Idiomatic Bluebeard's Castle from the Hungarians in New York

Par Vishnu Bachani, 03 novembre 2018

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“András Palerdi and Ildikó Komlósi, as Bluebeard and Judith, delivered impressive performances”

Critique faite à Lincoln Center: David H Koch Theater, New York, le 1 novembre 2018

Bartók, Le Château de Barbe-Bleue

Vajda, Mario és a varázsló (Mario and the Magician)

Opéra d'État hongrois

Balázs Kocsár, Direction

Péter Galambos, Mise en scène, Décors

Enikő Kárpáti, Costumes

Ildikó Komlósi, Judith

András Palerdi, Barbe-Bleue, Cipolla

Balázs Csémy, Mario

István Rácz, The woollen-shirted one

Orsolya Hajnalka Rőser, Mrs Angiolieri

Antal Cseh, Mr Angiolieri

Lajos Geiger, A Roman gentleman

Budapest accueille ses Enfants terribles

Suzanne Lay-Canessa, 13th November

Jean Cocteau rencontre Philip Glass à l'Opéra d'État hongrois, dans le cadre neuf de l'Eiffel Art Studios, et cette production des Enfants terribles se déroule à un tempo infernal !

****1

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

Hungarian National Ballet: a tremendously witty Merry Widow

Deborah Weiss, 12th February

Hungarian National Ballet strike a delightful balance between lighthearted comedy and technical assurance in Ronald Hynd's The Merry Widow.

****1

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Vishnu Bachani

Dividing his time between New York and London, Vishnu Bachani is a recent graduate of New York University in mathematics and music. Interested in tonal music theory and analysis, he has written for The Bruckner Journal and New York Classical Review and has completed analytical research on music ranging from Wagner and Bruckner to Radiohead and Massive Attack, which he regularly posts on his website. Some cherished musicians include J.S. Bach, Gustav Mahler, and Meshuggah.