komolyzenei élet, de még milyen! Időben visszafelé haladva: Kodály Filharmónia (Debrecen), Miskolci Szimfonikusok, Győri Filharmonikus Zenekar, Szegedi Szimfonikusok. A szombathelyi Savaria Szimfonikusokat és a pécsi Pannon Filharmonikusokat már többször dirigálhattam, és idén is, valamint a 2019-20-as szezonban is visszatérek hozzájuk vendégkarmesterként.

No Longer a Ventriloquist’s Dummy / Nem egy hasbeszélő bábja többé

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“The other. No longer a ventriloquist’s dummy at our disposal, but an uncharted territory ready to shake us to our cores, to be the wind beneath our wings in the best of cases.”
This short quote from the Master of Ceremony’s lecture delivered by actor Giuseppe Sartori
https://www.ricciforte.com
sums up the story line connecting Arnold Schönberg’s ‘Die glückliche Hand’ (The Hand of Fate)
https://www.wikipedia.org
and Béla Bartók’s ‘Bluebeard’s Castle’ into a one-act dance-opera-drama.
Singers Atala Schöck and Gábor Bretz along with the dancers and actors of performing arts company ricci/forte
https://www.ricciforte.com
directed by Stefano Ricci and Gianni Forte
https://www.ricciforte.com
music sung and played by the Chorus and Orchestra of Teatro Massimo Palermo. Tonight is opening night, further performances on November 20, 21, 25, 27. Radio RAI3 will be broadcasting the November 25 performance.

This year marks the 100th Anniversary of the World Premiere of Bartók’s only opera, and also the 20th year of me conducting it. Today I am not just conducting the firs performance of a new and exciting production, but I also think back on all the great singers, to name just one legend, László Polgár, directors, like Robert Lepage, and great orchestras like the Vienna Philharmonic or the Montreal Symphony, I have had the privilege of working with on this masterpiece. Winds beneath my wings.

“A másik. Nem egy hasbeszélő bábja többé, hanem olyan új földrész, amelynek felfedezése legbensőbb lényünking hatolva megváltoztat, és amelynek tengere, ha szerencsések vagyunk új szelet is fúj a vitorlánkba.”
Ez a rövid idézet a cirkuszi ceremóniamester monológjából költői összefoglalása annak, ami a ma esti Schönberg: ‘Die glückliche Hand/Bartók: A kékszakállú herceg vára’ produkcióban a két, idén száz éves színpadi művet összeköti, és amelyet a ricci/forte társulat
https://www.ricciforte.com
színésze Giuseppe Sartori mond majd el.
https://www.ricciforte.com

Idén 20. éve vezénylem a Kékszakállút, és a ma esti Schönberg-Bartók bemutató Schöck Atalával, Bretz Gáborral, a ricci és forte táncosaival és színészeivel, a Teatro Massimo Palermo kórusa és zenekar közreműködésével, Stefano Ricci és Gianni Forte
https://www.ricciforte.com rendezésében arra is alkalom, hogy felidézzem a Bartók remekművel való találkozásaim legszebb pillanatait, és hogy emlékezzek a sok név között Polgár Lászlóra, Robert Lepage rendezésére, vagy a Bécsi Filharmonikusok, és Montreal Symphony muzsikusaival való közös munkára.

További előadások november 20, 21, 25, 27, valamint rádióközvetítés a RAI3-on.

Busy Season Finale / Sűrű szezonvég

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The 2017-18 Season is coming to an end. Since I arrived to Budapest, Hungary after the last classical concert of the Huntsville Symphony season I have had an extremely busy schedule. A conducting-composition masterclass organized by the Peter Eötvös Contemporary Music Foundation took place at the Budapest Music Center. The musicians of the Danubia Symphony Orchestra were conducted by 7 young conductors in Karlheinz Stockhausen’s Punkte and Arnold Schoenberg’s Chambersymphony op.9. Thee new pieces were also premiered, two for string trio, one for violin and piano by young composers. These concerts are always streamed live on the website of the BMC. Everyone has done a great job, and I had fun teaching alongside Peter Eötvös and Alessandro Solbiati.
http://www.wikipedia.org

