Péter Halász brought the orchestra into outstanding form. We heard exceptional woodwind playing, along with remarkably transparent and beautifully refined orchestral performance. He conducted the work with the kind of passion and commitment that Fidelio demands.
The mighty Hungarian State Opera Orchestra, under the leadership of Péter Halász, sounded terrific. The French horns were brilliant in their accompanying Leonore’s “Abscheulicher” aria wherein she exclaims her horror at Pizarro’s evil plot, and her desperate hopes that hang on “the last star.” Other high-emotion moments include the hauntingly beautiful song sung by the prisoners that were temporarily freed from their jail cells to step out into the sunlight, and the second-act reunion of Leonore and Florestan’s love duet: “O unnamed joy!”
From the pit, conductor Péter Halász reinforced his reputation as a true ‘opera’ conductor. I say this in light of the way he can light a fire under an excellent orchestra so that their contribution is intrinsic to the delivery of a complete musico/dramatic experience.
Conductor Péter Halász led the Hungarian State Opera Orchestra with precision and sensitivity, navigating Wagner's complex score with a deft hand. The orchestra's performance was marked by a rich tonal palette and dynamic range, capturing the opera's shifting moods from the solemnity of the Grail scenes to the sensual allure of Klingsor's realm.
A fatal love triangle accompanied by exhilarating music of the highest quality from the Düsseldorfer Symphoniker conducted by Péter Halász.