Tradition reconsidered in Bartók Dancetriptych in Budapest

Lea Földi, the Girl and Iurii Kekalo, the Mandarin in Marianna Venekei's The Miraculous Mandarin

Lea Földi as the Girl in Marianna Venekei's The Miraculous Mandarin

Lili Felméry as the Princess, András Rónai as the Wooden Prince in Velekei's The Wooden Prince

Hungarian National Ballet in László Velekei's The Wooden Prince

Soobin Lee in Kristóf Várnargy's Dance Suite

Por Gianmarco Segato, 05 febrero 2024

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“Devastated, her inexorable fate is sealed as she is pulled back under the descending cityscape scrim”

Crítica hecha desde Hungarian State Opera: Auditorium, Budapest el 3 febrero 2024

El príncipe de madera (László Velekei)

El mandarín maravilloso, Op.19, Sz 73 (new production) (Marianna Venekei)

Dance Suite (new production) (Várnagy Kristóf)

Hungarian National Ballet

Gergely Vajda, Dirección

Zsombor Czeglédi, Dirección de escena

István Rózsa, Diseño de escena

Nóra Rományi, Diseño de vestuario

Tamás Pillinger, Diseño de iluminación

Hungarian State Opera Orchestra

Gergely Zöldy Z, Diseño de escena

Mónika Szelei, Diseño de vestuario

Lea Földi, Bailarín

Iurii Kekalo, Bailarín

Balazs Majoros, Bailarín

Carlos Taravillo Mahillo, Bailarín

Yago Guerra, Bailarín

Jessica Carulla Leon, Bailarín

András Rónai, Bailarín

Lili Felméry, Bailarín

El castillo ausente: doble programa de Béla Bartók en el Teatro Real

Juan José Freijo, 4th November

Una exquisita dirección de orquesta eleva el programa doble con El mandarín maravilloso y El castillo de Barbazul que, por otra parte, resulta vacía de ideas en la propuesta escénica de Christof Loy.

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Personal reflections: Esa-Pekka Salonen's Organ Concerto in Berlin

Elena Luporini, 19th January

Two forces of nature meet when Esa-Pekka Salonen and Olivier Latry share the stage for the German premiere of Salonen's own Organ Concerto, with a programme that also includes incandescent Bartók.

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Miraculous Russians: Valery Gergiev and the Mariinsky in Florence

Elena Luporini, 11th December

Valery Gergiev and the Mariinsky Theatre Orchestra call in at the Teatro del Maggio Musicale Fiorentino for a programme of Prokofiev, Bartók and Stravinsky... and Gergiev picks up the keys to the city too.

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Autumnal Elgar and visceral Bartók from Roth, Weilerstein and the LSO

Mark Valencia, 19th December

At once visceral and disciplined, Roth drew scintillating playing from each section, none more so than the woodwind.

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Bartók à La Monnaie : Barbe-Bleue sublime, Mandarin curieux

Patrice Lieberman, 8th June

Alain Altinoglu et Christophe Coppens signent un Château de Barbe-Bleue d'anthologie à La Monnaie.

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L’amour après la mort : un Mandarin merveilleux d'une beauté transcendante à Bruges

Jan-Jakob Delanoye, 20th May

La conférence scénique a depuis quelques années un succès croissant. Le monde symphonique suit le mouvement dans la programmation de musique de chambre, mais ce n’est pas totalement illogique que des obstacles organisationnels et financiers surgissant souvent. Convoquer un grand effectif pour à peine une heure de concert ? Difficile à faire avaler ! À moins que ?

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Más críticas...

Gianmarco Segato

Arts writer, administrator and singer Gianmarco Segato is Assistant Editor for La Scena Musicale. He was Associate Artist Manager for opera at Dean Artists Management and, from 2017-2022, Editorial Director of Opera Canada magazine. Previous to that he was Adult Programs Manager with the Canadian Opera Company. Gianmarco is an intrepid classical music traveler with a special love of Prague and Budapest as well as an avid cyclist and cook.

Tradition reconsidered in Bartók Dancetriptych at the Hungarian National Ballet