Kyrie eleison<\/p>\n
Christe eleison<\/p>\n
Kyrie eleison<\/p>\n
Gloria<\/strong><\/p>\n Gloria in excelsis<\/p>\n Gratias agimus tibi<\/p>\n Qui tollis peccata mundi<\/p>\n Quoniam tu solis sanctus<\/p>\n Credo<\/strong><\/p>\n Credo in unum deum<\/p>\n Et incarnatus est<\/p>\n Crucifixus etiam pro nobis<\/p>\n Et resurrexit tertiam die<\/p>\n Et vitam venturi<\/p>\n Sanctus<\/strong><\/p>\n Benedictus<\/p>\n Agnus Dei<\/strong><\/p>\n Dona nobis pacem <\/p>\n A m\u0171v\u00e9szet t\u00f6rt\u00e9net\u00e9nek legnagyobb alkot\u00e1sait k\u00e9tf\u00e9le sors s\u00fajthatja: vagy az elcs\u00e9pelts\u00e9g, vagy a nagys\u00e1gukt\u00f3l val\u00f3 f\u00e9lelem \u00e9s tart\u00f3zkod\u00e1s. E k\u00e9tf\u00e9le sorsban osztozik a beethoveni \u00e9letm\u0171 k\u00e9t ikercsillaga: a IX. szimf\u00f3nia, s a vele egy id\u0151ben keletkezett Missa Solemnis. Zenei st\u00edlusukban, m\u0171v\u00e9szi sz\u00e1nd\u00e9kukban is nagyon hasonl\u00f3ak. Mindkett\u0151ben az \u00e9let v\u00e9gs\u0151, legnagyobb k\u00e9rd\u00e9seir\u0151l van sz\u00f3, \u00e9letr\u0151l \u00e9s hal\u00e1lr\u00f3l, harcr\u00f3l \u00e9s megb\u00e9k\u00e9l\u00e9sr\u0151l, buk\u00e1sr\u00f3l (vagy \u00e9ppen b\u0171nr\u0151l) \u00e9s felemelked\u00e9sr\u0151l, a Miss\u00e1ban pedig m\u00e9g ki is mondva: Istenr\u0151l \u00e9s emberr\u0151l, szenved\u00e9sr\u0151l \u00e9s megv\u00e1lt\u00e1sr\u00f3l. Mindkett\u0151 a t\u00e9m\u00e1hoz ill\u0151en hatalmas zenei dimenzi\u00f3t fog \u00e1t, mindkett\u0151ben megt\u00f6rt\u00e9nik az addig l\u00e9tez\u0151 zenei form\u00e1k sz\u00e9tfesz\u00edt\u00e9se. M\u00edg a IX. jelk\u00e9pp\u00e9 v\u00e1lt, \u00e9s k\u00f3rust\u00e9tel\u00e9nek dallama l\u00e9nyeg\u00e9ben az emberis\u00e9g himnusza lett, addig a Missa meglehet\u0151sen ritk\u00e1n megsz\u00f3lal\u00f3, m\u00e1ig nehezen befogadhat\u00f3nak \u00edt\u00e9lt alkot\u00e1s maradt. Tal\u00e1n e m\u0171nek m\u00e9g a IX. szimf\u00f3ni\u00e1\u00e9n\u00e1l is nagyobb \u00e9rzelmi intenzit\u00e1sa \u00e9s esem\u00e9nys\u0171r\u0171s\u00e9ge a magyar\u00e1zata ennek, a kifejez\u00e9s olyan fok\u00fa koncentr\u00e1ci\u00f3ja, amely az egyszer\u0171 zenehallgat\u00f3k sz\u00e1m\u00e1ra nem k\u00f6nny\u00edti meg az azonosul\u00e1st. De egy-egy kiv\u00e9teles \u00f3r\u00e1n \u00e9s j\u00f3 el\u0151ad\u00e1sban megadhatja a t\u00f6k\u00e9letess\u00e9g \u00e1t\u00e9l\u00e9s\u00e9nek azt a m\u00e1shoz nem hasonl\u00edthat\u00f3 \u00e9lm\u00e9ny\u00e9t, amikor \u00fagy \u00e9rzi a hallgat\u00f3: itt semmi sem t\u00f6rt\u00e9nhetne m\u00e1sk\u00e9nt, minden hangra, minden gesztusra pont az k\u00f6vetkezik, ami a legmegfelel\u0151bb. Beethoven (1770-1827) maga ezt tartotta legfontosabb, legjobb m\u0171v\u00e9nek. A Missa Solemnist eredetileg ugyan liturgikus c\u00e9lra, legal\u00e1bbis alkalomra sz\u00e1nta Beethoven, de a munka el\u0151rehaladt\u00e1val (\u00e9s elh\u00faz\u00f3d\u00e1s\u00e1val) nyilv\u00e1nval\u00f3an nem t\u00f6r\u0151d\u00f6tt m\u00e1r a praktikus szempontokkal, j\u00f3llehet form\u00e1lisan k\u00f6veti a misekompon\u00e1l\u00e1s hagyom\u00e1nyait \u00e9s szab\u00e1lyait. A m\u0171 ereje, individualizmusa azonban sz\u00e9tfesz\u00edtene minden liturgikus keretet.<\/p>\n <\/p>\n A kompon\u00e1l\u00e1s aprop\u00f3j\u00e1t Beethoven bar\u00e1tj\u00e1nak, tan\u00edtv\u00e1ny\u00e1nak \u00e9s mec\u00e9n\u00e1s\u00e1nak, Rudolf f\u0151hercegnek olm\u00fctzi herceg\u00e9rsekk\u00e9 t\u00f6rt\u00e9n\u0151 avat\u00e1sa adta. Az \u00fcnneps\u00e9g 1820-ban le is zajlott, de a m\u0171 kor\u00e1ntsem \u00e1llt k\u00e9szen. A kompoz\u00edci\u00f3 terve m\u00e1r 1818-ban megfogant, az els\u0151 v\u00e1zlatok 1819 elej\u00e9r\u0151l sz\u00e1rmaznak, de v\u00e9g\u00fcl csak n\u00e9gy \u00e9v m\u00falva, 1823 tavasz\u00e1n k\u00fcldte el fejedelmi bar\u00e1tj\u00e1nak Beethoven a k\u00e9sz partit\u00far\u00e1t. A kompon\u00e1l\u00e1s b\u0151 n\u00e9gy esztendej\u00e9t nem szak\u00edtotta f\u00e9lbe egy\u00e9b munk\u00e1val, csak a h\u00e1rom utols\u00f3 zongoraszon\u00e1t\u00e1val \u00e9s a IX. szimf\u00f3nia befejez\u00e9s\u00e9vel. \u00c9rdekes, de a b\u00e9csiekre n\u00e9zve szomor\u00fa t\u00f6rt\u00e9net, hogy a m\u0171 el\u0151sz\u00f6r 1824. \u00e1prilis 6-\u00e1n, Szentp\u00e9terv\u00e1rott hangzott el, Galicin herceg j\u00f3volt\u00e1b\u00f3l, aki a Beethoven \u00e1ltal szerte - \u00e9s csek\u00e9ly eredm\u00e9nnyel - rekl\u00e1mozott k\u00e9ziratm\u00e1solatok kev\u00e9s el\u0151fizet\u0151inek egyike volt. B\u00e9csben csak a m\u0171 h\u00e1rom t\u00e9tele sz\u00f3lalt meg (Kyrie, Credo, Benedictus) 1824. m\u00e1jus 7-\u00e9n, azon a nevezetes, a K\u00e4rthnerthor Sz\u00ednh\u00e1zban rendezett hangversenyen, amelyen a IX. szimf\u00f3ni\u00e1t bemutatt\u00e1k. Nehezen tal\u00e1lt utat a k\u00f6z\u00f6ns\u00e9ghez, csak 1830-ban adt\u00e1k el\u0151 h\u00faz\u00e1s n\u00e9lk\u00fcl, \u00e9s keletkez\u00e9se ut\u00e1n b\u0151 k\u00e9t \u00e9vtizeddel kezdett el sz\u00e9lesebb k\u00f6rben is ismertt\u00e9 v\u00e1lni.<\/p>\n <\/p>\n Beethoven alaposan felk\u00e9sz\u00fclt a maga el\u00e9 t\u0171z\u00f6tt feladatra: tanulm\u00e1nyozta Palestrina \u00e9s m\u00e1sok egyh\u00e1zi zen\u00e9j\u00e9t, pontos ford\u00edt\u00e1st k\u00e9sz\u00edttetett a mise sz\u00f6veg\u00e9b\u0151l. "Ha egyh\u00e1zi zen\u00e9t \u00edrunk, \u00e1t kell n\u00e9zni az \u00f6sszes kolostori \u00e9neket, meg kell vizsg\u00e1lni a versek legjobb ford\u00edt\u00e1sait, tanulm\u00e1nyozni kell a katolikus zsolt\u00e1rok \u00e9s himnuszok proz\u00f3di\u00e1j\u00e1t." - jegyezte fel. Egy level\u00e9ben pedig \u00edgy \u00edrt: "Nem ut\u00e1nozhatjuk Palestrina nyelv\u00e9t, ha nem \u00e9l benn\u00fcnk a szelleme \u00e9s vall\u00e1sos gondolatvil\u00e1ga." Beethoven vall\u00e1soss\u00e1ga, ahogy eg\u00e9sz \u00e9lete is, n\u00e9lk\u00fcl\u00f6zte a form\u00e1lis, dogmatikus magatart\u00e1st. K\u00e9ts\u00e9gtelen\u00fcl h\u00edv\u0151nek tartotta mag\u00e1t, de ink\u00e1bb valamilyen panteisztikus \u00e9rtelemben. Az antikvit\u00e1s istenei \u00e9pp\u00fagy foglalkoztatt\u00e1k, mint Jehova vagy Brahma, \u00e9s b\u00e1tran \u00edrhatta egy level\u00e9ben: "Isten k\u00f6zelebb van hozz\u00e1m, mint m\u00e1s m\u0171v\u00e9szekhez, \u00e9s f\u00e9lelem n\u00e9lk\u00fcl k\u00f6t\u0151d\u00f6m hozz\u00e1."<\/p>\n <\/p>\n A Missa Solemnis \u00f6t nagy t\u00e9telb\u0151l \u00e1ll (Kyrie, Gloria, Credo, Sanctus, Agnus Dei), de a t\u00e9telek a sz\u00f6veg szakaszainak nyom\u00e1n tov\u00e1bb tagol\u00f3dnak, gyakran \u00e9lesen ellent\u00e9tes karakter\u0171 r\u00e9szekk\u00e9, a legt\u00f6bbsz\u00f6r \u00e9nekes sz\u00f3l\u00f3kvartett \u00e9s k\u00f3rus r\u00e9szek v\u00e1ltakoz\u00e1s\u00e1val, illetve egy\u00fcttes megsz\u00f3lal\u00e1s\u00e1val. Ez teszi a Missa bels\u0151 fel\u00e9p\u00edt\u00e9s\u00e9t l\u00e1tsz\u00f3lag oly bonyolultt\u00e1.