Concert, music

Az új esztendő hagyományosan kiemelkedő kulturális eseménye a Budafoki Dohnányi Zenekar évköszöntő hangversenye, amelyen a zenekar mindig különlegességeket mutat be. Ezúttal komoly komolytalanságokkal, féktelen jó hangulattal, zenei sziporkákkal, zenei finomságokkal készülünk elkápráztatni közönségünket. Legyen a vendégünk, ne szalassza el ezt az egyedi, tartalmas, vidám, zenés Újév-köszöntést!

Balázs János zongoraestje, MVM Koncertek – A Zongora – 2020

Fazil Say zongoraestje, MVM Koncertek – A Zongora – 2020

Händel: Judas Maccabeus Miksch Adrienn – szoprán Alon Harari – kontraalt Stephen Chaundy – tenor Cser Krisztián – basszus Budapesti Akadémiai Kórustársaság Vezényel: Hollerung Gábor

A 2006-os brüsszeli Erzsébet Királyné verseny győztese, a még mindig csupán a harmincas évei közepén járó Anna Vinnyickaja már többször volt Keller András és a Concerto Budapest vendége, s minden alkalommal a versenymű-irodalom valamely különösen, sőt elrettentően nehéz darabját játszotta el a pesti közönségnek.

Throughout the history of classical music, certain works have been created that require an enormous number of performers and a large resonant space for their sound to be heard properly. Before Müpa Budapest opened its doors, Hungary had no venue worthy of presenting pieces like this. The list of such pieces includes Mahler's second and eighth symphonies, Richard Strauss's Eine Alpensinfonie, and Schönberg's Gurreliedere - along with two pieces by Berlioz: his Te Deum and his Requiem The latter is the most grandly massive example ever created in its genre. Hearing this work without any acoustic compromises having to be made will be an exhilarating experience!

The organ and the piano are both keyboard instruments. Franz Liszt, for example, was immensely skilful at playing both. In most cases, however, it is quite rare for an organist to play the piano, and vice versa, at least at concerts. And more importantly: only once in a blue moon are the two instruments featured together in the same work. Nevertheless, as mathematicians tell us, parallel lines intersect at infinity. In this case, it won't be at infinity where the two lines meet, but at Müpa Budapest, where the audience will get to hear the two instruments both separately and together.

Is it better to be afraid than surprised? There is some truth to that (slightly adapted) Hungarian saying. Both fear and surprise are feelings triggered or instigated by something, reactions to a particular stimulus or an unexpected event. Every branch of the arts tends to build on the power of surprise, but what about fear? One thing is for certain. Even if the listeners may not be frightened themselves, the figures and characters that are depicted in parts of various genres of classical music often have something to fear.

How many different notes can be played on a cello? With most people, the answer to this questions usual starts with a comparison to the human voice, as the instrument's tone, even inadvertently, tends to evoke the pleasant sound of a baritone speaking. And then of course there is the matter of the different styles: Baroque, Romanticism, modern and less-modern works from the 20th century - and of course the 21st century, which also counts when it comes to evaluating the instrument's possibilities. This concert offers a taste of all of this - and of course a chance to bear witness to two outstanding young musicians as they collaborate in the spirit of chamber music.

Each year, the Rising Stars programme organised by the European Concert Hall Organisation (ECHO) casts the spotlight on young artists who are no longer really 'discoveries', as they have already made many notable achievements. What one should focus on instead is the speed with which their careers are moving forward. Stuttgart-based percussionist Vanessa Porter has earned great acclaim as both a member of Duo Porter and a soloist through her unbiased openness expressed through both her thrillingly experimental programmes and her musical outlook.

All the events of the Rising Stars programme showcase exclusively young artists, but their underly principle is variety. While the first concert this year in the series organised annually by the European Concert Hall Organisation (ECHO) offers us a chance to get to know a superb percussionist, the second concert on the opening day ventures into a fundamentally different world, that of a traditional string quartet - two violins, a viola and a cello - performing one repertoire piece from each of the the past three centuries, including our own.

Following the first day featuring a German percussionist and a likewise German string quartet, the second day of this series organised annually by the European Concert Hall Organisation will bring an English baritone to the stage this year. The young artist is just at much at home in the world of Bach, Handel and Mozart as he is in the oratorical repertoire. What he will be performing for us, however, is a German Romantic song cycle, as well as, of course, the contemporary work that is a key part of any Rising Stars concert, this one written by a countrywoman of his.

An important theme of the Rising Stars concerts is that the musicians stepping onto the stage do not necessarily play the most commonly heard solo instruments: The goal of the European Concert Hall Organisation (ECHO) goes far beyond just introducing pianists, violinists and cellists, so we have already heard oboes, clarinets, trumpets, harpists and accordians. Now it is the turn of the saxophone: The instrument created in the 19th century is indispensable in jazz music, but it has also been used by composers like Ravel and Kodály. Now we will be introduced to its young British virtuoso.

Appearing at the afternoon concert on the third day of this year's Rising Stars series will be a Spanish oboist and a pianist of both German and Japanese heritage. The two young artists will be playing more than works written for the oboe and piano: we will also hear two works featuring the pianist as a soloist. The programme is a selection of French works, with one exception: the new piece commissioned by the European Concert Hall Organisation (ECHO), which organises the series, is the work of an English composer.

