Past Production Reviews
13Cser Krisztián egyre otthonosabban játszotta el Fiescót, és minden bizonnyal még alakulni fog a figura a maradék négy estén. Mindhárom alkalommal a hangjánál volt, és a közönség ezt nagyon is értékelte....Elmondható, hogy ennél nehezen sikerülhetett volna jobban a debütálása ebben az álomszerepben, Domingo közvetlen partnereként kirobbanó formában énekelt. ***** Krisztián Cser became increasingly comfortable in his portrayal of Fiesco, and it's certain that the character will continue to evolve over the remaining four nights. On all three occasions, he was vocally present, and the audience greatly appreciated this... It can be said that his debut in this dream role, performing alongside Domingo in explosive form, could hardly have been more successful.
Cser Krisztián karikatúrába hajló, "drogos" Leporello, nyegle, folyton hallucináló, fülbajtól szenvedő "túlmozgásos" fiatalember. Felszabadultan játszik, hihetetlen lendülettel, odaadással, lazán, mintha semmi erőfeszítést nem igényelne ez a sok rohangálás. ***** Krisztián Cser's portrayal leans towards a caricature; he plays a "druggie" Leporello, a cheeky, constantly hallucinating young man suffering from tinnitus and hyperactivity. He performs with unbridled enthusiasm, incredible momentum, dedication, and ease, as if all this running around required no effort at all.
Cser Krisztián ... ezzel a sorozattal debütált itthon is a Rajna Wotanjaként (ez számára már a negyedik produkció volt), illetve – mint tavaly - ő lehetett a Siegfried Vándora is. Láthatóan érdemes lenne betanulnia a repertoárjáról még hiányzó „Walkür-Wotant” is, hiszen minden adottsága, színpadi jelenléte megvan hozzá. ... Hangjának különleges szépsége és volumene már most is tiszteletet parancsol, elfogadtatja velünk a főisten viselt dolgait ***** Krisztián Cser ... made his domestic debut as Wotan in the Rhine (this was his fourth production), and - as last year - he could have been the Wanderer in Siegfried as well. It would evidently be worthwhile for him to learn the "Valkyrie-Wotan" from his repertoire that he's still missing, as he has all the necessary qualities and stage presence for it.... The special beauty and volume of his voice command respect already, making us accept the tribulations of the chief god.
Aún más interesante fue Krisztián Cser, dueño de un material sonoro y extenso, con unos graves imponentes, en el papel del Conde Palatino, intrigante, manipulador, codicioso, que al final descarga el último y definitivo golpe con la espada a László Hunyadi, que ha superado los tres primeros del verdugo. Cser cantó su gran aria del tercer acto en el patio de butacas mientras arrojaba monedas al aire, símbolo de su avidez. Even more interesting was Krisztián Cser, owner of a sonorous and extensive material, with impressive bass, in the role of the Palatine Gara, intriguing, manipulative, greedy, who ultimately delivers the last and definitive blow with the sword to László Hunyadi, who has overcome the first three from the executioner. Cser sang his grand aria from the third act in the auditorium while tossing coins into the air, a symbol of his greed.
Appearing in the title role Zsolt Haja once again played a great performance in a contemporary piece. With a shocking portrayal of the role, he suggestively displayed the purity of a simple-minded figure outside of reality and society. Technically mastering his role impeccably, he sang nuancedly, his baritone sounded powerful both in the higher and lower positions, his interpretation was well thought out, and his movements on the stage were free of any stiffness.
Not only with his voice but also with his acting, Haja brings to life the very special main character which is different from the protagonists of operas. His human fallibility and strength stemming from the beauty of his soul appear perfectly on the stage at the same time.
Krisztián Cser – es wurde schon erwähnt – gab einen ganz ausgezeichneten Wanderer. Ein besonderes Gustostückchen war die Wissenswette mit Mime, bei der man seine verschmitzte Mimik angesichts dessen irrelevanter Fragen beobachten konnte. Cser ist ein Sänger, der genau weiß, was er singt.
Vocal performances were generally strong, but I have to give pride of place to bass Krisztián Cser as the priest Jorg, who had me sitting bolt upright in my seat from the moment he opened his mouth: it’s a voice with immense power, clarity and tautness of phrasing, which thrilled in every line.
Sera Gösch ist als Salome herausragend. Vielfältig, voller Farben, nicht nur ein Monster sondern auch naives Kind. Wir spüren eine verführerische, unwiderstehliche weibliche Energie. Sie singt und spielt perfekt das verwöhnte Wesen, die enttäuschte Egoistin. Die Komplexität der Salome wie sie selten jemand anderer darstellt.
But along with the conductor, the other star was the Salome, Sera Gosch. This was, vocally a stunningly impressive performance. Her voice was a powerful silver that soared above the unleashed orchestra at the climaxes with no sense of strain but which could also be reduced to a small but rounded sliver of sound. ......So, vocally, and musically, this really could not have been bettered.
András Palerdi (Trulove), artista conosciuto e amato dal pubblico di Budapest, convince con una vocalità piena e fiera nella scansione del fraseggio ed è capace di conferire la giusta importanza al ruolo seppur vestendo i panni stilizzati del padre campagnolo e diffidente nei confronti del pretendente Tom.
Quickly at the head of this confusing congregation was the magician Cipolla, played by mesmerizing bass Andras Palerdi. With his flowing robes, long hair and beard, and air of mystique, the design of Palerdi’s Cipolla created a resemblance to the historical ribald moujik, Grigori Rasputin; a connection made all the more tangible by Cipolla’s overwhelming power of suggestion and hypnosis. The earlier parts of the opera featured a number of exchanges between Cipolla and the crowd of characters, wherein which a feat from the magician would send them into a burst of musical squabble before Palerdi’s seizing bass would silence them and, joined by more legato phrasing, would begin to work his spell again. Examples of this included a challenge from the crowd to solve complex arithmetic in his mind, and to find a hidden rose after being blindfolded; this later challenge featured an extended slow rise in the orchestra which heightened the anticipation leading to the reveal of the rose.
The work was first presented at the Miklós Bánffy Stage of the Eiffel Art Studios in October 2020, but due to the pandemic it was performed four times only. Máté Szabó‘s production features András Hábetler in the double roles of Argan and Molière, his partners on stage are Bernadett Wiedemann (Béline), Lilla Horti (Angélique), György Hanczár (Cléante), Éva Bátori (Toinette), István Rácz (Dr. Purgot) and Gergely Biri (Théophile). At the director’s request, the prose role of Loius XIV is played by general director Szilveszter Ókovács. The Hungarian State Opera Orchestra is conducted by János Kovács. The OperaVision platform offered by Opera Europa, the European association of opera companies and festivals started in autumn 2017 to promote the genre among opera lovers and novices. Supported by the European Union’s Creative Europe programme, OperaVision brings together 29 partners from 17 countries and invites you to travel and discover the diversity of opera from wherever you want, whenever you want. Previous contributions by the Hungarian State Opera included Hänsel und Gretel by Humperdinck, Bánk Bán (The Viceroy Bánk) by Erkel and L’oca del Cairo, ossia Lo sposo deluso by Mozart, all of which were available to watch free on operavision.eu. Also available until 2 January 2022 is Andrea Chénier by Umberto Giordano recorded at its premiere at the Erkel Theatre in May 2021 featuring Boldizsár László, Eszter Sümegi and Mihály Kálmándy under the baton of general music director Balázs Kocsár, directed by Fabio Ceresa. The Imaginary Invalid, or the Cabal of Hypocrites is available to watch until 19 May 2022.
