Budapest Wagner Days debuted in 2006 with two Parsifal performances, which in many people’s opinion surpassed their Bayreuth counterparts, launching the series and turning the Béla Bartók National Concert Hall which boasts excellent acoustics, as well as unique stage and intellectual dimensions, into an iconic destination for Wagner enthusiasts. The Ring of the Nibelung tetralogy, performed over four successive nights in the spirit of Wagner’s heritage, has become a returning production of the decade-old festival, enjoying the festivalgoers’ unwavering attention. Every year the Ring performances are accompanied by different Wagner pieces that are destined to immortality. In 2006 it was Parsifal that launched the Budapest Wagner Days series that grew into an acclaimed international festival. It was followed by Tristan and Isolde, Lohengrin, Tannhäuser, The Mastersingers ofNuremberg, The Flying Dutchman and will feature his early work, Rienzi, scheduled for 2017.


Wagner in Budapest" Opera Festival To Feature A Premiere And Various Special Performances In 2018

Not all Wagner performances change people and they do not all leave a lasting impression on people’s soul, but this celebration of Wagner as conducted by Ádám Fischer certainly does”, said the the press of last year’s "Wagner in Budapest" Opera Festival, which in 2018 will be held over the course of ten days, from 7 to 17 June.

Breaking with the tradition, the 2018 Festival will not feature the Ring Tetralogy, but three other large-scale grandiose musical dramas by the composer instead; once again featuring the world’s best Wagner singers, outstanding productions as well as brand new performance to entertain the Hungarian and international audience.
The story of the tragic love affair between Tristan and Isolde, is adapted to stage by Cesare Lievi, the leading light of Italian theatre, and will feature Anja Kampe, one of the very best Wagner signers today, having already amazed Hungarian audiences as Isolde on numerous occasions. Conducted by the Festival’s founder and artistic director Ádám Fischer, the aforementioned, brand new performance will be making its debut at the "Wagner in Budapest" Opera Festival. Mr. Fischer will also conduct Tannhäuser (huge success in past editions of the Festival), as directed by Matthias Oldag, which in 2018 will be performed on 14 and 17 June, with the outstanding American tenor Stephen Gould in the title role. The earliest opera of the Bayreuth canon (“the Bayreuth Ten”), The Flying Dutchman will also be making a return in 2018 with three showings, under the direction of Balázs Kovalik, which already proved a roaring success in 2015.

Tickets for the 2018 "Wagner in Budapest" Opera Festival are already on sale.

Tamás Koltai

“...this performance is in the hands of Ádám Fischer, he is setting the architecture...”

“That they should be forced by adversity to become heroes.” – (Richard Wagner, 1850)

Müpa Budapest is not a theatre, it lacks the technical conditions of a theatre and it needs to convert this disadvantage into an advantage. Reduced theatricality is one of the various possible Ring concepts. For a singer or actor there is not much difference between an “overdirected” performance and a partially concert-like one, since it is their interpretation of the character, their intensity and expressivity that define the delivery of the music drama concept.

Singers frequently visiting Müpa Budapest - mostly international ones - bring a ready made role proven in a variety of interpretations at best, so that “only” fine-tuning by the conductor/director is missing - that is, their submission to the leitmotiv of the show. The quote is intentional: this performance is in the hands of Ádám Fischer, he is setting the architecture, drawing the arc, building the details and underpinning the dome. The Radio Orchestra has risen to the challenge and displays tectonic forces, unveils processes in their elemental coherency and places lyricism, irony and pathos into balance while equilibrates chamber music sound and some brutal sublimeness. The mistakes of the orchestra may be explained with their tiredness and are negligible compared to the whole architecture. (…)

It is okay like this and we are thankful for it.
(A Circle Game – Élet és Irodalom Magazine, 27-06-2014)


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