March 2017 Gábor Bóka



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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