{"id":111830,"date":"2019-10-07T11:04:02","date_gmt":"2019-10-07T11:04:02","guid":{"rendered":"http:\/\/www.filharmonikusok.hu\/?post_type=concerts&p=111830"},"modified":"2020-04-14T12:58:28","modified_gmt":"2020-04-14T12:58:28","slug":"kobayashi-80","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/kobayashi-80\/","title":{"rendered":"Kobayashi 80"},"content":{"rendered":"

As Hans von B\u00fclow once commented, the Requiem<\/em> is “Verdi<\/strong>‘s latest opera, albeit in ecclesiastical garb\u201d. There is no disputing the work’s theatricality, the dramatic character of its manner of expression \u2013 but this is also the work’s virtue. The ageing master did not hold back even when setting the liturgical text to music, creating dramatic movements with amazing impact. Now it will be performed by the Hungarian National Philharmonic<\/strong>, with the collaboration of a team of leading vocal soloists and Tokyo’s Musashino Choir<\/strong>, all under the baton of a legendary favourite of the Hungarian audience, Ken-Ichiro Kobayashi<\/strong>, who also directs the visiting ensemble.<\/p>\n","protected":false},"template":"","class_list":["post-111830","concerts","type-concerts","status-publish","hentry"],"translation":{"provider":"WPGlobus","version":"3.0.3","language":"en","enabled_languages":["hu","en"],"languages":{"hu":{"title":true,"content":true,"excerpt":false},"en":{"title":false,"content":true,"excerpt":false}}},"acf":{"alcim":"B\u00e9rleten k\u00edv\u00fcli hangverseny","kiemelt_kep":{"ID":112721,"id":112721,"title":"Kobayashi Ken-ichiro 1920x560px_ok","filename":"Kobayashi-Ken-ichiro-1920x560px_ok.jpg","filesize":554711,"url":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2019\/10\/Kobayashi-Ken-ichiro-1920x560px_ok.jpg","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/kobayashi-80\/kobayashi-ken-ichiro-1920x560px_ok\/","alt":"","author":"951590","description":"","caption":"","name":"kobayashi-ken-ichiro-1920x560px_ok","status":"inherit","uploaded_to":111830,"date":"2019-11-22 12:05:54","modified":"2019-11-22 12:05:54","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.filharmonikusok.hu\/wp-includes\/images\/media\/default.png","width":1920,"height":560,"sizes":{"thumbnail":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2019\/10\/Kobayashi-Ken-ichiro-1920x560px_ok-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2019\/10\/Kobayashi-Ken-ichiro-1920x560px_ok-300x88.jpg","medium-width":300,"medium-height":88,"medium_large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2019\/10\/Kobayashi-Ken-ichiro-1920x560px_ok-768x224.jpg","medium_large-width":640,"medium_large-height":187,"large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2019\/10\/Kobayashi-Ken-ichiro-1920x560px_ok-1024x299.jpg","large-width":640,"large-height":187,"1536x1536":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2019\/10\/Kobayashi-Ken-ichiro-1920x560px_ok-1536x448.jpg","1536x1536-width":1536,"1536x1536-height":448,"2048x2048":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2019\/10\/Kobayashi-Ken-ichiro-1920x560px_ok.jpg","2048x2048-width":1920,"2048x2048-height":560,"person-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2019\/10\/Kobayashi-Ken-ichiro-1920x560px_ok-165x165.jpg","person-size-width":165,"person-size-height":165,"person-size-2":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2019\/10\/Kobayashi-Ken-ichiro-1920x560px_ok-165x220.jpg","person-size-2-width":165,"person-size-2-height":220,"album-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2019\/10\/Kobayashi-Ken-ichiro-1920x560px_ok-263x263.jpg","album-size-width":263,"album-size-height":263,"news-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2019\/10\/Kobayashi-Ken-ichiro-1920x560px_ok-360x203.jpg","news-lead-size-width":360,"news-lead-size-height":203,"director-index-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2019\/10\/Kobayashi-Ken-ichiro-1920x560px_ok-359x450.jpg","director-index-size-width":359,"director-index-size-height":450,"person-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2019\/10\/Kobayashi-Ken-ichiro-1920x560px_ok-555x555.jpg","person-lead-size-width":555,"person-lead-size-height":555,"slider-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2019\/10\/Kobayashi-Ken-ichiro-1920x560px_ok-1600x560.jpg","slider-size-width":1600,"slider-size-height":560}},"kiemelt_kep_en":null,"megjegyzes":"","esemeny_datum":"20200504","esemeny_idopontja":"19.30","esemeny_vege":"21:10","sajat_program":true,"esemeny_tipusa":["koncertek"],"esemeny_helyszine":{"ID":87689,"post_author":"1","post_date":"2016-09-08 08:02:38","post_date_gmt":"2016-09-08 08:02:38","post_content":"","post_title":"{:hu}M\u00fcpa - Bart\u00f3k B\u00e9la Nemzeti Hangversenyterem{:}{:en}M\u00fcpa - B\u00e9la Bart\u00f3k National Concert Hall{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"mupa-bartok-bela-nemzeti-hangversenyterem","to_ping":"","pinged":"","post_modified":"2016-09-08 08:02:38","post_modified_gmt":"2016-09-08 08:02:38","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/places\/mupa-bartok-bela-nemzeti-hangversenyterem\/","menu_order":0,"post_type":"places","post_mime_type":"","comment_count":"0","filter":"raw","varos":"{:hu}Budapest{:}{:en}Budapest{:}","orszag":"{:hu}Magyarorsz\u00e1g{:}{:en}Magyarorsz\u00e1g{:}","cim":"

