The Master and Margarita staged as “opera-musical” in Budapest

Von Edward Sava-Segal, 14 Februar 2021

Laden, bitte warten...

“how many “Les Mis” fans felt the need to open Victor Hugo’s book?”

Rezensierte Veranstaltung: Eiffel Art Studios: Bánffy Stage, Budapest, am 13 Februar 2021

Gyöngyösi, The Master and Margarita

Hungarian State Opera

Gábor Hollerung, Musikalische Leitung

Vajk Szente, Regie

Kentaur, Bühnenbild, Kostüme

Peter Kálmán, Woland

Péter Balczó, The Master, Yeshua

Orsolya Sáfár, Margarita

István Kovács, Professor Stravinsky, Pontius Pilate

András Hábetler, Berlioz, Caiaphas

Donát Varga, Bezdomny, Levi Matvei

Turi Lajos Péter, Choreographie

Hungarian National Ballet

Hungarian State Opera Chorus

Hungarian State Opera Orchestra

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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Edward Sava-Segal

Edward has been living in New York for the last 25 years, one of the reasons being the extraordinarily rich cultural life in this city. He has studied piano and classical music in his early years. He switched later on to computer science and data architecture but he kept an unwavering interest in following the classical music phenomenon here in New York and in his travels. Edward occasionally reviews fine arts events for the most prestigious literary magazine in Romania, his home country.