Opera in three acts, in Italian, with Hungarian and English surtitles

 

The subject of this work sparked Verdi’s fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story’s background are visceral emotions of unrequited love and blind jealousy that move the plot along.
Un ballo in maschera will be presented as part of the Opera’s repertoire – in accordance with the composer’s original intention – as the story of the Swedish king Gustavo III in a production created by the young Italian director and competition-winner Fabio Ceresa.

 

Conductor: Francesco Lanzillotta
Gustavo, king of Sweden: Boldizsár László
Renato Anckarström: Anatolij Fokanov
Amelia: Eszter Sümegi
Ulrica: Bernadett Fodor
Oscar: Zita Szemere
Count Horn: András Kiss
Count Ribbing: István Kovács
Christiano: Attila Erdős
Judge / Amelia’s servant: Sándor Egri
Libretto after the work by Eugène Scribe: Antonio Somma
Director: Fabio Ceresa
Set designer: Tiziano Santi
Costume designer: Giuseppe Palella
Movement director: Mattia Agatiello
Lighting designer: Ferenc Stadler
Dramaturg, Hungarian surtitles: Eszter Orbán
English surtitles: Arthur Roger Crane
Chorus director: Gábor Csiki

Opera in three acts, in Italian, with Hungarian and English surtitles

 

The subject of this work sparked Verdi’s fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story’s background are visceral emotions of unrequited love and blind jealousy that move the plot along.
Un ballo in maschera will be presented as part of the Opera’s repertoire – in accordance with the composer’s original intention – as the story of the Swedish king Gustavo III in a production created by the young Italian director and competition-winner Fabio Ceresa.

 

Conductor: Francesco Lanzillotta
Gustavo, king of Sweden: Boldizsár László
Renato Anckarström: Alberto Gazale
Amelia: Eszter Sümegi
Ulrica: Bernadett Fodor
Oscar: Zita Szemere
Count Horn: András Kiss
Count Ribbing: István Kovács
Christiano: Attila Erdős
Judge / Amelia’s servant: Sándor Egri
Libretto after the work by Eugène Scribe: Antonio Somma
Director: Fabio Ceresa
Set designer: Tiziano Santi
Costume designer: Giuseppe Palella
Movement director: Mattia Agatiello
Lighting designer: Ferenc Stadler
Dramaturg, Hungarian surtitles: Eszter Orbán
English surtitles: Arthur Roger Crane
Chorus director: Gábor Csiki

Opera in three acts, in Italian, with Hungarian and English surtitles

 

The subject of this work sparked Verdi’s fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story’s background are visceral emotions of unrequited love and blind jealousy that move the plot along.
Un ballo in maschera will be presented as part of the Opera’s repertoire – in accordance with the composer’s original intention – as the story of the Swedish king Gustavo III in a production created by the young Italian director and competition-winner Fabio Ceresa.

 

Conductor: Francesco Lanzillotta
Gustavo, king of Sweden: Boldizsár László
Renato Anckarström: Alberto Gazale
Amelia: Eszter Sümegi
Ulrica: Bernadett Fodor
Oscar: Zita Szemere
Count Horn: András Kiss
Count Ribbing: István Kovács
Christiano: Attila Erdős
Judge / Amelia’s servant: Sándor Egri
Libretto after the work by Eugène Scribe: Antonio Somma
Director: Fabio Ceresa
Set designer: Tiziano Santi
Costume designer: Giuseppe Palella
Movement director: Mattia Agatiello
Lighting designer: Ferenc Stadler
Dramaturg, Hungarian surtitles: Eszter Orbán
English surtitles: Arthur Roger Crane
Chorus director: Gábor Csiki

Opera in three acts, in Italian, with Hungarian and English surtitles

 

The subject of this work sparked Verdi’s fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story’s background are visceral emotions of unrequited love and blind jealousy that move the plot along.
Un ballo in maschera will be presented as part of the Opera’s repertoire – in accordance with the composer’s original intention – as the story of the Swedish king Gustavo III in a production created by the young Italian director and competition-winner Fabio Ceresa.

 

Conductor: Francesco Lanzillotta
Gustavo, king of Sweden: Boldizsár László
Renato Anckarström: Anatolij Fokanov
Amelia: Eszter Sümegi
Ulrica: Bernadett Fodor
Oscar: Zita Szemere
Count Horn: András Kiss
Count Ribbing: István Kovács
Christiano: Attila Erdős
Judge / Amelia’s servant: Sándor Egri
Libretto after the work by Eugène Scribe: Antonio Somma
Director: Fabio Ceresa
Set designer: Tiziano Santi
Costume designer: Giuseppe Palella
Movement director: Mattia Agatiello
Lighting designer: Ferenc Stadler
Dramaturg, Hungarian surtitles: Eszter Orbán
English surtitles: Arthur Roger Crane
Chorus director: Gábor Csiki

Oratorio in two parts, in German

 

The Saint Matthew Passion is Bach’s greatest work, one which constitutes an unsurpassable pinnacle not only of Protestant church music, but in the universal history of music. Forgotten after Bach’s death, the work was played in Berlin on 11 March 1829, a century after its original performance, with Felix Mendelssohn-Bartholdy conducting. The composer and conductor adapted the work to Romantic tastes in music performance, shortened it by a third, and employed an enormous (158-person) chorus and an orchestra scaled to match it. The resounding success resulted in a repeat performance on March 21, Bach’s birthday, which became a significant social event: present were both the court and the crème de la crème of the contemporary German intelligentsia. This launched the Bach renaissance, and in a wider sense, the general practice of resurrecting earlier music.