1095 Budapest, Komor Marcell u. 1.<\/p>","megjegyzes":"","weboldal":"http:\/\/www.muveszetekpalotaja.hu"},"helyszin_kategoria":"budapest","karmester":{"ID":86518,"post_author":"1","post_date":"2016-10-18 16:13:17","post_date_gmt":"2016-10-18 16:13:17","post_content":"{:hu}Kobayashi Ken-Ichiro 1940-ben sz\u00fcletett Jap\u00e1nban, karmesteri tanulm\u00e1nyait Watanabe Ake\u00f3n\u00e1l \u00e9s Yamada Kazu\u00f3n\u00e1l folytatta a Toki\u00f3i M\u0171v\u00e9szeti \u00e9s Zenei Egyetemen. 1974-ben ker\u00fclt be a nemzetk\u00f6zi zenei \u00e9let k\u00f6z\u00e9ppontj\u00e1ba, amikor els\u0151 d\u00edjat nyert a Magyar Telev\u00edzi\u00f3 I. Nemzetk\u00f6zi Karmesterverseny\u00e9n. Sikere az\u00f3ta is t\u00f6retlen, a legnevesebb zenekarokat dirig\u00e1lja N\u00e9metorsz\u00e1gban, Ausztri\u00e1ban \u00e9s Angli\u00e1ban. A Magyar \u00c1llami Hangversenyzenekar (ma Nemzeti Filharmonikus Zenekar) vezet\u0151 karmestere 1987-t\u0151l, \u00f6r\u00f6k\u00f6s tiszteletbeli eln\u00f6k-karnagya 1992-t\u0151l. 1994-ben megkapta a Magyar K\u00f6zt\u00e1rsas\u00e1g egyik legmagasabb kit\u00fcntet\u00e9s\u00e9t. Jelenleg a Jap\u00e1n Filharmonikusok vezet\u0151 karmestere.{:}{:en}Born in 1940. He studied conducting under WATANABE Akeo and YAMADA Kazuo at the Tokyo National University of Fine Arts and Music. It was in 1974 when he studied gaining international attention after receiving first prize at the International Conductors Competition of the Hungarian Television. Since then he has gained a reputation by conducting major orchestras in countries such as Germany, Austria and the UK. He was appointed Principal Conductor of the Hungary State Symphony Orchestra (Hungary National Philharmonic Orchestra nowaday) in 1987, and General Director of the Orchestra in 1992. In 1994, he received \"Middle Cross with the Star of the Order of the Republic of Hungary\". The Japan Philharmonic appointed him Chief Conductor in 1998, Principal Conductor in 1990, and Chief Guest Principal Conductor in 1994.\r\nIn 1997, he returns to the Japan Philharmonic as Chief Conductor.{:}","post_title":"{:hu}Kobayashi Ken-Ichiro{:}{:en}Ken-Ichiro Kobayashi{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"kobayashi-ken-ichiro","to_ping":"","pinged":"","post_modified":"2018-05-30 08:13:14","post_modified_gmt":"2018-05-30 08:13:14","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=86518","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw"},"hazigazda":null,"muvek":[{"ID":91039,"post_author":"1","post_date":"2016-09-08 08:57:47","post_date_gmt":"2016-09-08 08:57:47","post_content":"{:hu}Ahogy Hans von B\u00fclow egykor megjegyezte: a Requiem<\/em> \u201eVerdi<\/em><\/strong> \u00fajabb oper\u00e1ja, ez\u00fattal egyh\u00e1zi k\u00f6nt\u00f6sben\u201d.