<\/p>\n <\/p>\n A Kyrie term\u00e9szetes m\u00f3don h\u00e1rom r\u00e9szre oszlik a h\u00e1rom felki\u00e1lt\u00e1s alapj\u00e1n. (Kyrie eleison, Christe eleison, Kyrie eleison) Az els\u0151, Assai sostenuto felirat\u00fa r\u00e9sz nyugodt, "sugaras" zene, amelyr\u0151l sokat mond Beethoven kott\u00e1ba \u00edrt megjegyz\u00e9se: "\u00c1h\u00edtattal". A k\u00f6z\u00e9ps\u0151 (Christe) szakasz mozgalmasabb temp\u00f3j\u00fa, \u00e9s kett\u0151sf\u00fag\u00e1t alkalmaz, amelyben Beethoven sz\u00f3l\u00f3\u00e9nekesekkel tolm\u00e1csoltatja szem\u00e9lyes hang\u00fa k\u00f6ny\u00f6rg\u00e9s\u00e9t. A visszat\u00e9r\u0151 Kyrie nem ism\u00e9tli pontosan a nyit\u00f3 szakaszt, de hasonl\u00f3 anyagb\u00f3l \u00e9p\u00fcl fel. Az eg\u00e9sz Missa Solemnist mer\u00e9sz hangnemi v\u00e1lt\u00e1sok jellemzik, szokatlan, gyakran a r\u00e9gi egyh\u00e1zi hangnemekhez kapcsol\u00f3d\u00f3 archaikus, de a maga kor\u00e1ban \u00e9ppen annyira \u00fajdons\u00e1gnak is hat\u00f3 akkordfordulatok. Egy harm\u00f3niai szempontb\u00f3l ilyesfajta, v\u00e1ratlan \u00e9s fanyarnak hat\u00f3 menet ut\u00e1n, pianissimo hal el a t\u00e9tel a k\u00f3rus hangj\u00e1n.<\/p>\n <\/p>\n A nagyszab\u00e1s\u00fa Gloria n\u00e9gyr\u00e9szes. D-d\u00farban, a f\u00e9nyes alaphangnemben kezd\u0151dik a f\u00e9ktelen\u00fcl \u00e1rad\u00f3 dics\u0151\u00edt\u00e9s, Allegro vivace temp\u00f3ban. Nyugodtabb, bens\u0151s\u00e9ges hangon sz\u00f3lal meg a h\u00e1laad\u00e1s a Gratias agimus tibi szakasza, amelyben a k\u00f3rus is csatlakozik a sz\u00f3l\u00f3kvartetthez. A Gl\u00f3ria m\u00e1sodik bels\u0151 t\u00e9tele (Qui tollis) larghetto temp\u00f3j\u00fa k\u00f6ny\u00f6rg\u00e9ssel indul, amely rendk\u00edv\u00fcli sz\u00e9ps\u00e9g\u0171 pillanatok ut\u00e1n jut el az ism\u00e9t alapvet\u0151en m\u00e1s jelleg\u0171 Allegro maestoso felirat\u00fa, \u00fcnnep\u00e9lyes \u00fcstdobperg\u00e9ssel kezd\u0151d\u0151 r\u00f6vid, er\u0151teljes harmadik r\u00e9szhez (Quoniam tu solus sanctus). A negyedik, szint\u00e9n \u00e9l\u00e9nk temp\u00f3j\u00fa r\u00e9sz (In gloria dei patris) leny\u0171g\u00f6z\u0151 f\u00faga, amely egyre gyorsulva jut el a presto lez\u00e1r\u00e1sig, hogy ezut\u00e1n egy pillanatra visszahozza az eg\u00e9sz Gloria t\u00e9telt ind\u00edt\u00f3 nyit\u00f3mondatot, s lez\u00e1r\u00e1sk\u00e9pp a k\u00f3rus a zeng\u0151 t\u00e9rbe ki\u00e1lthassa a gl\u00f3ria sz\u00f3t.<\/p>\n <\/p>\n A Credo sok szempontb\u00f3l folytatja a Gloria koncepci\u00f3j\u00e1t, magasabb s\u00edkon. Ezt jelzi a szokatlan f\u00e9lhangos hangnemi emelked\u00e9s, hiszen m\u00e9g f\u00fcl\u00fcnkben cseng a gloria sz\u00f3 D-d\u00farja, amikor bel\u00e9nk has\u00edt a Credo Esz-d\u00far fortissim\u00f3ja. Egy\u00e9bk\u00e9nt kider\u00fcl majd, hogy ez a hangnem csak el\u0151k\u00e9sz\u00edt\u00e9se a t\u00e9tel alaphangnem\u00e9nek, a B-d\u00farnak. A zeneileg sohasem k\u00f6nnyen megk\u00f6zel\u00edthet\u0151, elvont sz\u00f6veg Beethoven sz\u00e1m\u00e1ra sem adta meg k\u00f6nnyen mag\u00e1t, Schindler h\u00edress\u00e9 v\u00e1lt besz\u00e1mol\u00f3ja meg\u00f6r\u00f6k\u00edti, mik\u00e9nt k\u00fczd\u00f6tt a mester bez\u00e1rk\u00f3zva, r\u00e9g\u00f3ta \u00e9tlen-szomjan, szolg\u00e1l\u00f3j\u00e1t\u00f3l elhagyottan a Credo f\u00fag\u00e1j\u00e1val. "Tal\u00e1n sohasem sz\u00fcletett m\u00e9g remekm\u0171 vissz\u00e1sabb k\u00f6r\u00fclm\u00e9nyek k\u00f6z\u00f6tt" - \u00edrja.<\/p>\n <\/p>\n Ez a t\u00e9tel tal\u00e1n m\u00e9g kaleidoszk\u00f3pszer\u0171bb, mint a mise t\u00f6bbi t\u00e9tele, m\u00e9g t\u00f6bb r\u00f6vid, egym\u00e1ssal kontraszt\u00e1l\u00f3 szakaszb\u00f3l \u00e9p\u00fcl fel, amelyek azonban v\u00e9gigk\u00f6vetve vasmarokkal \u00f6sszefogottnak hatnak. A tagolts\u00e1g egyik oka, hogy Beethoven k\u00f6vetkezetesen ragaszkodik a sz\u00f6veg pontos zenei kifejez\u00e9s\u00e9hez, p\u00e9ld\u00e1ul a "hiszek" robusztus t\u00e9m\u00e1j\u00e1ra k\u00f6vetkez\u0151 kromatikus sk\u00e1l\u00e1kkal, amelyekben az \u00dar mindenhat\u00f3s\u00e1g\u00e1t jelzi a sz\u00f6veg. \u00c9les kontrasztot hoz a zene a l\u00e1that\u00f3k \u00e9s l\u00e1thatatlanok (visibilium - invisibilium) megk\u00fcl\u00f6nb\u00f6ztet\u00e9s\u00e9re, a galamb jelk\u00e9pes alakj\u00e1t repked\u0151 faf\u00fav\u00f3s dallamszakaszok fejezik ki, az Et incarnatust mod\u00e1lis harm\u00f3ni\u00e1k festik, az Et homo factus est \u00e1mul\u00f3 \u00e9s meleg zen\u00e9j\u00e9t a Crucifixus szakaszban a magasba emelked\u0151 kereszt k\u00e9p\u00e9nek \u00e1br\u00e1zol\u00e1sa k\u00f6veti. Magasba lend\u00fcl\u0151, er\u0151teljes Allegro r\u00e9sz sz\u00f3l a felt\u00e1mad\u00e1sr\u00f3l, majd a vitam venturi szavakra \u00edrt hatalmas kett\u0151sf\u00fag\u00e1val \u00e9s felt\u00f6r\u0151 sk\u00e1larohamokkal z\u00e1rja le Beethoven szenved\u00e9lyes hitvall\u00e1s\u00e1t, ezt a k\u00fczdelmes, de diadalmas v\u00e9g\u0171 t\u00e9telt. A Credo v\u00e1zlatai k\u00f6z\u00f6tt olvashat\u00f3 az a mondat: "Isten sohasem hagyott el engem."<\/p>\n <\/p>\n A Sanctus ism\u00e9t f\u00e9lhangnyi "emelked\u00e9ssel" indul a Cred\u00f3t lez\u00e1r\u00f3 B-d\u00far ut\u00e1n, h-mollban. Beethoven elt\u00e9r a zenet\u00f6rt\u00e9net hagyom\u00e1ny\u00e1t\u00f3l, amikor ink\u00e1bb kamarazenei eszk\u00f6z\u00f6kkel, lass\u00fa temp\u00f3ban (Adagio) kezdi a t\u00e9telt. Bach, Mozart, de m\u00e9g Verdi sz\u00e1m\u00e1ra is ink\u00e1bb az \u00f6r\u00f6mb\u0151l fakad\u00f3 felki\u00e1lt\u00e1st jelentette a Sanctus, de Beethoven szem\u00e9lyes vallom\u00e1snak tekinti azt. (M\u00e1r a Kismartoni Mis\u00e9ben is \u00edgy volt.) Itt is szerepel a "mit Andacht" - \u00e1h\u00edtattal - megjegyz\u00e9s, ak\u00e1rcsak a Missa elej\u00e9n. A Pleni sunt coeli szavakra azut\u00e1n megny\u00edlik a menny boltozata, \u00e9s \u00e1rad\u00f3 allegr\u00f3val folytat\u00f3dik a zene. Az "Osanna" lelkes\u00fclt presto fugat\u00f3ja z\u00e1rja le a Sanctust, amely ut\u00e1n sz\u00fcnet n\u00e9lk\u00fcl k\u00f6vetkezik a Benedictus. A partit\u00fara szerint nem \u00f6n\u00e1ll\u00f3 t\u00e9tel ez, de hagyom\u00e1nyosan az lenne. Beethovenn\u00e9l is elv\u00e1lik a Sanctust\u00f3l, k\u00fcl\u00f6n preludium is bevezeti. A Benedictus Beethoven l\u00edrai zsenij\u00e9nek tan\u00fas\u00e1gt\u00e9tele, heged\u0171sz\u00f3l\u00f3 uralja, egybefon\u00f3dva a sz\u00f3l\u00f3\u00e9nekesek sz\u00f3lamaival \u00e9s a k\u00f3rus t\u00f6m\u00f6r hangz\u00e1s\u00e1val. A Missa Solemnis kimer\u00edthetetlen bels\u0151 gazdags\u00e1g\u00e1t j\u00f3l illusztr\u00e1lja a t\u00e9tel egyik legmegkap\u00f3bb pillanata: az \u00farfelmutat\u00e1s miszt\u00e9rium\u00e1t Beethoven v\u00e1ratlan, nagyszer\u0171 zenei \u00f6tlettel t\u00e1rja el\u00e9nk. A sz\u00f3l\u00f3heged\u0171 mell\u00e9 k\u00e9t fuvola bel\u00e9p\u00e9s\u00e9vel jelzi a csoda megt\u00f6rt\u00e9nt\u00e9t, majd a nagyon magas fekv\u00e9sb\u0151l leereszked\u0151 sz\u00f3lamokat a f\u00f6ldieket jelk\u00e9pez\u0151 k\u00f3rus basszusa fogadja ("\u00e1ldott, ki az \u00far nev\u00e9ben j\u0151"). Visszat\u00e9r az Osanna szakasz, majd r\u00f6viden a Benedictus is a heged\u0171sz\u00f3l\u00f3val, lez\u00e1rva, \u00f6sszefogva ezt a bonyolult form\u00e1t. Nehezen k\u00e9pzelhet\u0151 el a t\u00e9teln\u00e9l szem\u00e9lyesebb, forr\u00f3bb vallom\u00e1s az isteni kegyelem \u00e1t\u00e9l\u00e9s\u00e9r\u0151l.