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October 2014 Ferenc László

Magyar Narancs

Così fan tutte

Following the first performances of Falstaff and Die Frau ohne Schatten in the previous season, Péter Halász’s third premiere now makes it quite palpable that a suitable person has been chosen for the position of music director and that his work as an instructor and as an opera conductor, even to put it conservatively, has been a boon to the accomplishments of the orchestra.

Thanks to the vocal parts having been clarified perfectly, the orchestra’s music is characterized by new colours and an entirely transparent sound field. It is thus the kind of level has been reached where the conductor’s performance is not merely composed of the virtues of élan and exacting direction which is partly manual and partly psychological – it also embodies long-awaited individual concepts, too. In the case of Halász, who also treats the continuo accompaniments to the recitatives in his own way, this aspect of singularity has become very recognizable and it pulsated in the choices of tempo in just the same way as in that sensual beauty of fulfilment which characterized the orchestra’s accompaniment of Fiordiligi and Ferrando’s arias.
 

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