We Hungarians are always pleased to see the name of one of our countrymen on the programme for a concert in the Rising Stars programme organised by the European Concert Hall Organisation. We will get to repeat this happy circumstance again on this evening, as partnering with the Ukrainian violinist Diana Tishchenko in a programme of 20th- and 21st-century music in the Festival Theatre will be the phenomenal world-class Hungarian pianist Zoltán Fejérvári. The two of them have already released a successful record together, and it will be exciting to hear them play chamber music together live.

Most composers sooner or later succumb to the lure of musical drama. Of course, there are exceptions: neither Bach nor Webern ever wrote an opera. And there are also those who tackle the genre head on, creating one or more works of their own for the musical stage, but are never accepted as an opera composer by the audience. Schumann's sole opera is almost never played. This is what makes this an exceptional opportunity to hear - and see - the work, not to mention with a world class orchestra and chorus and a cast of international-calibre singers.

Up until the end of the 18th centuries, it was considered natural to expect composers writing liturgical works to adapt them to the framework of church ceremonies. Beethoven was a rebel in this regard as well: his ceremonial mass is the first piece of church music to break out of the walls of the church in every respect: scale, dimensions of sound, its system of musical gestures and emotionally. Interpreting the work on this occasion will be one of the world's greatest conductors, along with a world-class orchestra and choir and four internationally renowned vocal soloists.

Mozart: Don Giovanni – szcenírozott előadás Don Giovanni: Kálmán Péter Il Commendatore: Gábor Géza Leporello: Cser Krisztián Donna Anna: Miksch Adrienn Donna Elvira: Fodor Beatrix Don Ottavio: Szerekován János Zerlina: Balga Gabriella Masetto: Sándor Csaba Díszlet, jelmez: Árva Nóra A bűvésztrükkök betanítója: Ungár Anikó Rendező: Hábetler András Vezényel: Guido Mancusi

Two outstanding choirs combine for this concert with four excellent soloists and the finest early music ensembles from the Polish concert world to perform works that evoke the atmosphere of both the advent season and the Christmas period itself. We will mainly hear Baroque works, but Viennese classicism will also be represented on the programme. The leaders of the two choirs will share the pulpit.

2021-ben három részes bérlettel folytatódik az Operajátszóház a Budapesti Vonósokkal. Ezúttal alkalmakon átívelő folytatásos operamese lesz. A mese neve: Bohémélet.

Néhány évtizednyi mellőzést követően, manapság újra világszerte rácsodálkozik a közönség Dmitrij Sosztakovics muzsikájára, s immár vitán felül áll, hogy az orosz zeneszerző a huszadik század legnagyobbjai közé tartozott. Az utóbbi évek Sosztakovics-reneszánszának magyarországi kiteljesedésében kétség kívül Keller András és a Concerto Budapesté volt a főszerep.

Joining this superb Dutch chamber orchestra will be a world-famous Swedish soprano and a Swedish trumpet virtuoso to play an excitingly diverse programme that focuses on the Advent season. We'll get to hear a concerto by Telemann, followed by a reverent movement from one of Beethoven's string quartets as transcribed for chamber orchestra. Also awaiting us will be a Bach cantata and an aria by Handel, joined by some unusual 20th-century music, with one piece each by the German composer Bernhard Krol and Englishman Gerald Finzi, as well as a classic by legendary American jazz trumpeter Thad Jones. Stylistic travellers: your destination is Müpa Budapest!

The two youths, Sofia and Florville, are in love. Their only desire is to finally be married. However, the girl's guardian, the stubborn Gaudenzio, envisages a far more advantageous match for Sofia. Which is when the mysterious Signor Bruschino steps into the picture, the guardian's candidate for her fiance, to ruin their plans. But will he? Everyone is talking about him, but who is he really? Who lies behind that disguise, and what kind of trials have to be faced before everyone can depart in happiness, or at least satisfaction?

The discoveries at this concert are not the works being played, as these are well known to you: one of Mozart's popular violin concertos, which is often described as Turkish-sounding, and the most beloved cello concerto of all time - not to mention a Romantic symphony full of tempestuous emotions. What we can marvel at as we get to know them are the soloists. Two young ladies in their twenties who radiate talent: a Polish violinist and an Austrian cellist. Both have won substantial international acclaim and taken the stages of renowned concert halls. Now they will be making their overdue Hungarian débuts at Müpa Budapest.

The repertoire of advent and Christmas songs is incredibly rich and diverse. As the sub-heading of this concert suggests, people have written such works in every part of the globe. One of their defining characteristics is that they contain parts of folk music or even actual folk song, as well as art music creations, modern compositions and archaic, choral melodies. It is only natural that the clear timbre of a boys' choir will be accompanied by the similarly crystalline, metallic tone of brass. The two sounds complement each other perfectly.

In the days leading up to Christmas, we tend to particularly enjoy performance set-ups and genres that we associate with the festive season. Each year, the cantatas of the season and - of course - oratorical works that proclaim the joy of the Saviour's birth come to the fore, though organ music and choir compositions are similarly popular. During this concert, the audience will be able to enjoy a wide-ranging selection from the repertoires of the latter two genres.

With the start of another year upon us, it will once again be time for us to encounter the great Viennese Classical master's musical setting of the Genesis story - an agreeable and dependable part of our lives that is always good to return to. As we follow the process of the six days of creation, we ourselves can also all resolve to live the new year ahead of us in a spirit of creativity. The production's conductor - one of the greatest of our time - will, as always, bear out his dialectic between permanence and change in his concept: the work is eternal, but each hearing brings new features to notice.