Conductor: Gábor Csiki
Evangelist: Zoltán Megyesi
Jesus: István Kovács
Soprano: Gabriella Fodor
Alto: Atala Schöck
Tenor: Ninh Duc Hoang Long u.s.
Bass: Marcell Bakonyi
Credits:
Director: Géza M.Tóth
Visual design and animation: Tibor Nagy, Miklós Gerdelics, Antonin Krizsanics, Balázs Fekti, Géza M.Tóth
Consultant: Zsolt Czakó
Chorus director: Gábor Csiki
Featuring: Hungarian State Opera Chorus

 

Oratorio in two parts, in German

 

The Saint Matthew Passion is Bach’s greatest work, one which constitutes an unsurpassable pinnacle not only of Protestant church music, but in the universal history of music. Forgotten after Bach’s death, the work was played in Berlin on 11 March 1829, a century after its original performance, with Felix Mendelssohn-Bartholdy conducting. The composer and conductor adapted the work to Romantic tastes in music performance, shortened it by a third, and employed an enormous (158-person) chorus and an orchestra scaled to match it. The resounding success resulted in a repeat performance on March 21, Bach’s birthday, which became a significant social event: present were both the court and the crème de la crème of the contemporary German intelligentsia. This launched the Bach renaissance, and in a wider sense, the general practice of resurrecting earlier music.

Conductor: Gábor Csiki
Evangelist: Zoltán Megyesi
Jesus: István Kovács
Soprano: Gabriella Fodor
Alto: Atala Schöck
Tenor: Ninh Duc Hoang Long u.s.
Bass: Marcell Bakonyi
Credits:
Director: Géza M.Tóth
Visual design and animation: Tibor Nagy, Miklós Gerdelics, Antonin Krizsanics, Balázs Fekti, Géza M.Tóth
Consultant: Zsolt Czakó
Chorus director: Gábor Csiki
Featuring: Hungarian State Opera Chorus

Conductor: Zsolt Jankó
King László V.: Zoltán Megyesi
Ulrik Cillei: László Szvétek
Erzsébet Szilágyi: Zsuzsanna Ádám
László Hunyadi: Boldizsár László
Mátyás Hunyadi: Lucia Megyesi-Schwartz
Miklós Gara: István Kovács
Mária Gara: Erika Miklósa
Mihály Szilágyi: Máté Fülep
Rozgonyi: Zoltán Bátki Fazekas

Librettist: Béni Egressy
Director: Gábor Szűcs
Assistant to the Director: Csaba Vasvári
Set Designer: Katalin Libor
Costume Designer: Enikő Kárpáti
Choreographer: Gergely Csanád Kováts
English surtitles: Arthur Roger Crane
Chorus Director: Gábor Csiki

Conductor: Zsolt Jankó
King László V.: Zoltán Megyesi
Ulrik Cillei: László Szvétek
Erzsébet Szilágyi: Zsuzsanna Ádám
László Hunyadi: Boldizsár László
Mátyás Hunyadi: Lucia Megyesi-Schwartz
Miklós Gara: István Kovács
Mária Gara: Erika Miklósa
Mihály Szilágyi: Máté Fülep
Rozgonyi: Zoltán Bátki Fazekas

Librettist: Béni Egressy
Director: Gábor Szűcs
Assistant to the Director: Csaba Vasvári
Set Designer: Katalin Libor
Costume Designer: Enikő Kárpáti
Choreographer: Gergely Csanád Kováts
English surtitles: Arthur Roger Crane
Chorus Director: Gábor Csiki

Conductor: Zsolt Jankó
King László V.: Zoltán Megyesi
Ulrik Cillei: László Szvétek
Erzsébet Szilágyi: Zsuzsanna Ádám
László Hunyadi: Boldizsár László
Mátyás Hunyadi: Lucia Megyesi-Schwartz
Miklós Gara: István Kovács
Mária Gara: Erika Miklósa
Mihály Szilágyi: Máté Fülep
Rozgonyi: Zoltán Bátki Fazekas

Librettist: Béni Egressy
Director: Gábor Szűcs
Assistant to the Director: Csaba Vasvári
Set Designer: Katalin Libor
Costume Designer: Enikő Kárpáti
Choreographer: Gergely Csanád Kováts
English surtitles: Arthur Roger Crane
Chorus Director: Gábor Csiki

Conductor: Zsolt Jankó
King László V.: Zoltán Megyesi
Ulrik Cillei: László Szvétek
Erzsébet Szilágyi: Zsuzsanna Ádám
László Hunyadi: Boldizsár László
Mátyás Hunyadi: Lucia Megyesi-Schwartz
Miklós Gara: István Kovács
Mária Gara: Erika Miklósa
Mihály Szilágyi: Máté Fülep
Rozgonyi: Zoltán Bátki Fazekas

Librettist: Béni Egressy
Director: Gábor Szűcs
Assistant to the Director: Csaba Vasvári
Set Designer: Katalin Libor
Costume Designer: Enikő Kárpáti
Choreographer: Gergely Csanád Kováts
English surtitles: Arthur Roger Crane
Chorus Director: Gábor Csiki