June 5 was the date of the performance of my opera, Barbie Blue (libretto by András Almási Tóth) as the “matching piece” for Bartók’s Bluebeard’s Castle. This production was part of the ‘BLUEBEARD 100’ Festival of the Hungarian State Opera. At the Erkel Theater (the main opera house building is being remodeled right now and is closed for another season) great singers and the musicians of the State Opera Orchestra did a great job of playing both works (neither of them is easy!), and I enjoyed working with stage director, and former director of the Opera, Miklós Szinetár.
http://www.wikipedia.org
On June 13 I was the conductor of the final exam of the students of the opera department of the Liszt Academy. We have performed a one of a kind, beautiful work, ‘Le vin herbé’ (The Love Potion) by Frank Martin, which practically tells the original version of the Tristan and Isolde story. Unlike the famous Wagner opera, this work is scored for 12 singers, 7 string players and a piano, and has a totally different approach to the legend. Andras Almasi Toth directed the performance, and it was beautifully choreographed by Noémi Kulcsár, artistic Director of the Tellabor Dance Company.

And now, Armel Opera Festival and Competition 2018 is around the corner. I am conducting two performances this year. On July 3 and 4 at the MUTH Theater in Vienna we will be presenting my chamber opera, The Giant Baby, and Lady Sarashina, a one act opera by Peter Eötvös. The latter production is a revival (with a partially new cast) of András Almási Tóth’s staging of the work in collaboration with the Liszt Academy. The Pannon Philharmonic, resident orchestra of the festival will be playing. The Giant Baby was my very first opera. In the last 15 or so years I have composed 3 others, and learned along the way how and what to write for the stage and for operatic voices. I decided to totally rewrite the music for The Giant Baby, and also to rework the libretto with the help of writer Péter Horváth. The Giant Baby is a surrealist story about life in general, and both the music and the staging is aiming at a very special audience, young adults (16+) and adults at the same time. This production is a collaboration between Armel Festival and the Kolibri Theater.
http://www.kolibriszinhaz.hu
János Novák, general director of the theater is doing the staging, and the beautiful puppets are designed by Klaudia Orosz. Here is her page with a couple of photos of her designs.
http://www.kolibriszinhaz.hu
Here is the link to the festival with all the details.
http://www.armelfestival.org
Remember, all performances are LIVE BROADCAST on Arte Concert website and will be available to watch for 6 months afterwards!
There will be two more performances of The Giant Baby in Budapest, on July 6 & 7. With these two performances my season ends and my summer season starts. More about the latter in a later post.

It is a nice coincidence that 3 of my 4 operas happen to be played during the same season. ‘Georgia Bottoms’ had its Hungarian premiere in October, 2017, then there was ‘Barbie Blue’, and now ‘The Giant Baby’ is coming up. Oh yes, and I also made it to the KULT50 selection this year, which is a list comprised by cultural journalists and critics, and published by Fidelio magazine. I was in the 4 artists invited to participate in the press conference. It was a very interesting conversation about Trends and Brands.

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A 2017-18-as szezon hamarosan véget ér. Amióta Budapestre érkeztem a Huntsville Symphony idei utolsó koncertje után, nem volt megállás. Az Eötvös Intézet által szervezett karmester-zeneszerző kurzuson Karlheinz Stockhausen Punkte és Schönberg Kamaraszimfónia című műveit tanítottam. A fiatal zeneszerzők és karmesterek jól szerepeltek, és a Danubia Zenekar muzsikusai is kitettek magukért. Élvezet volt Eötvös Péterrel és Alessandro Solbiati
http://www.wikipedia.org
olasz zeneszerzővel együtt dolgozni.

Június 5-én került az Erkel Színház színpadára Barbie Blue című operám (Almási Tóth András librettójára) mint a Kékszakállú Herceg Vára párdarabja, a Magyar Állami Operaház Kékszakállú 100 fesztiválja keretében. Az előadás második felében a Kékszakállú Szinetár Miklós rendezésében ment, akivel, akárcsak az est négy énekes szólistájával, öröm volt dolgozni. Az Operaház Zenekarának ez úton is külön köszönöm a figyelmes munkát, és a szép végeredményt!

Június 13-án a Zeneakadémia operavizsgájának keretében elvezényelhettem Frank Martin ‘Le vin herbé’ (A szerelmi bájital) című “ellen-Trisztánját”, amelyet 12 tagú kamarakórusra, hét vonósra és zongorára komponált a svájci zeneszerző. Vicces, hogy pont aznap ment, amikor a MÜPÁ-ban Wagner Trisztán és Izoldája. 🙂 Ismét remekül dolgoztunk Kulcsár Noémivel és Almási Tóth Andrással.

