Anke Demirsoy

Rheinische Post

The Maid of Orléans

The Düsseldorfer Symphoniker never confuse pomp with bombast. The mighty sounds that unfold under the direction of Péter Halász are sometimes regal and sometimes tempestuous, but they always keep sabre-rattling pathos at arm’s length. Instead, the musical language balances between the great Western and Russian models. The solo scenes and ensembles are accompanied with care and restraint. The harp, the flutes and the organ escort us to heaven. And when Joan of Arc tenderly bids farewell to her dead lover, the compassionate final farewell is close to the music of Die Walküre.

Frankfurter Allgemeine Zeitung

The Maid of Orléans

What we hear from the Düsseldorfer Symphoniker under the direction of Péter Halász amazes us again and again. It possesses a finely-honed virtuosity, while at the same time it never overpowers the strong, yet nuanced voice parts.

Jürgen Otters


The Maid of Orléans

Péter Halász and the Düsseldorfer Symphoniker, with the unchained passion of their playing, are amazing partners. At the beginning, a song-like tone dominates, which is reminiscent of Eugen Onegin, but then the waves crash higher and higher for longer and longer (and with increasing intensity). And if here and there the synergy between the pit and the stage suffers a slight loss of balance, this is ultimately no more than proof that the events unfolding before us are getting more and more out of control.

Uli Rehwald


The Maid of Orléans

Under the direction of Péter Halász, the Düsseldorfer Symphoniker surpasses itself. The musicians throw themselves into shimmering worlds of emotion with romantic ardour. With great discernment, they gallantly chaperone both the singers and the choir during even the most challenging passages.

Ingo Hoddick

Rheinische Post

Adriana Lecouvreur

The Deutsche Oper am Rhein’s permanent conductor Péter Halász interprets this elegant score with the Duisburger Philharmoniker simply marvellously. This has to be experienced!