<\/p>\n <\/p>\n Az Agnus Dei, a Missa Solemnis z\u00e1r\u00f3t\u00e9tele egymag\u00e1ban bej\u00e1rja a m\u0171, s\u0151t az eg\u00e9sz beethoveni "strat\u00e9gia" programj\u00e1t. A legs\u00f6t\u00e9tebb, legk\u00e9ts\u00e9gbeesett hangv\u00e9telt\u0151l (\u00e9s hangnemt\u0151l, a h-mollt\u00f3l) neh\u00e9z \u00e9s diadalmas k\u00fczdelemben a f\u00e9nyre, a bels\u0151 boldogs\u00e1g el\u00e9r\u00e9s\u00e9re emelkedik. Az isteni kegyelem\u00e9rt h\u00e1romszor elmondott ima k\u00e9t els\u0151 mondata, Agnus Dei, qui tollis peccata mundi, miserere nobis harmadj\u00e1ra a Dona nobis pacem lez\u00e1r\u00e1ssal ism\u00e9t alkalmat ad Beethovennek a h\u00e1rmas formai tagol\u00e1s keret\u00e9nek haszn\u00e1lat\u00e1ra, de j\u00f3val bonyolultabb bels\u0151 form\u00e1l\u00e1s osztja tov\u00e1bbi r\u00e9szekre a t\u00e9telt. A Dona nobis szakasz el\u00e9 feljegyezte Beethoven: "K\u00f6ny\u00f6rg\u00e9s bels\u0151 \u00e9s k\u00fcls\u0151 b\u00e9k\u00e9\u00e9rt." Beethoven itt elt\u00e9r a liturgia hagyom\u00e1ny\u00e1t\u00f3l, a bels\u0151 b\u00e9k\u00e9t t\u00e1gabban, az eg\u00e9sz emberis\u00e9gre vet\u00edtett v\u00edzi\u00f3k\u00e9nt \u00e9rtelmezi. \u00c9pp\u00fagy, mint a Cred\u00f3ban, illetve Beethoven sz\u00e1mos halhatatlan k\u00e9sei alkot\u00e1s\u00e1ban, ism\u00e9t a f\u00faga a gy\u0151zelem f\u0151 fegyvere. A v\u00e9gs\u0151, imm\u00e1r az alaphangnemben \u00e1ll\u00f3 D-d\u00far k\u00f6ny\u00f6rg\u00e9st t\u00f6bbsz\u00f6r is megszak\u00edtja a csata zaja, az \u00fcstdobok hangja s a trombita has\u00edt\u00f3 jelz\u00e9se. De az \u00e9neksz\u00f3lamok ereje, szenved\u00e9lye gy\u0151zelemre viszi a k\u00fczdelmet, \u00e9pp\u00fagy, mint a IX. szimf\u00f3nia v\u00e9g\u00e9n, s a hallgat\u00f3, ak\u00e1rcsak a roppant m\u0171vet v\u00e9gigk\u00fczd\u0151 szerz\u0151, megnyugodhat a megv\u00e1lt\u00e1s bizonyoss\u00e1g\u00e1ban. Szokatlan megjegyz\u00e9st \u00edrt Beethoven a partit\u00fara \u00e9l\u00e9re: "Sz\u00edvb\u0151l fakadt, tal\u00e1ljon is utat a sz\u00edvekhez!"<\/p>{:}{:en} Kyrie<\/strong><\/p>\n Kyrie eleison<\/p>\n Christe eleison<\/p>\n Kyrie eleison<\/p>\n Gloria<\/strong><\/p>\n Gloria in excelsis<\/p>\n Gratias agimus tibi<\/p>\n Qui tollis peccata mundi<\/p>\n Quoniam tu solis sanctus<\/p>\n Credo<\/strong><\/p>\n Credo in unum deum<\/p>\n Et incarnatus est<\/p>\n Crucifixus etiam pro nobis<\/p>\n Et resurrexit tertiam die<\/p>\n Et vitam venturi<\/p>\n Sanctus<\/strong><\/p>\n Benedictus<\/p>\n Agnus Dei<\/strong><\/p>\n Dona nobis pacem <\/p>\n Two types of fate await the greatest creations in the history of art: the become over played and even trivialised, or else they become feared and neglected because of their greatness. Beethoven's two great binary stars: the Ninth Symphony and the contemporaneous Missa Solemnis, are divided in this way. In their musical style and artistic intentions, they are very similar. Both are about the greatest ultimate questions of existence, about life and death, war and reconciliation, collapse and recovery (indeed this is explicitly stated in the text of the Mass: about Man and God, suffering and redemption.) Both occupy tremendous dimensions as befits their theme, and both break apart the existing musical structures. While the Ninth Symphony has become a symbol and its choral movement theme a hymn of humanity, the Missa Solemnis has remained relatively rarely played and is generally reckoned to be less accessible. Perhaps the Missa Solemnis's greater emotional intensity and density of events is an explanation: it makes demands on the ordinary listener that does not help them identify with it. But just occasionally, a good performance can communicate that incomparable experience to another being that makes him feel that nothing could have happened any differently, that what follows on from every gesture and note is precisely what could only have followed. Beethoven (1770-1827) regarded the Missa Solemnis as his most important, finest work. Although he originally intended it for liturgical, or occasional use, as work progressed it became clear he ceased bothering with practical considerations, although he did formally follow the traditions and rules of mass composition. The power of the work and its individualism frankly breaks apart every liturgical framework.<\/p>\n <\/p>\n The incentive for its composition was the investiture of Beethoven's friend, pupil and patron Archduke Rudolf as the Prince Primate of Olm\u00fctz. The ceremony took place in 1820 but the work was nowhere near ready. The plan for the mass was conceived in 1818 and its first sketches date from early 1819, but Beethoven could only send the completed score to his princely friend in the spring of 1823. Beethoven did not interrupt his work on the mass, which occupied four years, except to work on the three last great piano sonatas and finish the Ninth Symphony. It is somewhat sad for the Viennese that the Missa Solemnis received its world premiere on April 6th 1824 in Saint Petersburg, thanks to Prince Galicin who was one of the few subscribers to the manuscript that Beethoven optimistically attempted to recruit. Three movements from the Missa Solemnis (Kyrie, Credo, Benedictus) were performed on May 7th 1824 at the famous concert in the K\u00e4rthnerthor Theatre when the Ninth Symphony was premiered. It had problems attracting performances and it was only in 1830 that it enjoyed its first unexpurgated performance and a further two decades before it began acquiring a wider audience.