<\/em> Nem vitathat\u00f3 a m\u0171 sz\u00ednpadiass\u00e1ga, a kifejez\u00e9sm\u00f3d dr\u00e1mai jellege \u2013 de ez a m\u0171 er\u00e9nye is. Az id\u0151s\u00f6d\u0151 mester a liturgikus sz\u00f6veg megzen\u00e9s\u00edt\u00e9sekor sem tagadta meg \u00f6nmag\u00e1t: b\u00e1mulatosan hat\u00e1sos, dr\u00e1mai t\u00e9teleket alkotott. A m\u0171 \u00e9lvonalbeli \u00e9nekesg\u00e1rda k\u00f6zrem\u0171k\u00f6d\u00e9s\u00e9vel, a Nemzeti Filharmonikusok<\/strong> el\u0151ad\u00e1s\u00e1ban hangzik fel, a toki\u00f3i Musashino K\u00f3rus<\/strong> karigazgat\u00f3ja egyben a koncert karmestere, a magyar k\u00f6z\u00f6ns\u00e9g legend\u00e1s kedvence, Kobayashi Ken-Ichiro.<\/strong>\r\n\r\nVerdit Rossini hal\u00e1la, 1868 \u00f3ta foglalkoztatta a halotti mise megzen\u00e9s\u00edt\u00e9s\u00e9nek terve. El\u0151sz\u00f6r \u00fagy gondolta, olyan nagyszab\u00e1s\u00fa m\u0171vet kellene alkotni, amelynek minden t\u00e9tel\u00e9t m\u00e1s olasz komponista \u00edrja. A terv kudarcba fulladt \u2013 Verdi azonban megkompon\u00e1lta a maga r\u00e9sz\u00e9t, a Libera me-<\/em>t, s\u0151t amikor kider\u00fclt, hogy a Dies irae<\/em>-re sem akad id\u0151ben v\u00e1llalkoz\u00f3, annak v\u00e1zlataiba is belefogott. K\u00e9t \u00e9vvel k\u00e9s\u0151bb hozz\u00e1l\u00e1tott, hogy a t\u00f6bbi t\u00e9telt is kidolgozza. Felgyors\u00edtotta a munk\u00e1t Alessandro Manzoninak, az it\u00e1liai irodalom kiemelked\u0151 alakj\u00e1nak hal\u00e1la (1873). A zeneszerz\u0151 most m\u00e1r kifejezetten Manzoni eml\u00e9k\u00e9nek sz\u00e1nta m\u0171v\u00e9t, amely 1874. m\u00e1jus 22-\u00e9n hangzott el el\u0151sz\u00f6r: a mil\u00e1n\u00f3i San Marco sz\u00e9kesegyh\u00e1zban. Az el\u0151ad\u00e1s hatalmas sikert aratott \u2013 s a Requiem<\/em> az\u00f3ta is t\u00f6retlen\u00fcl n\u00e9pszer\u0171 az eg\u00e9sz vil\u00e1gon. A m\u0171re mindv\u00e9gig jellemz\u0151 az operai dallamoss\u00e1g, a hangszerel\u00e9s p\u00e1ratlan sz\u00edngazdags\u00e1ga, az \u00e9rzelmekben \u00e9s indulatokban b\u0151velked\u0151 kifejez\u00e9sm\u00f3d, a l\u00e1ttat\u00f3 szuggesztivit\u00e1s\u00fa \u00e1br\u00e1zol\u00e1s \u00e9s a rendk\u00edv\u00fcli erej\u0171 kontrasztok alkalmaz\u00e1sa.{:}{:en}

