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July 2017 Teodora Bekefi

Operavilág

Opera Gala with Ailyn Perez, Rame Lahaj, Gabriele Viviani

The opening number of the concert provided the Budapest Philharmonic Orchestra with the opportunity to not only be mere accompanists: the Verdi-keynote of the evening was set by the overture to La Forza del Destino, but the excerpt from Walpurgisnacht from Gounod’s Faust, played over an exceptionally broad dynamic scale, was also outstanding. With Péter Halász’s conducting, the orchestra was present beside the singers as an equal partner, doing its utmost to assist in the expression of their talents.

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May 2017 Christophe Rizoud

Forumopera

Das Rheingold

The musical direction of Péter Halász knows how to accord the same importance to the words, which are so essential in this founding prologue, as to the notes without neglecting the symphonic occasions slipped in here and there by Wagner to move the orchestra forward. From the meaningful E flat major at the beginning until the monumental Walhalla music at the end, the orchestral pâté is eloquent and dense without being cloying, the flawless Badische Staatskapelle always appropriates the narration.

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March 2017 Jörn Florian Fuchs

Deuschlandradio Kultur

Siegfried

Thanks to Péter Halász’s euphoric yet clear and precise conducting, the Budapest Ring possesses a unique dimension and quality – and reaches the standard of the opera houses of Frankfurt or Stuttgart.

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March 2017 Gábor Bóka

Muzsika

Siegfried

After the third premiere, we can now declare with considerable confidence that it was not merely out of a sense of adventure that Péter Halász determined to instruct and conduct Der Ring des Nibelungen – he is also equipped with the requisite artistic humility and professional know-how. It is not just that he is striking or graceful as the situation demands, and that he unfailingly urges the orchestra of the Hungarian State Opera to a technically high quality performance – although that in itself would be quite an achievement. No, he gives us more than that: in contrast to the staging, the orchestral production truly does dig right down to the roots of the musical drama. From the perspective of conducting, Siegfried's real touchstone is the third act, where the musical drama ramps up and the incidents which were thus far of local significance are suddenly transformed into world-shaking, epoch-making events. Well, we can give no higher praise for Péter Halász's Siegfried than to say that, in accordance with its magnitude, this movement also receives a more than satisfactory interpretation.

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March 2017 WK

Opernglas

Siegfried

Péter Halász and the orchestra of the Hungarian State Opera, which is particularly sensitive to Wagner, provided a balanced, very compact performance.

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