<\/p>\n <\/p>\n Beethoven prepared himself meticulously to realise his goal: he studied the music of Palestrina and other church composers and made an accurate translation of the mass text. "When we write church music, we must look through all the monastery hymns, we have to examine the best translations of the verses and study the prosody of Catholic psalms and hymns" he noted. He wrote in a letter: "We cannot imitate Palestrina's language unless its spirit and world of religious thought lives within us." Beethoven's religiosity, as was the case throughout his life, dispensed with formal dogmatic behaviour. He undoubtedly thought of himself as a believer but his faith took on a more pantheistic form. He was no less preoccupied with the gods of Antiquity as with Jehova or Brahma and could bravely write in a letter: "God is closer to me that to other artists and I attach myself to him without fear."<\/p>\n <\/p>\n The Missa Solemnis comprises of five movements (Kyrie, Gloria, Credo, Sanctus, Agnus Dei), but because of the text, the movements tend to be further expanded with sections of often starkly contrasting character, with alternations of a quarter of soloists and choral sections, as well as the whole ensemble. This makes the inner construction of the Mass so ostensibly complicated.<\/p>\n <\/p>\n The Kyrie divides naturally into three sections, because of the three outcries (Kyrie eleison, Christe eleison, Kyrie eleison) The first, bearing the instruction Assai Sostenuto, is relaxed, "radiant" music from which we learn much from Beethoven's own note on the score: "With Devotion." The central (Christe) section has greater impetus and employs a double fugue in which Beethoven depicts this very personal entreaty with the solo singers. The returning Kyrie does not exactly repeat the opening section but is built from similar material. The entire Missa Solemnis is characterised by highly daring tonal changes and unusual modulations which can frequently be linked to ancient church modes but which to Beethoven's contemporaries must have sounded extremely novel. After a harmonically unexpected and acerbic passage, the movement dies away pianissimo in the voice of the chorus.<\/p>\n <\/p>\n The grand scale Gloria is in four parts. It begins in a glorious brilliant D major, a paean of praise marked Allegro Vivace. Gratitude with the Gratias agimus tibi section assumes a more relaxed, intimate tone, in which the choir also joins the quartet of soloists. The second internal movement of the Gloria (Qui tollis) commences with an imprecation mark larghetto. After a remarkably beautiful passage, this leads to the powerful Allegro Maestoso (Quoniam tu solus sanctus) third section with its ceremonial drums, which is utterly different in character to what preceded it. The fourth section, which again is sprightly (In gloria dei patris) is an astounding fugue which accelerates until it finishes presto. It then brings back the opening sentence to the whole Gloria movement and then to close, the choir shouts out the word Gloria into the resonant space.<\/p>\n <\/p>\n From a number of different aspects, the Credo continues the concept of the Gloria but on a higher plane. This is indicated by the unusual rise in tonality of a semi tone: the D major Gloria is followed by the opening E flat major Fortissimo of the Credo. We soon discover that this tonality is only a precursor to B flat which is the basic key for this whole movement. The Credo is always a hard text to approach musically and it didn't make Beethoven's life easy either. According to Schindler, Beethoven locked himself away to wrestle with the Credo fugue, during which time he ran out of food and water. "Perhaps no masterpiece has been born amid such untoward circumstances," he wrote.<\/p>\n <\/p>\n This movement is perhaps even more kaleidoscopic than the others. It is constructed from several brief sections, contrasting with each other, which combined produce an impression of immense solidity. The reason for this is that Beethoven consistently adheres to the exact musical expression of the text, for example the robust theme of "I believe" (Credo) is followed by chromatic scales, in which the text indicates the omnipotence of God. The music creates great contrasts to depict the visible and invisible worlds, while the symbolic figure of the dove is depicted by melodic woodwind passages. Et incarnatust is painted with modal harmonies while the warm music of Et homo factus in the Crucifixus section depicts the image of the cross rising to the heavens. An upwards soaring Allegro passage tells of the resurrection while the immense double fugue (vitam venture) and the scale passages brings Beethoven's passionate confession to a close. The music is both rugged and triumphant. On the sketches of the Credo, Beethoven wrote "God never forsook me."<\/p>\n <\/p>\n The Sanctus again raises the tonality by a semi tone: the Credo ends in B flat major, while the next music to be heard is in B minor. Beethoven breaks with tradition by beginning the movement in a slow tempo (Adagio) using chamber music apparatus. For Bach, Mozart and even Verdi, Sanctus represented a cry of joy, but Beethoven views it as something intimate and personal. (Indeed, this is how he set it in the Kismarton Mass.) We find on the manuscript score "mit Andacht" (with devotion) as at the beginning of the mass. The gates of heaven open after the words Pleni sunt coeli and the music continues with an elated Allegro. A presto fugato setting "Osanna" concludes the Sanctus which is followed without a break by the Benedictus. In Beethoven too, this is separated from the Sanctus with a preludium. The Benedictus is a classic example of Beethoven's lyrical genius, employing a solo violin which melds with the solo singers and the dense sonority of the choir. The inexhaustible inner richness of the Missa Solemnis is well illustrated by one of the most gripping moments of the movement: Beethoven reveals the mystery of the anaphora with an unexpected but superb musical idea. Two flutes join the solo violin indicating that the miracle has happened and then the instruments descend from on high to be welcomes by the choir basses symbolising mortals. The Osanna section returns, then briefly the Benedictus with solo violin, bringing together this complex form. It is hard to envisage a more personal testament to the experience of divine mercy than this movement.