Just five days to September.
Are you ready for another season of great music?
Here are two World Première opera recordings for your listening pleasure to start with!
Péter Eötvös: Paradise Reloaded (Lilith)
In this new composition, Péter Eötvös explores the hypothetical question: what would have happened if our culture which is explicitly based on the Bible had chosen Lilith (Adam’s first wife) to be the ancestress of mankind, instead of Eve? Adam and Eve (his second wife) and the listeners alike are guided by Lucifer through past, present and future. In Paradise Reloaded, Lilith’s intentions define the course of events; she eventually attains her goal but at the end of the story Adam still does not choose her as his partner. Adam has to choose between two women who have different outlooks on life. His choice determines the fate of the generations to come. The conclusion promises a new beginning for all characters – hence the Reloaded in the title – in a new Paradise, but this will no longer be the same as the one they left.
The opera was premièred in October 2013 in Vienna, followed by its February 2014 Hungarian première in Budapest. The cast of soloist on the CD is the same as of the première in Vienna. I conducted both the recording session (Studio 22 at the Hungarian Radio) and the Hungarian live performance (Palace of the Arts Budapest) both with the Hungarian Radio Symphony. The sound quality of this recording is just amazing. The sound level is like that of a pop music recording with clear details and amazing energy. The recording is available via the website of the Budapest Music Center (see link above) and through record distributors all over the world (see list on BMC website).
Ernst von Dohnányi: The Tenor
What happens when a singing circle (well, really a good old, German style Barber Shop Quartet) operating according to classical middle-class values is forced to accept a talented but depraved and penniless musician? Primeval, genuine emotions break through bars of false convention. Or do they? This is the theme of The Tenor, the most celebrated Hungarian comic opera of the 1930s. This delightful, cleverly written opera is full of humor and great musical ideas. Mendelssohn and Webern quotes are incorporated into the chamber orchestra-like texture of the composition. The vocal parts are beautiful and inventive and all roles are great fun to play. I was the conductor of the Hungarian premiere of “The Tenor” (the first one since the late 1920s!) and of the studio recording of the work with the cast of the stage production and the musicians of the Hungarian State Opera Orchestra.
Read about the Opera Trezor recording series of the Hungarian State Opera here
If you are interested in this two CD-publication you can purchase it at the Budapest Opera House’s Gift Shop (Opera Shop), or you may contact me directly. I will make sure you get a copy!