Busy 6 weeks ahead in Budapest, Hungary. I am starting with the final classical subscription concert of the MR Symphony Orchestra (Hungarian Radio Symphony) at Palace of the Arts. The program includes two symphonies numbered 9, one by Shostakovich and one by Beethoven. Two very different “Number Nines” juxtaposed. Now that I am doing Beethoven’s Choral Symphony three times in three months (April: Huntsville, May: Budapest, June: Music in the Mountains, California) I rediscovered the operatic, theatrical side of the final movement of this titanic piece for myself. (BTW I always thought that the Funeral March of Eroica was “music for a play”, just like Egmont) The famous opening lines by the bass-baritone
“O Freunde, nicht diese Töne!”(“Oh friends, not these tones!”)
written in recitativo style set the tone for this very special Rescue Opera called “The Last Movement of Beethoven Nine”.
As part of a now decade old tradition the Palace of the Arts remembers the great composer Gyorgy Ligeti on (or around) his Birthday. He would be 90 years old this year. The time has come for Ligeti’s only opera, well his Anti-Anti-Opera as he called it to be performed as part of the Hommage To Ligeti series. I’ll be the conductor of the concert performance of the 1997 Salzburg Version of The Macabre at the helm of the Pannon Philharmonic in cooperation with
Neue Oper Wien
http://www.neueoperwien.at
and Amadinda Percussion Group
http://www.amadinda.com
Here is the summary of the story of this Anti-Anti-Opera
http://www.guardian.co.uk
Link to the Palace of the Arts production
http://www.mupa.hu
Now it seems that I could just move into the Palace of the Arts for the next couple of weeks. (BTW check out the architecture on their website. It is a gorgeous building.) After finishing the Ligeti project I dive into a “Real Opera” at last. As part of the internationally known Budapest Wagner Days I get to conduct Lohengrin semi-staged.
http://www.mupa.hu
The great thing about being a conductor, or a musician in general is that you get to wear many hats. From Beethoven through Ligeti to Wagner: one feels like an actor playing different characters. You are only as good an actor as much you can be yourself in the role you are playing. Studying Lohengrin is giving me great pleasure. Just like I re-discovered the operatic nature of Beethoven 9 for myself I did just make a discovery about Wagner’s romantic “Knight on a Swan” tale. Learning this opera made me realize how organically Wagner’s artistry is rooted in German musical theater tradition. It might sound like a cliche or a no-brainer to many (or to all who knows even a little about W) but it is different knowing something from your studies and actually living it as a musician. NOW I see (and feel) that Lohengrin is the “Missing Link” (along with The Flying Dutchman and Tannhauser of course) or rather the straight path between Weber’s Freischutz and Tristan und Isolde.
Ligeti 90
Wagner 200
Vajda 39 and One Lucky Guy with great pieces to conduct between now and mid June.
The Shostakovich-Beethoven and the Ligeti performances will be streamed live by the Hungarian Public Radio at
http://www.mr3-bartok.hu