<\/p>\n <\/p>\n The closing movement of the Missa Solemnis is the Agnus Dei and it is a microcosm of the whole work, indeed the entire Beethovenian "strategic" programme. It progresses from the darkest, most desperate mood (and from its tonality, B minor) to light via a difficult but triumphant struggle, as the music attains personal happiness. The prayer for divine mercy is said three times, and its first two sentences Agnus Dei, qui tollis peccata mundi, miserere nobis and its closing Dona nobis pacem gives Beethoven the opportunity to use a tripartite design, but he divides up the rest of the movement in a much more complex fashion. Beethoven writes on the score of the Dona nobis section: "Entreaty for inner and outer piece." Beethoven signals his departure from liturgical traditions by interpreting inner peace more expansively, as a vision projected on all humanity. Just as in the Credo and as we find in numerous of Beethoven's late compositions, the fugue again becomes the main weapon of victory. The final D major entreaty is interrupted several times by the sound of battle, timpani and trumpets. But the power and passion of the vocal solos brings the battle to victory just as we find at the end of Ninth Symphony. Beethoven wrote an unusual inscription on the original manuscript: "It came from the heart and may it find its route to the heart!"<\/p>{:}","post_title":"{:hu}Missa Solemnis, op. 123.{:}{:en}Missa Solemnis, op. 123.{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"missa-solemnis-op-123","to_ping":"","pinged":"","post_modified":"2016-09-08 08:57:50","post_modified_gmt":"2016-09-08 08:57:50","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/missa-solemnis-op-123\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Beethoven"]}],"muvek_feluldefinialasa":false,"muvekrol_reszletesen":true,"is_muvekrol_reszletesen_en":false,"kozr_szemelyek":[{"ID":86536,"post_author":"1","post_date":"2016-09-21 09:13:28","post_date_gmt":"2016-09-21 09:13:28","post_content":"{:hu}\u201eKolonits Kl\u00e1ra inton\u00e1ci\u00f3ja nem csup\u00e1n a kant\u00e1bilis dallamokban makul\u00e1tlan, hanem a legvirtu\u00f3zabb kolorat\u00far\u00e1kban is, ami csak igen kevesekr\u0151l mondhat\u00f3 el. Mint ahogy az sem, hogy a legmagasabb, m\u00e1r-m\u00e1r lekott\u00e1zhatatlan z\u00e1r\u00f3 hangok sem \u00e9lesek, hanem torz\u00edt\u00e1s n\u00e9lk\u00fcl meg\u0151rzik a hang sz\u00e9ps\u00e9g\u00e9t \u00e9s g\u00f6mb\u00f6ly\u0171s\u00e9g\u00e9t. Ez bizony m\u00e9g ritk\u00e1bb brav\u00far.\u201d\r\n\r\n(Malina J\u00e1nos, Revizor)\r\n\r\nFot\u00f3: Ariel Woytynowska{:}{:en} Kl\u00e1ra Kolonits began her singing studies as a private student of Katalin Schultz and in 1995, graduated from the Budapest Teacher Training Faculty of the Franz Liszt Music Academy as a solo singer, where her teacher was Zsuzsa Forrai. She later studied with Ionel Pantea and Anne Reynolds. From 1995 to 1997, he was a member of the Debrecen Csokonai Theatre and from 1997 to 1998, a guest at the Szeged National Theatre and the Szolnok Szigligeti Theatre before joining the Budapest Operetta Theatre where she was a member from 1998 to 2001. 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. In 1999, she participated in Duna Television's series of opera tales from Cluj. In 2005, she sang Judit in the film version of Bart\u00f3k's opera Prince Bluebeard's Castle. She has also been a guest performer in Austria, Holland, France and the United States. She regularly performs as a soloist in contemporary and classical oratorios.<\/p>{:}","post_title":"{:hu}Kolonits Kl\u00e1ra{:}{:en}Kl\u00e1ra Kolonits{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"kolonits-klara","to_ping":"","pinged":"","post_modified":"2020-10-01 14:21:38","post_modified_gmt":"2020-10-01 14:21:38","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=86536","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}szopr\u00e1n{:}{:en}soprano{:}"},{"ID":86054,"post_author":"1","post_date":"2017-09-26 14:50:05","post_date_gmt":"2017-09-26 14:50:05","post_content":"{:hu} 1975-ben sz\u00fcletett Szegeden. Diplom\u00e1j\u00e1t 1997-ben szerezte a Liszt Ferenc Zenem\u00fbv\u00e9szeti F\u00f5iskola Szegedi Konzervat\u00f3rium\u00e1ban. Orat\u00f3riumok \u00e9s passi\u00f3koncertek keresett sz\u00f3list\u00e1ja, reperto\u00e1rj\u00e1n megtal\u00e1lhat\u00f3ak Monteverdi, Sch\u00fctz, J. S. Bach, H\u00e4ndel, Haydn \u00e9s Mozart orat\u00f3riumai, mis\u00e9i, passi\u00f3i \u00e9s kant\u00e1t\u00e1i. Gyakran \u00e9nekel k\u00fclf\u00f6ld\u00f6n is, az ut\u00f3bbi \u00e9vekben p\u00e9ld\u00e1ul Ausztri\u00e1ban, Szlov\u00e1ki\u00e1ban, Spanyolorsz\u00e1gban, Olaszorsz\u00e1gban, N\u00e9metorsz\u00e1gban \u00e9s Nagy-Britanni\u00e1ban. 2003-ban 2. d\u00edjat nyert a Gyurkovics M\u00e1ria \u00c9nekversenyen. 2005-t\u00f5l a Magyar \u00c1llami Operah\u00e1z Operast\u00fadi\u00f3j\u00e1nak tagja, jelenleg mag\u00e1n\u00e9nekese. Rendszeresen fell\u00e9p a dalsz\u00ednh\u00e1zban (Belmonte, Tamino, Don Ottavio, Almaviva gr\u00f3f). 2007-ben Ullmann Atlantisz cs\u00e1sz\u00e1ra c\u00edm\u00fb oper\u00e1j\u00e1ban nagy sikerrel l\u00e9pett fel .<\/p>{:}{:en} The tenor Zolt\u00e1n Megyesi, born in 1975 in Szeged (Hungary), is a specialist in Baroque and classical oratorio and opera. He is a regular collaborator in oratorio performances throughout Europe. A member of the Hungarian State Opera House, his appearances in Mozart operas (Ferrando, Belmonte, Tamino, Don Ottavio) as well as in other tenor roles (Conte Almaviva, etc.) have been received enthusiastically by audiences and critics alike. In 2007 he made his debut with the Budapest Festival Orchestra in Ullmann's opera The Emperor of Atlantis.<\/p>{:}","post_title":"{:hu}Megyesi Zolt\u00e1n{:}{:en}Zolt\u00e1n Megyesi{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"megyesi-zoltan","to_ping":"","pinged":"","post_modified":"2020-04-22 09:41:27","post_modified_gmt":"2020-04-22 09:41:27","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=86168","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}tenor{:}{:en}tenor{:}"},{"ID":102309,"post_author":"951582","post_date":"2017-07-23 09:34:39","post_date_gmt":"2017-07-23 09:34:39","post_content":"{:hu}Gy\u0151r\u00f6tt sz\u00fcletett 1980-ban, ahol a gimn\u00e1zium elv\u00e9gz\u00e9se mellett kezdett \u00e9neket tanulni Pint\u00e9r Ferenc ir\u00e1ny\u00edt\u00e1s\u00e1val. Ezut\u00e1n a Weiner Leo Konzervet\u00f3riumban folytatta tov\u00e1bb tanulm\u00e1nyait Ercse Margitn\u00e1l, majd 2002-t\u0151l 2007-ig Hamari J\u00falia volt a mestere a stuttgarti Zeneakad\u00e9mi\u00e1n ahol 2007-ben kit\u00fcntet\u00e9ssel diplom\u00e1zott. Nagy sikerrel szerepelt a Rheinsbergi operafesztiv\u00e1lon 2004-ben, ill. a Klassik Mania elnevez\u00e9s\u0171 versenyen B\u00e9csben ahol 2007-ben k\u00fcl\u00f6nd\u00edjat nyert. A stuttgarti operaiskola keret\u00e9ben fell\u00e9pett Mozart Bastienne \u00e9s Bastien c\u00edm\u0171 oper\u00e1j\u00e1ban, mint Colas, ill. Theseus szerep\u00e9t alak\u00edtotta Britten Szentiv\u00e1n\u00e9ji \u00e1lom c\u00edm\u0171 oper\u00e1j\u00e1ban.