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“I finished my Paradise and the Peri last Friday, my greatest work, and I hope also my best,” wrote Schumann to a friend in 1843: “I think of heaven with a heart full of gratitude, which gave me strength and kept me alert as I worked. […] I must have told you about the story of the Peri, but if I haven’t, try to obtain it: it was practically made for music. The whole idea is so poetic, so pure, that it filled me entirely with enthusiasm.” And indeed, this work that was first performed in that same year, is a peculiar marvel of music history, an unrepeatable curiosity. Even its genre is unusual: an idyll-oratorio, practically the sole successor to Haydn’s masterpiece The Seasons. It is a secular oratorio with a lyrical approach, and its subject too appears to be an everyday one: the search for happiness.
The story is based on one of the poems from Thomas Moore’s 1817 collection of fairy tales Lalla Rookh, in a form similar to the storytelling of The Arabian Nights. The peri, an expelled and repentant angel, waits before the gates of heaven hoping for forgiveness. The condition for readmittance? The peri must bring the gift that is dearest to heaven. Neither the last drop of blood from a soldier fighting for his homeland nor the final breath of a woman in love is sufficient, but redemption is finally granted for the tears of sincere repentence.
Drawn to the exotic, Schumann did not choose the path of plot action to develop the story. The composer was a master at depicting psychological states, and the work recalls his songs, symphonies, choral works and even string chamber music, with the dense, yet translucent texture that is so uniquely characteristic of him among the composers of the Romantic period.
az utóbbi bő tíz évben vezető karmestere volt a St. Galleni Opera Szimfonikus Zenekarának és a Mannheimi Nemzeti Színháznak. Az olasz származású dirgens világszerte számos zenekart vezényelt már Bécstől Pekingig.
Since 2002 she has been a member of the Budapest State Opera House. In 1997, she won 2nd prize at the Third Budapest International Singing Competition and in 1997, the special prize at the Italian Toti dal Monte competition before winning 1st prize and the special award at the 2000 Hungarian Radio Singing Competition. In 2003, she came second and won the special prize at the International Haydn Singing Competition.
"The world is noisy, it does not allow for the Sound in your soul to ring out.
Quietude is the symphony of the heavens, and if you are part of an orchestra, it puts you in harmony with life, and Love rings out within you."
The eternal search of the performing arts stands between earthly clamour and the quietude of heaven.
I believe we can only find our own voice in this peace and quietude.
In this way, we can experience the perfect Love of God, the sound of which we are able to convey on a daily basis through a wide array of musical works.
In 1998 she won the Simándy József Singing Competition, 2000 she got III. Prize in the Singing Competition of the Hungarian Broadcasting.
a Ferruccio Tagliavini Nemzetközi Énekverseny második helyezettje, 2008-ban pedig a Queen Elisabeth Nemzetközi Énekverseny első díjasa lett. Operarepertoárja több mint huszonöt főszerepet foglal magában.
At the Hungarian State Opera, István Kovács has played such roles as Walter, Raimondo, Sarastro, Bluebeard and Don Giovanni.
The Hungarian National Choir (originally called State Choir) was founded in 1985. Between 1990 and 2016 it was headed by Mátyás Antal, who was succeeded by Csaba Somos on 1 January 2016.