Most következik az idei Armel Fesztivál és Opera Verseny. Július 3-án saját művemet, a Déry Tibor szövege alapján íródott Az Óriáscsecsemőt, majd másnap Eötvös Péter Lady Sarashina című egyfelvonásosát vezényelem a bécsi MUTH Színházban, utóbbit a Pannon Filharmonikusok közreműködésével. A Lady Sarashina az Almási Tóth András rendezte Zeneakadémiás produkció felújítása lesz, míg Az Óriáscsecsemőt Novák János rendezi majd, a Kolibri Színház művészeivel, tervező Orosz Klaudia. További előadások az Operett Színház Raktárszínházában július 6-án és 7-én.
Az Armelről és az Arte Concert élő közvetítéseiről itt lehet részleteket megtudni:
http://www.armelfestival.org

Ezzel az idei szezonban 4 operámból 3 kerül színre valamilyen formában, ami csupán a véletlen műve, és mint ilyen valóban a csillagok szép együttállását jelzi. Idén belekerültem a Fidelio KULT50 válogatásába is, és Tenki Réka színésznővel, Ragályi Elemér operatőrrel és Parti Nagy Lajos íróval együtt a KULT50 sajtótájékoztatójára s meghívtak, ahol Trend és Brand címmel érdekes beszélgetésnek lehettem a résztvevője.

Hamarosan újabb posztban jelentkezem majd a nyári szezon eseményeivel.

In Two Languages / Két nyelven

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I believe, I owe my Hungarian friends the courtesy after so many years, so here we go: I will be posting, from now on, in two languages. As it turns out many people from Hungary follow my blog, and I feel I should make it easier for them to keep up with the items from my news desk.
In exchange, as promised, I will post translations here of Hungarian reviews, but for that I ask for you patience. I am in the middle of composing my opera “The Giant Baby” (actually completely re-composing it, since Giantbaby was actually my very first opera written in 2001), and as soon as I am done with the music I will have more time on my hands.

After a successful concert with the Danubia Symphony (see two reviews below in Hungarian)
http://www.toptipp.hu
http://www.fidelio.hu
I have taught at the conducting-composition masterclass of the Peter Eötvös Contemporary Music Foundation for a few days (Bartók’s Bluebeard’s Castle, Stravinsky’s Soldier’s Tale and newly composed pieces were on the program) for a couple of days. We have had the pleasure of working with young composers and conductors, including the four talented young men who were chosen as the first participants of the very special mentoring program.
See details here:
http://www.eotvosmusicfoundation.org

On Sunday I have flown to Hamburg where I have started the rehearsals for the revival of the double bill Senza Sangue/ Bluebeard’s Castle at Staatsoper Hamburg. I am doing two out of the four performances on March 3 and 9. Before that, on March 1, I will be conducting a concert I am really looking forward to, with the soloists of the Hungarian Radio Symphony at the Liszt Academy. Schonberg: Pierrot lunaire, Berio: Folksongs, and Stravinsky: Renard are on the program.
http://www.zeneakademia.hu
On March 8 there will be another great program with major works by Kurtág, J.S. Bach and Rachmaninov as part of the Pannon Philharmonic Orchestra’s “In Memoriam Zoltán Kocsis” concert series.
http://www.pfz.hu

Úgy hiszem, itt az idő, hogy mindazok kedvéért, akik szívesebben olvasnák a blogomat magyarul, elkezdjek két nyelven posztolni. Ez úton is köszönöm az eddigi bizalmat és érdeklődést, és remélem, hogy ezzel a pozitív változással még többek érdeklődését felkeltem majd. Januárban az óbudai Danubia Zenekart vezényeltem a Zeneakadémián a “Gépek” című izgalmas, és nem ellentmondásokat nélkülöző programban. A fenti két első link ennek a koncertnek két, magyarul megjelent, kritikájára vezet. Néhány nap tanítás után (az Eötvös Péter Alapítvány karmester-zeneszerző kurzusán a BMC-ben, ahol ezúttal a több éves mentor program első fiataljai is részt vettek http://www.eotvosmusicfoundation.org ) Hamburgba repültem. Hétfőn kezdődtek a Staatsoper Hamburg tavalyi Senza sangue-Kékszakállú produkciója felújításának próbái. A négy előadásból kettőt vezényelek majd, március 3-án és 9-én.
Mindeközben magyarországi koncertjeim is folytatódnak. A Magyar Rádió Zeenekarának zenészei és Meláth Andrea énekművész közreműködésével március 1-én Schönberg: Pierrot lunaire, Berio: Folksongs, és Stravinsky: A róka című darabjait dirigálom a Zeneakadémia Solti termében.
http://www.zeneakademia.hu