\r\n\r\n2007-ben fell\u00e9pett Stuttgarti Staatsoper Produkci\u00f3j\u00e1ban Matthias Heep \u00c1lmodoz\u00f3k c\u00edm\u0171 darabj\u00e1ban. M\u00e9g ugyanebben az \u00e9vben nagy sikerrel l\u00e9pett fel Pesar\u00f3ban a Rossini Fesztiv\u00e1lon, ahol Lord Sidney-t alak\u00edtotta Rossini Reimsi utaz\u00e1s\u00e1ban Alberto Zedda vez\u00e9nylet\u00e9vel. Tanulm\u00e1nyai elv\u00e9gz\u00e9se ut\u00e1n a Heidelbergi sz\u00ednh\u00e1zhoz ker\u00fclt, ahol Puccini Boh\u00e9m\u00e9let\u00e9ben Benoit szerep\u00e9t alak\u00edtotta, majd a r\u00e1k\u00f6vetkez\u0151 \u00e9vben a Z\u00fcrichi Operst\u00fadi\u00f3 szerz\u0151dtette. A Z\u00fcrichi Operah\u00e1zban fell\u00e9pett t\u00f6bbek k\u00f6z\u00f6tt Wagner Tristan \u00e9s Izold\u00e1j\u00e1ban, mint Korm\u00e1nyos, Wagner Gyerekeknek c\u00edm\u0171 produkci\u00f3ban, mint Fafner, ill. Puccini Manon Lescaut-j\u00e1ban amiben a P\u00e1rizsi \u0150rt alak\u00edtotta.\r\n\r\nNeves karmesterekkel dolgozhatott egy\u00fctt, mint p\u00e9ld\u00e1ul Nello Santival, Carlo Rizzivel, Ingo Metzmacherrel. Nagy kiugr\u00e1s volt a karrierj\u00e9ben 2009 tavasz\u00e1n a Schwetzingeni \u00dcnnepi J\u00e1t\u00e9kok, ahol G\u00fcnther Kr\u00e4mer rendez\u00e9seben H\u00e4ndel Ezio c\u00edm\u0171 oper\u00e1j\u00e1ban Varo szerep\u00e9t alak\u00edtotta \u00f3ri\u00e1si sikerrel. A 2009\/2010 \u00e9vadban Marcell a Salzburgi Landestheaterhez szerz\u0151d\u00f6tt ahol a Puplikum t\u00f6bbek k\u00f6z\u00f6tt Mozart Figar\u00f3 H\u00e1zass\u00e1g\u00e1nak Bartol\u00f3jak\u00e9nt ismerhette meg, de hallhatta m\u00e9g Weber B\u0171v\u00f6s Vad\u00e1sz\u00e1nak Kasparjak\u00e9nt, ill. Puccini Tosc\u00e1j\u00e1ban is, ahol Angelottit alak\u00edtotta. 2013-ig volt a sz\u00ednh\u00e1z tagja.\r\n\r\nA 2010-2011-es szezonban Dulcamara szerep\u00e9t \u00e9nekelte Donizetti Szerelmi b\u00e1jital c\u00edm\u0171 komikus oper\u00e1j\u00e1ban, valamint Leporell\u00f3t alak\u00edtotta a Don Giovanniban szint\u00e9n Salzburgban.\r\n\r\n2011\u2013ben ism\u00e9t szerepelt a Chiemsee Fesztiv\u00e1lon, ahol 2008-ban m\u00e1r bemutatkozott Pil\u00e1tusk\u00e9nt, ez\u00fattal Mozart Var\u00e1sfuvol\u00e1j\u00e1nak 2. Ajt\u00f3n\u00e1ll\u00f3jak\u00e9nt hallhatta a Publikum B\u00e1r\u00f3 Ennoch zu Guttenberg vez\u00e9nylet\u00e9vel. Emellett Marcell sikeres Koncert\u00e9nekes is, reperto\u00e1rj\u00e1n megtal\u00e1lhat\u00f3 t\u00f6bbek k\u00f6z\u00f6tt Mozart Requiem-je, C- moll mis\u00e9je, H\u00e4ndel Messi\u00e1sa, ill. Bach Kar\u00e1csonyi Orat\u00f3riuma. 2008 tavasz\u00e1n \u00f6n\u00e1ll\u00f3 dalestet adott a Gy\u0151ri Tavaszi Fesztiv\u00e1l keret\u00e9ben a gy\u0151ri V\u00e1rosh\u00e1za D\u00edszterm\u00e9ben, ill. nagysiker\u0171 koncert volt 2008 nyar\u00e1n a M\u00e1ty\u00e1s Templomban Rossini Stabat Materja, melynek Basszus sz\u00f3l\u00f3j\u00e1t \u00e9nekelte Hollerung G\u00e1bor vez\u00e9nylet\u00e9vel.\r\nA Gy\u0151ri Filharm\u00f3nikusokhoz \u00e9vek \u00f3ta szoros kapcsolat f\u0171zi. \u00c9nekelt m\u00e1r vel\u00fck Mozart Requiemet, Beethoven IX. Szimf\u00f3ni\u00e1t, Sevillai Borb\u00e9lyban Don Basiliot, csakhogy n\u00e9h\u00e1nyat eml\u00edts\u00fcnk.\r\n\r\n2011 szeptember\u00e9ben v\u00e9gre hallhattuk Marcellt a Magyar \u00c1llami Operah\u00e1zban, ahol Erkel Ferenc B\u00e1nk B\u00e1nj\u00e1ban 2. Endre kir\u00e1lyt alak\u00edtotta. Ezt k\u00f6vet\u0151en visszat\u00e9rt Salzburgba ahol Rossini Hamupip\u0151ke c\u00edm\u0171 oper\u00e1j\u00e1ban Alidoro szerep\u00e9ben t\u00fcnd\u00f6k\u00f6lt.\r\n\r\nA 2012-es esztend\u0151ben bemutatkozott az osloi Operh\u00e1zban Monteverdi \u00a0Od\u00fcsszeusz \u00a0Hazat\u00e9r\u00e9se c\u00edm\u0171 oper\u00e1j\u00e1ban, ill. egy amerikai fesztiv\u00e1lon is Coloradoban , ahol az \u00d6reg pap szerep\u00e9t \u00e9nekelte Mozart Var\u00e1zsfuvola c\u00edm\u0171 darabj\u00e1ban.\r\nEzt k\u00f6vette G\u00e1sp\u00e1r szerepe a Giesseni V\u00e1rosi sz\u00ednh\u00e1zban illetve Colline Puccini Boh\u00e9m\u00e9let c\u00edm\u0171 darabj\u00e1ban Budapesten.\r\nBemutatkozott m\u00e9g Don Alfons\u00f3k\u00e9nt a Cos\u00ed fan tutte c\u00edm\u0171 darabban Salzburgban illetve Masett\u00f3k\u00e9nt Budapesten. \u00a0Escamillo szerep\u00e9t alak\u00edtotta a Carmen c\u00edm\u0171 Bizet oper\u00e1ban az Erkel sz\u00ednh\u00e1zban ut\u00e1na pedig Leporello szerep\u00e9t \u00e9nekelte Ildebrando D'arcangelo oldal\u00e1n nagy sikerrel Mozart Don Giovanni c\u00edm\u0171 darabj\u00e1ban Osl\u00f3ban. Az Innsbrucki R\u00e9g Zene Fesztiv\u00e1lon visszat\u00e9r\u0151 vend\u00e9g, el\u0151sz\u00f6r itt Mozart Titusz Kegyelme c\u00edm\u0171 darabj\u00e1ban t\u0171nt fel m\u00e9g 2013-ban.\r\n\u200b\r\n2016 Febru\u00e1r \u00f3ta a N\u00fcrnbergi Sz\u00ednh\u00e1z tagja, ahol fell\u00e9pett t\u00f6bbek k\u00f6z\u00f6tt Rameau G\u00e1l\u00e1ns Indi\u00e1k c\u00edm\u0171 darabj\u00e1ban, \u00a0amiben Huascart \u00e9nekelte, valamint Leporellok\u00e9nt is a Don Giovanniban. 2016 nyar\u00e1n szerepelt a Wildbadi Rossini Fesztiv\u00e1lon , itt a Sigismondo c\u00edm\u0171 darabban Zenovitot \u00e9s Uldericot alak\u00edtotta. Jelenleg Mustafa szerep\u00e9t alak\u00edtja Rossini Az olasz n\u0151 Alg\u00edrban c\u00edm\u0171 darabj\u00e1ban N\u00fcrnbergben. Ezt k\u00f6vet\u0151en Cellei Ulkrikk\u00e1nt hallhatja a magyarorsz\u00e1gi k\u00f6z\u00f6ns\u00e9g Erkel Hunyadi L\u00e1szl\u00f3 c\u00edm\u0171 oper\u00e1j\u00e1ban.{:}{:en}Marcell Bakonyi was born in 1980 in Gy\u0151r, Hungary. He studied voice at the Leo-Weiner Conservatory of Music in Budape. st, and later at the Hochschule f\u00fcr Musik in Stuttgart, Germany with Professor Julia Hamari where he also attended classes in Lieder singing.\r\n\r\nWhile still a student, he sang the role of Jesus in Bach\u2019s St. Matthew Passion, conducted by Dieter Kurz, and appeared in the Stuttgart Opera School\u2019s productions of Mozart\u2019s Le Nozze di Figaro and Bastien und Bastienne, as well as in Britten\u2019s A Midsummer Night\u2019s Dream. For the \u201cJungen Oper\u201d series at the Staatsoper Stuttgart he took part in the World Premiere of Matthias Heep\u2019s Tr\u00e4umer. He also sang the role of Lord Sidney in Rossini\u2019s Il Viaggio a Reims at the Pesaro International Rossini Festival. From 2007-2008 he was a member of the ensemble at Theater Heidelberg.