Devilishly good fun: Faust in Budapest

Von Mark Pullinger, 27 Mai 2015

Laden, bitte warten...

Veranstaltung anzeigen

“Bretz's inky black bass was supple and suave and he sang a thrilling “Le veau d’or””

Rezensierte Veranstaltung: Hungarian State Opera: Auditorium, Budapest, am 26 Mai 2015

Gounod, Faust

Hungarian State Opera

Maurizio Benini, Musikalische Leitung

Michał Znaniecki, Regie

Ramos Ana Aguayo, Kostüme

Luigi Scoglio, Bühnenbild

Andrea Rost, Marguerite

Darío Schmunck, Faust

Gábor Bretz, Méphistophélès

Bernadett Wiedemann, Marthe

Szilvia Vörös, Siebel

Zsolt Haja, Valentin

Lajos Geiger, Wagner

Marianna Venekei, Choreographie

Budapest Philharmonic Orchestra

Hungarian State Opera Chorus

Ambrogio Maestri gibt Budapester Falstaff Auftrieb

David Karlin, 22nd May

Der große Mann im Fettanzug dominiert die Show und gibt dem Falstaff der Ungarischen Staatsoper Elan und Lebensfreude.

****1

Glänzende Turandot an der Ungarischen Staatsoper

Jenny Camilleri, 30th January

Aufregend dirigiert und überwiegend gut gesungen sollte diese üppige aber schnörkellose Turandot sowohl Traditionalisten und abenteuerlustige Operngänger erfreuen.

***11

All that glitters is not gold in Budapest's new Lohengrin

Orsolya Gyárfás, 16th November

Klára Kolonits's radiant Elsa proves the main attraction in the Hungarian State Opera's visually appealing but conceptually lacking new Lohengrin.

**111

A thrilling, opulent La Bayadère at Hungarian National Ballet

Gianmarco Segato, 14th June

Hungarian National Ballet's La Bayadère revitalizes tradition with a new reconstruction of its forgotten final act.

*****

Visually splendid, dramatically parched La Gioconda in Budapest

Gianmarco Segato, 11th June

Hungarian State Opera's cut-down, dramatically inert Gioconda fails to ignite the stage in Budapest, despite a solid musical foundation.

***11

Stumbling towards the chopping block: Maria Stuarda in Budapest

Orsolya Gyárfás, 14th May

Martin Rajna's energetic conducting and Gabriella Balga's glorious Elisabetta are the bright spots in this flashy but empty house premiere of Donizetti's classic.

**111

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Mark Pullinger

Mark has been a Bachtrack editor since 2014. He is also an experienced critic, writing hundreds of reviews for the site, as well as a freelancer writing for other magazines and newspapers. He also writes programme notes and blogs on Substack. Mark has a particular passion for the operas of Verdi as well as Russian and French repertoire. Outside the concert hall and opera house, Mark enjoys cooking and travel and is probably at his happiest let loose in a French patisserie or a Viennese coffee house.

Devilishly good fun: Gábor Bretz’s Méphistophélès dominates the stage in Budapest