Március 8-án a Pannon Filharmonikusok élén, a Kodály központban, a Kocsis Zoltán emlékére rendezett koncertsorozat részeként vezényelem Kurtág György, Johann Sebastian Bach és Rachmaninov műveit. A zongoraszólista Palojtay János lesz.
http://www.pfz.hu

Mindeközben komponálom első operám, Az Óriáscsecsemő teljesen új verzióját, melynek bemutatója az idei Armel versenyen, a bécsi MUTH színházban lesz. Az opera librettőja (Horváth Péter és jómagam munkája) Déry Tibor azonos című, 1926-os “dadaista drámáján” alapszik, a produkciót a Kolibri Színház jegyzi majd, rendező Novák János lesz.

Lots of Work and Plenty of Travel Already in 2018

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Hello there and a Happy Belated New Year! I am writing this post at the Atlanta airport lounge, waiting for my flight to Huntsville, replacing the one that was just cancelled a couple of hours ago. Yes, IT IS WINTERTIME and it is coming down hard on the South now, after hitting the North-East of the US.
After a demanding and successful trip to Taiwan and Mainland China (with the Kaohsiung Symphony then with the players of the Hungarian Radio Symphony) I traveled back to Budapest for a couple of days (FYI Turkish Airlines is great!) then packed again to drive to the city of Pecs, where I got to conduct the great Pannon Philharmonic Orchestra. We presented an exciting program, including my piece, Drums Drums Drums, of which we played the Hungarian premiere. Other pieces on the program were: Weill: Little Threepenny Music, Stravinsky: Concerto in D for string orchestra and Hindemith’s powerful Concertmusic for brass and strings. As for Drum Drums Drums, it is now the third set of soloists playing it (however the drum-set part was played by the amazing Gergo Borlai again, who has been part of the World Premiere in Huntsville in 2015), and the piece, I am happy to report, works really well for the audience.
After spending a couple of days in beautiful Southern Hungary (Pecs is only about a 2hr drive from Budapest) I was ready to fly to the Big Apple. Representing Armel Festival as its Artistic Director I have attended 5 shows at the Prototype Festival. I have seen staged concert albums, multi-media music theater works and operas in the traditional sense. It was an impressive line up. I hope that Prototype Festival can become a partner for Armel by as early as 2020, and together we can bring some interesting new works to Budapest, Vienna, and to the screen of ARTE TV as well. Yes, IT IS WINTERTIME, and NYC was way colder than usual. However in the summer I always complain about humidity and high temperatures in manhattan. 🙂
I am ready for a couple of extremely exciting and challenging programs in the next couple of weeks. On Saturday with the Huntsville Symphony I will be conducting Brahms’ Haydn Variations, Beethoven’s Symphony No.7, and sharing the stage again with Elina Vähälä from Finland, who’ll be playing Berg’s beautiful Violin Concerto. More information on the concert here:

http://www.hso.org

After Huntsville it’s Budapest time again, and time for music about machines with the Danubia Symphony at the Liszt Academy. Yes, you read that right, MACHINES!

More about that later!

Until then, here is the link for your enjoyment:

http://www.odz.hu

Georgia Bottoms in Budapest, Interviews, Reviews, Videos

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A pretty long, exhausting and fun period is over. Georgia Bottoms, A Comic Opera of the Modern South had a new, Hungarian production in the frame of CAFe (Contemporary Art Festival) Budapest at the Liszt Academy. The production was a success, the audience loved it and so far the critics had a positive opinion as well. I am glad, that this 85 minute long, one act chamber opera made quite a few people among Hungarian intellectuals to go online and buy Mark Childress’ original novel, Georgia Bottoms. The book deserves attention, and a great translation for the European and Hungarian market. Luckily, many of the intellectuals interested in my art can speak and read English. They all bought the book here, and you should, too!
http://www.amazon.com

Unfortunately however, – this is what happens when a country has a language that nobody else is speaking,- all the interviews and reviews below are in Hungarian. This time being a Hungarian has an advantage: you get way more info about the opera, the production and you can also read about many other topics that came up in the interviews in the original language. I translated a couple of things below for my English speaking friends, and I can promise you that no music-lover will be left behind. I am in the process of translating a selection of the interviews and posting them online as soon as I can. In the meantime, enjoy what you can by clicking on the links below!