\r\n\r\nMarcell Bakonyi is also in demand as a concert singer: he sang Bach\u2019s Christmas Oratorio with the Collegium Iuvenum Stuttgart under the baton of Friedemann Keck, and the St. John Passion at the Chiemsee Festival, conducted by Enoch zu Guttenberg. From 2008 to 2009 he was a member of the Z\u00fcrich International Opera Studio, where he sang, amongst others, the role of Steuermann in Wagner\u2019s Tristan und Isolde. In 2009 he appeared at the Schwetzinger Festival in Handel\u2019s opera Ezio.\r\n\r\nSince 2009 he has been a member of the ensemble of the Landestheater Salzburg where he sang the roles of Bartolo and Figaro in Mozart`s Le nozze di Figaro, as well as Kaspar in Weber`s Der Freisch\u00fctz, Angelotti in Puccini`s Tosca, Dulcamara in Donizetti`s L`elisir d`amore and Leporello Mozart`s Don Giovanni.\r\n\r\nIn April 2011 he won the International Competition Rolando Nicolosi in Rome and received a Special Price at Marcello Giordani Competition in Catania, resulting in an invitation to make a major North-American debut.\r\n\r\nIn the same year he has made his debut as Pietro in Verdi`s Simon Boccanegra at the Budapest State Opera House. In May 2012 he sang with great success Monteverdi`s Il ritorno d`Ulisse in Patria in Oslo DNO with Alessandro de Marchi, Rossini`s Cenerentola (Alidoro) and Verdi`s Traviata (Dottore Grenvil) in Salzburg. In the Summer of 2012 he made his United States of America`s debut as Sprecher in Mozart`s Die Zauberfl\u0151te at the Crested Butte Music Festival in Colorado.\r\n\r\nRecently he sung Kaspar in Weber`s Der Freisch\u00fctz at the Giessen Stadttheater, Don Alfonso in Mozart`s Cosi fan tutte and Il re di Scozia in Haendel`s Ariodante at the Landestheater in Salzburg. At the Budapest Opera House he sung Colline in Puccini`s La Boh\u00e9me as well as Masetto in Mozart`s Don Giovanni. He gave his Debut at the Innsbruck Festival f\u00fcr Alte Musik as Publio in La Clemenza di Tito in August 2013. , followed Escamillo in Carmen in Budapest.\r\n\r\nIn 2014 he returned to Oslo to sing Colline in a Revival of the famous Stefan Herheim Production of La Boh\u00e9me, and he sung Leporello in a New Production of Don Giovanni there as well. He made his french Debut as Priester in Magic Flute at Theatre Vichy \u00a0followed Ferrando in Trovatore in Budapest State Opera.\r\n\r\nFrom the Season \u00a02015\/16 he is a member of the Ensemble in N\u00fcrnberg State Theater, where he sung a.o. Leporello in Don Giovanni, Huascar in Les Indes Galantes, Mustafa in L'italiana in Algeri. In May 2017 he will return to Oslo to sing Colline in La Boh\u00e9me again and will be also heard as Figaro in Le nozze di Figaro in Budapest in the automn 2017.{:}","post_title":"{:hu}Bakonyi Marcell{:}{:en}Marcell Bakonyi {:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"bakonyi-marcell","to_ping":"","pinged":"","post_modified":"2020-04-22 09:42:56","post_modified_gmt":"2020-04-22 09:42:56","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=102309","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}basszusbariton{:}{:en}bass baritone{:}"}],"muveszekrol_reszletesen":true,"is_muveszekrol_reszletesen_en":false,"kozr_szemelyek_feluldefinialasa":"","kozr_intezmenyek":[{"ID":103834,"post_author":"1","post_date":"2017-10-05 12:07:03","post_date_gmt":"2017-10-05 12:07:03","post_content":"{:hu}Az \u00e9nekkar Magyarorsz\u00e1g egyik vezet\u0151 hivat\u00e1sos k\u00f3rusa, amelynek profilja a zenekar-k\u00eds\u00e9retes kompoz\u00edci\u00f3k, orat\u00f3riumok, valamint a cappella m\u0171vek el\u0151ad\u00e1sa. Reperto\u00e1rja ennek megfelel\u0151en rendk\u00edv\u00fcl gazdag, a kora barokk Sch\u00fctz alkot\u00e1sait\u00f3l Bach, a b\u00e9csi klasszikusok \u00e9s a 19. sz\u00e1zad zeneszerz\u0151inek kompoz\u00edci\u00f3in kereszt\u00fcl a 20. sz\u00e1zad \u00e9s a kort\u00e1rs zen\u00e9ig minden ir\u00e1nyba nyitott, m\u0171faji hat\u00e1rok n\u00e9lk\u00fcl, de a ritk\u00e1n m\u0171sorra ker\u00fcl\u0151 alkot\u00e1sok megsz\u00f3laltat\u00e1s\u00e1ban is elk\u00f6telezett. A reperto\u00e1rj\u00e1n hangs\u00falyosan jelen lev\u0151 19. sz\u00e1zadi orat\u00f3riumok mellett az egy\u00fcttes kiemelt fontoss\u00e1got tulajdon\u00edt a kort\u00e1rs m\u0171vek el\u0151ad\u00e1s\u00e1nak, sz\u00e1mos m\u0171 \u0151sbemutat\u00f3ja, illetve magyarorsz\u00e1gi bemutat\u00f3ja f\u0171z\u0151dik a nev\u00e9hez. A k\u00f3rus visszat\u00e9r\u0151 k\u00f6zrem\u0171k\u00f6d\u0151je a Nemzeti Filharmonikusok martonv\u00e1s\u00e1ri ny\u00e1ri Beethoven-sorozat\u00e1nak, kiemelked\u0151 szerepl\u0151je a zenekar csal\u00e1di matin\u00e9 koncertsorozat\u00e1nak, valamint a Kocsis Zolt\u00e1n m\u0171v\u00e9szeti vezet\u00e9s\u00e9vel 2006 \u00f3ta fel\u00e9p\u00fcl\u0151 Bart\u00f3k \u00daj Sorozatnak. A Nemzeti Filharmonikusok Richard Strauss oper\u00e1it bemutat\u00f3 nagy siker\u0171 sz\u00e9ri\u00e1j\u00e1ban \u00e9s Schoenberg M\u00f3zes \u00e9s \u00c1ron c\u00edm\u0171 oper\u00e1j\u00e1ban, az \u00e9nekkar mellett t\u00f6bb tagja sz\u00f3listak\u00e9nt is fell\u00e9pett. Az \u00e9nekkar a hazai koncertek mellett nemzetk\u00f6zi felk\u00e9r\u00e9seknek is eleget tesz, rendszeresen koncertezik a magyarok \u00e1ltal is lakott hat\u00e1ront\u00fali telep\u00fcl\u00e9seken. A Nemzeti \u00c9nekkar a M\u00fcp\u00e1ban megrendezett nagyszab\u00e1s\u00fa Wagner-napok rendszeresen megh\u00edvott k\u00f6zrem\u0171k\u00f6d\u0151je.{:}{:en}The first great era in the ensemble\u2019s history began in 1990, when the founding choirmaster\u2019s death led to M\u00e1tyas Antal taking up the post, which he held until 31 March 2016. Over the course of that more than a quarter of a century, the ensemble became Hungary\u2019s leading professional choir, known for its performances of vocal compositions accompanied by orchestra, oratorios and a cappella works.\r\n\r\nAccordingly, its repertoire is extremely rich and open in every direction, encompassing the early Baroque composer Heinrich Sch\u00fctz, Bach, the Viennese Classical School, and the composers of the 19th and 20th centuries and of today, without prejudice to genre.\r\n\r\nCsaba Somos has served as the ensemble\u2019s artistic director since 1 January 2016.\r\n\r\nIn addition to performing concerts in Hungary, the ensemble regularly accepts invitations to appear abroad, having sung in numerous nations in Europe, as well as in Israel and Japan. They also regularly visit communities with ethnic Hungarian populations in the countries that neighbour Hungary.