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Háry János
Singspiel in two parts, in Hungarian, with Hungarian and English surtitles
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Last event date: Sunday, May 05 2019 11:00AM
Zoltán Kodály
Háry János
There is no life without stories. Zoltán Kodály's Háry János, however, is one of the greatest dreamers to ever take the musical stage: “Everything he says is reality interwoven with fantasy, illuminated with the genius of folk tales,” declared the composer. The marvellous adventures of the rascally veteran from Nagyabony combined with Hungarian folk songs scored for full orchestra have been enchanting audiences since 1926. Discussing the production that has run at the Erkel Theatre since 2013, director Attila Vidnyánszky said, “Háry János is about how, amidst the centuries of failures and defeats of Hungarian history, to find in our dreams a salve for these wounds.”
Prologue
In the village of Nagyabony, the regulars gather at the inn to hear the aged veteran János Háry tell his stories. The judge, the student and a few farmers sit down to sip wine and listen to the old man's stories, which many of them take with more than one pinch of salt.
Adventure I: Háry stands guard on the Austrian frontier. The Austrian border guard refuses to allow anyone to cross over from the other side, including Marie Louise, the daughter of Emperor Franz, and her retinue – with Baron Ebelasztin among them, as well as the coachman Marci, driver of the imperial coach. Háry, together with the other Hungarians, pushes the guardhouse into Austrian territory.
Adventure II: In Vienna's Burghof, Háry succeeds in taming Lucifer, the most unbreakable steed in the imperial stables. As a reward, Marie Louise gives him a violet. Baron Ebelasztin, stricken with jealousy, exercises the authority given to him by Napoleon to present the Emperor of Austria with a declaration of war.
Adventure III: Hussars are encamped below Milan castle. Napoleon attacks, but his forces fall before a single wave of Háry's sword. Napoleon himself is taken prisoner. Marie Louise arrives: she wants Háry for her husband instead of Napoleon. Örzse appears, and is unwilling to part with her betrothed.
Adventure IV: In the Viennese court, Háry and Marie Louise are getting ready for their wedding. The little princes tell Háry what they've learned in school. The court marches in. Háry doesn't want Marie Louise's hand or a princely title. Instead he wants to return to Nagyabony, the village of his birth, together with Örzse.
Epilogue: in the inn at Nagyabony, Háry reaches the end of his story, which relates how the lovers held a big wedding and lived happily together until poor Örzse passed away. This meant that no witness remained who could verify Háry's tale. But none was needed, either, for “no one on earth is as valiant/as our Uncle Háry was!”
Háry János Zoltán Nagy
Old Háry László Csurka
Örzse, Háry János Gabriella Balga
Emperor Franz / Judge András Kőrösi
The Empress Mária Farkasréti
Napoleon / The Innkeeper András Hábetler
Marie Louise Éva Várhelyi
Baron Ebelasztin János Szerekován
Old Marci Géza Gábor
General Krucifix Balázs Csémy
A Hungarian Guard Richárd Hoffmann
Burkus, a guard Tamás Vass
A Student Tamás Szmerek
Credits
Librettist Béla Paulini / Zsolt Harsányi
Director Attila Vidnyánszky
Costume designer Oleksandr Bilozub
Costume designer Imelda Jeremias Bianca
Dramaturg Zsolt Szász
Choreographer Péter Gemza
Head of the Children's Chorus Nikolett Hajzer
Acting chorus director Gábor Csiki
Featuring the members of the Csillagszemű Dance Ensemble
Our offer
A magical meeting of two anniversaries on the Müpa Budapest stage: the Talamba Percussion Group is celebrating its 25th anniversary this year with a 21st-century arrangement of a piano cycle by Mussorgsky's piano cycle Pictures of an Exhibition as it turns 150 itself: following on the heels of Emerson, Lake & Palmer and Isao Tomita with their versions, they are presenting their own take on the 19th-century masterpiece, this one revised for percussion and electronica, and featuring DJ Bootsie.
Artistic director and director-choreographer Balázs Vincze is very familiar with the tastes of dance aficionados partial to the traditions of bourgeois theatre and is superb at adapting familiar and popular literary classics to the dance stage. His wonderful sense of proportion enables audiences to follow plots in the language of dance. His contemporary choreographies built on classical foundations are unique, spectacular and of a high professional calibre without losing sight of the need to please the audience.
„Hegedűs a háztetőn… valahol mind azok vagyunk. Megpróbálunk egy letisztult dallamot kicsalni, miközben egyensúlyozunk, hogy ne szegjük nyakunkat. Nem könnyű!”
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