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March 2016 Gábor Bóta

Népszava

Die Walküre

The orchestra conducted by Péter Halász with breathtaking intensity and evocativeness have the chance show their lion’s claws straight away – we might even feel that a raging beast is biting into our bodies.

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March 2016 Ferenc László

Magyar Narancs

Die Walküre

Down in the pit, Péter Halász directs the work, and the unswervingly focussed and motivated form of the orchestra is plain to hear. And from the musicians’ constant discipline, on occasions, passages of experiential beauty which are by no means limited to the popular orchestral sections emerge. The former music director has once again performed a work of value and it is reassuring to know that the second half of the Ring – Siegfried in 2017, and Götterdämmerung in 2018 – will also be conducted by him.

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March 2016 Sándor Kovács

Muzsika

Die Walküre

Led by Péter Halász, the orchestra performed decidedly well at the premiere. There were very few wobbles indeed and the musicians’ execution of the score was characterized by the many surprisingly precise entrances at sensitive points, the general level below which none fell, and the frequently inspired moments of elevation.

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March 2016 Gábor Bóka

Opera-világ

Die Walküre

The orchestra of the Hungarian State Opera interprets the work at the highest possible level. Whether within their instrumental groups or during solos, without exception the musicians produce excellent performances and the overall sound of the orchestra is groomed and free of any rough edges, with polished interplay. The chamber music of the first movement is of exceptional beauty, but numerous other instances of similar sophistication could be also highlighted in what ensues. Overall, the orchestra meets one of the greatest challenges of its season outstandingly – and this cannot be divorced from Péter Halász’s work as an instructor and conductor...

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March 2016 W. Kutzschbach

Opernglas

Die Walküre

Music director Péter Halász exploited the acoustic advantages of the Opera House and created plastically audible soundscapes, which in the third act even became moving, while never neglecting the singers during his concentration on the orchestra. The tempos had an excellent equilibrium and extremes were avoided.

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