I had only just turned 18 when, in November 1988, I had the chance to sing Verdi's Requiem as an auxiliary in the Hungarian National Choir, with Ken-Ichiro Kobayashi as conductor. It was an indescribable experience. It seems almost unbelievable that within six months I could start working as a member of the choir. Over the last 31 years, I have had countless incredible experiences as a soloist in many different productions. I am thankful to God that my profession is also my passion.
I began playing the piano when I was five years old, and I decided I wanted to be a singer when I was six. Even nine months before my birth, I was already being raised to have a love of music. My parents were music lovers and cultivators, which is one of the main reasons my older brother became a conductor and my younger brother and I have become singers.
After completing the Bakáts Square Music Primary School, I graduated from the solfège and musical theory departments of the Béla Bartók Conservatory, where the teachers for my principal subjects were Gábor Ugrin and József Sári. From 1983 to 1986, I spent six weeks every summer learning at the Catholic Cantor Training course in Budapest. I became a certified cantor in 1986. From 1985 to 1990, I was also a singer in the Hungarian Jeunesses Musicales Choir.
I have been a member of the Hungarian National Choir since 1 March 1989 (at that time, it was known as the Hungarian State Choir).
From 1991 to 1997, I was a student in the solo vocalist department of the Debrecen Conservatory of Music of the Franz Liszt Academy of Music, where I also received a degree in vocals and teaching.
I also worked in a choir for one and a half years during the course of my university studies.
Since my college years, I have performed a number of different roles, including:
Purcell: Dido and Aeneas – Witch
Mozart: Die Zauberflöte – The Third Lady
Verdi: Nabucco – Fenena
Poulenc: Dialogues des Carmélites – Mother Jeanne
Verdi: Luisa Miller – Laura
Mozart: Requiem ‒ alto solo
Haydn: Nelson Mass – alto solo
In addition to the permanent conductors of the Hungarian National Philharmonic, I have also sung under the baton of György Solti, Lamberto Gardelli, Péter Eötvös, Giorgio Morandi, Carlo Montanaro, János Fürst and János Kovács.
I first instructed the female choir for a 2000 production of Verdi's Macbeth. Since then, I have also instructed the choir for a number of other productions.
I regularly collaborate on productions from the Budapest Bach Choir (artistic director: István Ella), the Budapest Tomkins Vocal Ensemble (artistic director: János Dobra), and the Szent Efrém Vocal Ensemble (artistic director: Tamás Bubnó), and I have also worked as a choirmaster for the concert performances of two László Tolcsvay works, The Gospel of Mary and Hungarian Mass.