Let’s start with a really well translated interview with Rebecca Nelsen, who has been doing Georgia Bottoms’ role for the second time in two years. I myself have learned a couple of interesting, new things about what it’s like to be a woman in the South.
“The Era of Just Standing And Singing Is Over”
http://www.fidelio.hu

By clicking on the link below you can read the very first (posted just a couple of hours after the Sunday premiere) instant feedback by a local theater/ music-theater blogger. She will be posting more about Georgia Bottoms, once the entire CAFe Budapest Festival is over.
http://www.mezeinezo.hu

Here are three interviews with me, mostly about Georgia Bottoms, but also about teaching, conducting and politics.
“When A Chord Sounds That Can Feel Really Good”
http://www.operavilag.net

“I Want to Write Music I’ve Never Heard Before”
http://www.theater.hu

“Constant Failures Mean The System Is Working”
http://www.papageno.hu

“You Cannot Put 9-11 Into Music” (interview) + “Bittersweet Georgia” (review)
These articles will be available for free soon via the website link below.
According to this review my music is from the Deep South 🙂 The critic loved the humor of the opera in text, in music and in staging as well/ “…a múlt vasárnapi bemutatón átütővé vált a mű humora: szövegben, játékban és – éppen nem mellesleg – zenében egyaránt.”
http://magyarnarancs.hu

“Under Lucky Stars”
This critic loved the production in every way possible, including the staging by Andras Alamai Toth, the singing of the entire cast, especially Rebecca Nelsen and Keith Browning, the quality of the musicians of Ensemble UMZE, and the music itself. The critic had a nice summary of my music as well, Let me copy it here, first just in Hungarian.

“A muzsika majd’ minden hangjából árad az amerikai Dél hangulatát megidéző couleur locale, de hiba lenne, ha csak ennyit jegyeznénk meg az igényes kompozícióról, mely (az utóbbi évek kortársopera-tendenciáival ellentétben) jóval több egyszer használatos alkalmazott zenénél: saját értékénél fogva is emlékezetünkbe vésődik, miközben híven festi a szöveg dramaturgiai fordulatait. A posztmodern jó szokásához híven bőven idéz különböző zenei stílusok eszköztárából, ám ezeket egységes keretbe foglalja – sosem támad az az érzésünk, hogy bármely hang is öncélúan került volna a partitúrába. Ez a határozott zeneszerzői egyéniség biztos ismertetőjegye.”

http://nepszava.hu

The FaceBook page of CAFe Budapest festival. There is an interview with me about Georgia Bottoms and about getting our of your comfort zone in general. Again, the interview is in Hungarian, but the “Day 3 of the Festival” video can be enjoyed without speaking this one of a kind language.
http://www.facebook.com/CAFeBudapestOfficial

Oh yes, and I did get to translate Mark Childress’ RAP lyrics for a newly added scene into Hungarian for the surtitles. I even made it rhyme. 🙂

The Season of Operas

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On Monday we are starting the second week of ‘DialogScene’ workshop organized by the Peter Eötvös Contemporary Music Foundation. I will be moderating a “meet the audience” session in the evening.
http://www.bmc.hu
The final performance of the five brand new operas composed by young composers from all over the world, and directed by young Hungarian directors (music-theater directors’ class of Tamás Ascher) is open to the audience and will be held in the evening of Friday, September 15.
Click below for more details.
http://www.bmc.hu

When I am not teaching I am composing new music to my first opera, The Giant Baby. The world premiere will take place in Vienna as part of the 2018 Armel Opera Festival. I am having a lot of fun with totally re-writing the music to the slightly altered libretto based on the 1926 Dadaist play by Hungarian Author Tibor Déry.
https://www.britannica.com