\r\n\r\nThe Hungarian National Choir places great emphasis on performing contemporary works, along with the 19th-century oratorios that are so prominent in their repertoire. They have been credited with numerous world and Hungarian premi\u00e8res, including those of Zolt\u00e1n Jeney\u2019s oratorio Funeral Rite and Gy\u00f6rgy Kurt\u00e1g\u2019s composition Songs of Despair and Sorrow \u2013 the latter of which is considered by many to be one of the most difficult pieces in the choral literature. However, their repertoire also extends to works by Tam\u00e1s Beischer-Maty\u00f3, Zsolt Durk\u00f3, Kamill\u00f3 Lendvay, Gy\u00f6rgy Ligeti, Gy\u00f6rgy Orb\u00e1n, Emil Petrovics, J\u00f3zsef Soproni, S\u00e1ndor Szokolay, P\u00e9ter T\u00f3th and J\u00e1nos Vajda. In conjunction with this, the ensemble have also sung on recordings of works by several contemporary composers, such as Lajos Husz\u00e1r, Mikl\u00f3s Csemiczky, Attila Bozay, L\u00e1szl\u00f3 Kir\u00e1ly, M\u00e1t\u00e9 Holl\u00f3s and J\u00f3zsef S\u00e1ri.\r\n\r\nThe choir regularly collaborates on the Hungarian National Philharmonic\u2019s summer Beethoven series in Martonv\u00e1s\u00e1r and plays a prominent role in the orchestra\u2019s family matinee concert series, as well as in the Bart\u00f3k New Series that first began development in 2006 under the artistic leadership of Zolt\u00e1n Kocsis. \u00a0The Hungarian National Choir is also a reliable partner to the Hungarian National Philharmonic Orchestra in its artistic efforts to bring works that are undeservedly absent from the established repertoire to the audience. This category includes compositions by Britten, Debussy, Enescu, Jan\u00e1\u010dek and Ravel. Not only did the choir serve as the chorus in the Hungarian National Philharmonic\u2019s highly acclaimed series of productions of the operas of Richard Strauss, several of its members also took the stage as soloists. Another of the choir\u2019s notable accomplishments of recent years was its participation in the production of Schoenberg\u2019s\u00a0Moses und Aron<\/em>\u00a0that was conducted by Kocsis, who also completed the score. In addition to performing the traditional oratorio repertoire, they have also sung in such important but rarely heard works as the immense choral symphonies of Mahler, Bruckner\u2019s\u00a0Te Deum\u00a0<\/em>and Liszt\u2019s\u00a0Christus\u00a0<\/em>oratorio and\u00a0The Legend of St. Elizabeth<\/em>. The Hungarian National Choir is also regularly invited to participate in the massive Budapest Wagner Days festival that is organised at M\u00fcpa Budapest each year.\r\n\r\nOver the past 30 years, the choir has worked with such excellent conductors as Antal Dor\u00e1ti, P\u00e9ter E\u00f6tv\u00f6s, \u00c1d\u00e1m Fischer, Lionel Friend, J\u00e1nos F\u00fcrst, Lamberto Gardelli, Zsolt Hamar, Sebastian Weigle, J\u00e1nos Kov\u00e1cs, Gy\u00f6rgy Lehel, Andr\u00e1s Ligeti, Ervin Luk\u00e1cs, Ken-Ichiro Kobayashi, Bertrand de Billy, Rico Saccani, Yuri Simonov, Carlo Montanaro, Krzysztof Penderecki, Tam\u00e1s V\u00e1s\u00e1ry and Zolt\u00e1n Kocsis.{:}","post_title":"{:hu}Nemzeti \u00c9nekkar (karigazgat\u00f3: Somos Csaba){:}{:en}Hungarian National Choir (choir master: Csaba Somos){:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"nemzeti-enekkar-karigazgato-somos-csaba-2","to_ping":"","pinged":"","post_modified":"2020-07-22 09:57:07","post_modified_gmt":"2020-07-22 09:57:07","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=institutions&p=103834","menu_order":0,"post_type":"institutions","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":87504,"post_author":"1","post_date":"2016-09-08 07:58:45","post_date_gmt":"2016-09-08 07:58:45","post_content":"{:hu}{:}{:en}{:}","post_title":"{:hu}\u00d3budai Danubia Zenekar{:}{:en}Danubia Orchestra, \u00d3buda{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"obudai-danubia-zenekar","to_ping":"","pinged":"","post_modified":"2016-09-08 07:58:45","post_modified_gmt":"2016-09-08 07:58:45","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/institutions\/obudai-danubia-zenekar\/","menu_order":0,"post_type":"institutions","post_mime_type":"","comment_count":"0","filter":"raw"}],"gombtipus":"link","jegyarak":"2.500 Ft, 3.200 Ft, 3.800 Ft, 4.700 Ft","hivatkozas_gomb_szovege":"Jegyv\u00e1s\u00e1rl\u00e1s","hivatkozas_gomg_url-je":"http:\/\/zeneakademia.hu\/hu\/klasszikus\/-\/program\/obudai-danubia-zenekar-20180426-1930","youtube_id":"","old_id":""},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/concerts\/106489","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/concerts"}],"about":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/types\/concerts"}],"wp:attachment":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/media?parent=106489"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n <\/p>\n
\n <\/p>\n![\"\"](\"http:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/f\/image\/muveszek\/K%C3%A1lnay_100.jpg\")
K\u00e1lnay Zs\u00f3fia mezzoszopr\u00e1n 2011-ben \u00e9nekelte els\u0151 operaszerep\u00e9t, a Szegedi Nemzeti Sz\u00ednh\u00e1zban.\u00a0 2013-ban az Erkel Sz\u00ednh\u00e1zban is bemutatkozhatott. 2013 m\u00e1jus\u00e1ban els\u0151 helyezett lett a VIII. Nemzetk\u00f6zi Sim\u00e1ndy J\u00f3zsef \u00c9nekversenyen, ahol 5 k\u00fcl\u00f6nd\u00edjjal jutalmazta a zs\u0171ri. Diplom\u00e1j\u00e1t Prof. Dr. Temesi M\u00e1ria tan\u00edtv\u00e1nyak\u00e9nt a Szegedi Tudom\u00e1nyegyetem Zenem\u0171v\u00e9szeti kar\u00e1n 2015-ben fogja megszerezni. Gyakori megh\u00edvott orat\u00f3riumok alt sz\u00f3l\u00f3ira.<\/p>{:}{:en}The Hungarian mezzosoprano Zs\u00f3fia K\u00e1lnay first appeared at the Szeged National Theatre\u00a0in 2011. In 2012 she made her solo debut as the Voice in Bernstein's West Side Story and Bersi in Giordano's Andrea Chenier. In 2013 she won the 8th International J\u00f3zsef Sim\u00e1ndy Singing Competition. She has been studying at the University of Szeged as M\u00e1ria Temesi\u2019s student and she is scheduled to graduate in in 2015. She often sings the alt solo in oratories.<\/p>{:}","post_title":"{:hu}K\u00e1lnay Zs\u00f3fia{:}{:en}Zs\u00f3fia K\u00e1lnay{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"kalnay-zsofia","to_ping":"","pinged":"","post_modified":"2017-09-26 14:50:05","post_modified_gmt":"2017-09-26 14:50:05","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=86054","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}mezzo{:}{:en}mezzo{:}"},{"ID":86168,"post_author":"1","post_date":"2018-05-22 12:28:22","post_date_gmt":"2018-05-22 12:28:22","post_content":"{:hu}