Performer: Emőke Baráth

Once again, the BEMF brings a Baroque opera back to life. Reinhard Keiser’s 1705 Octavia is exceptionally well sung, adroitly staged, designed and danced, with impeccable musicianship.

Handel's 1707 allegorical Italian oratorio is brought to stunning life by a brilliant quartet of singers and the impeccable FestspielOrchester Göttigen under festival director George Petrou. 

Hungarian State Opera presents Idomeneo for the first time in almost 50 years in a musically superb, but controversial pandemic-informed dystopian setting.

The opening night of Müpa’s Early Music Festival had all the makings of an excellent concert and it delivered in abundance.

Whether one considers Messiah to be really appropriate for Christmas, it always a welcome gift for the Handel aficionado, and this performance from Rotterdam, while suffering some unfortunate cuts, is an otherwise solid musical offering.

How can one focus on the music? Purcell’s music is interspersed with contemporary interludes by Atsushi Sakaï in an overly busy staging.  

We spoke to the Hungarian soprano about her inspirations, performing with Jaroussky and what singing means to her.

La jeune chanteuse hongroise évoque en toute simplicité son rapport à la musique et à l’opéra, son dernier album et son parcours atypique.