Just so we stick to the theme of the fall of 2017, my latest stage work, ‘Georgia Bottoms, A Comic Opera of the Modern South’ will get a new production at the Academy of Music as part of CAFe Budapest (Contemporary Art Festival Budapest). Rebecca Nelsen, who sang the title role in Huntsville two years ago returns as Georgia. Also in the role of her son, Nathan I am happy to have the young and talented American baritone, Keith Browning from the original cast. Author of the novel, Georgia Bottoms, my co-librettist, Mark Childress (who will also be here for the Hungarian premiere) and I have added two completely new scenes and changed one of the old ones to make the story more complete. Changes were needed also to give a little resting time and more than a minute to change costumes for rebecca as Georgia Bottoms. The staging will be done by Andras Almasi Toth, and the other 9 roles will be sung by talented Hungarian singers, including Andrea Meláth, head of the Vocal Department of the Liszt Academy. Here are the dates for the performances:
October 8 and 10
and a link to the website of CAFe Budapest:
https://www.cafebudapest.hu

Les feux d’artifice

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“The fireworks have ended. They did not last long.”
http://www.youtube.com
These are the last words of Rufus Wainwright’s opera “Prima Donna”. The premiere is this afternoon at the Kodály Center in Pecs (Southern Hungary), second performance on June 28 in Budapest with a live HD broadcast on Arte Concert. Check out the cast here:
http://www.armelfestival.org
Watch out for the broadcast details on FaceBook and on Twitter! Until then here is a concert video from Paris with the fully orchestrated version of the song.
http://www.youtube.com

I have spent a lot of time this past month with wonderful “prima donnas” and talented singers in productions of the following operas:
Kamillo Lendvay: The respectable Prostitute
Gyorgy Ligeti: Le grand macabre
Mate Bella: Spring Awakening
Gabor Peter Mezei: By the Catafalque
Arpad Solti: La Violetta

After “MagyarFeszt” (a festival of Hungarian operas organized by the State Opera), I was invited to teach a conducting master class with Peter Eötvös at his Contemporary Music Institute. It was a great week with the Danubia Orchestra and the music of Wolfgang Rihm and Zoltan Kodály. Next week, with the June 28 performance of “Prima Donna” opens the 10th Armel Opera Festival and Competition. I will also conduct the final gala concert of the Armel Festival with award winning singers from France and Hungary. It’s going to be a nice change of pace with music by Mozart, Donizetti, Bizet, Gounod and others.

Stay tuned and thanks for reading!

From Frankfurt to the Red Comet

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Last week I made my debut with the Frankfurt Radio Symphony. It was an amazing experience with a great orchestra made of open minded and friendly musicians. The audience at the “Sendesaal” of the Frankfurt Radio was very appreciative and enthusiastic. There was a fun pre-concert talk as well attended by about 200 people. On the program entitled ‘The Hungary of Eötvös’, there were all Hungarian contemporary pieces from four generations of composers including myself.’Concertino’ by József Sári, ‘Passacaglie’ by László Tihanyi, ‘Leviation’ by Péter Eötvös and my ‘Drums Drums Drums’ for three percussion players and orchestra.
http://www.hr-online.de
I was really happy about the reception of my percussion triple concerto. There was a ‘rock-concert feel’ to the performance and also to the reaction of the audience, just what I was hoping to achieve. I am looking forward to the next performance of this composition of mine in January 2018 with the Pannon Philharmonic!

The first radio broadcast of the Frankfurt concert will be on May 15 followed by a re-broadcast not long after. I will keep you posted.

I am back in Hungary now gearing up for many performances to come. The next two long months have kicked off with a project of the International Young Soloists (musicians from the UK and Hungary) with a program of Haydn, Mozart and Beethoven to be played at two small venues this week. In the meantime I have started working with the singers for Ligeti’s ‘Le Grand Macabre'(performance at the Erkel Theater on May 26: hence the RED COMET, if you remember the famous coloratura soprano aria!), and had my first read-though rehearsal with the Modern Art Orchestra. The latter one is Hungary’s leading Big Band. On May 28 at the Budapest Music Center I will be conducting a few arrangements of my music (Adagio from the Clarinet Symphony among them), and some great music by Duke Ellington and Pat Metheny among others.
http://www.bmc.hu

I will post more later about the upcoming opera productions in the frame of the “Hungarian Opera Festival” in the month of May and June. Stay tuned for a revival of the “Hungarian Late Night” show and two performances of “Spring Awakening” by Máté Bella and “La Violetta” by Árpád Solti at the Liszt Academy!