The plan for a requiem mass began to occupy Verdi following the death of his fellow Italian composer, Rossini in 1868. Initially, he felt a large scale work should be composed with each individual movement being written by a different Italian composer. It was to have been performed on the first anniversary of Rossini's death, and then later on at major anniversaries, but never at mundane concerts. After much dragging of heels all round, the plan finally failed. Verdi himself did compose his own allotted movement, the Libera me. When it transpired that no one would undertake to write the Dies Irae, Verdi sat down to sketch one. Two years later, a music critic friend (in the days when music critics were actually occasionally useful!) persuaded Verdi to work out the other movements. The process was accelerated by the death in 1873 of Verdi's good friend, Alessandro Manzoni, who was one of the leading figures of literature and the Italian Risorgimento. The composer decided to complete the work in Manzoni's memory and it was premiered on May 22nd 1874 at the San Marco cathedral. The performance was an immense success - and the Requiem has maintained its popularity ever since.<\/p>\r\n

As Hans von B\u00fclow rather maliciously noted that the Requiem \"is Verdi's latest opera, this time in ecclesiastical robes.\" There is no disputing the work's theatricality. The ageing master, who after completing Aida had decided to abandon the opera genre for a while, could not hide his true colours when setting the sacred text. The end result is extraordinarily powerful and dramatic.<\/p>\r\n

In the first larger unit, the Introitus that begins with the words \"Requiem aeternam\", and also in the Kyrie, it is dark textures that prevail. The composition commences with the whispering chorus and deep strings. Although the music climaxes, at the end of the Kyrie it again dies away into a hushed piano dynamic.<\/p>\r\n

The beginning of the Dies irae makes for an unbelievably powerful contrast. Verdi pulls out all the stops to create a musical evocation of the final judgement, with the opening chords sounding like nails being driven into coffins, followed by the tense chromatic melody and the powerful use of the brass instruments. As with most composers of Requiem masses, Verdi unfolds the long sequence of the 13th century verses into individual self-contained movements. The Tuba mirum is introduced by trumpets in the orchestra and by others placed some distance away. The words of the chorus who enter shortly, seem to get lost in the huge panic of the brass instruments. After the evocation of the final judgement, the movement dies away to pianissimo, and the bass soloist sings in an ever more faltering voice that on this day, Death itself was also astonished. The next movement, the Liber scriptus is a mezzo-soprano aria, which Verdi connects to a brief quotation from motifs found in the Dies irae. A trio follows, with a mood of supplication (Quid sum miser) before the entire ensemble is employed (in another dramatic contrast) with Rex tremendae. The Recordare is a duet between soprano and mezzo-soprano, Ingemisco is a tenor aria, while Confutatis is an aria for bass. At the end of this latter, Verdi again evokes the beginning of the Dies irae. This leads to the final unit of the sequentia-text, with the broad lamenting melody of the Lacrymosa.<\/p>\r\n

The Offertorium is a symmetrical structure in five parts (A-B-C-B-A), with a particularly lengthy central section, the melody of which (sung by the tenor) is slightly reminiscent of the Gregorian world.<\/p>\r\n

At the beginning of the Sanctus, the brass instruments dominate. After the trombone fanfare, the chorus launches into a double fugue. The Agnus Dei is a kind of variation movement, again with a Gregorian like basic theme, heard in major and minor variants. The mezzo, tenor and bass sing the Lux aeterna as a trio - the fourth soloist, the soprano receives the lead role of the Libera me. Although - as we have already mentioned - this was the first movement to be completed, important musical material from the Dies irae and Introitus can be found in it. There is a continuing dispute among musicologists whether Verdi added these details subsequently, or that they were originally present and gave birth and inspiration to the movements that followed.<\/p>{:}","post_title":"{:hu}Requiem{:}{:en}Requiem{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"requiem-2","to_ping":"","pinged":"","post_modified":"2019-12-11 11:00:30","post_modified_gmt":"2019-12-11 11:00:30","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/requiem-2\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]}],"muvek_feluldefinialasa":false,"muvekrol_reszletesen":true,"is_muvekrol_reszletesen_en":false,"kozr_szemelyek":[{"ID":86160,"post_author":"1","post_date":"2019-10-08 15:00:26","post_date_gmt":"2019-10-08 15:00:26","post_content":"","post_title":"{:hu}V\u00e1radi Marianna{:}{:en}Mariann V\u00e1radi{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"varadi-marianna","to_ping":"","pinged":"","post_modified":"2019-10-08 15:00:26","post_modified_gmt":"2019-10-08 15:00:26","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=86160","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}szopr\u00e1n{:}{:en}soprano{:}"},{"ID":87164,"post_author":"1","post_date":"2016-09-21 09:46:36","post_date_gmt":"2016-09-21 09:46:36","post_content":"{:hu}Ulbrich Andrea<\/strong> a Liszt Ferenc Zeneakad\u00e9mi\u00e1n v\u00e9gezte tanulm\u00e1nyait Andor \u00c9v\u00e1n\u00e1l. Karrierj\u00e9t a Magyar \u00c1llami Operah\u00e1zban kezdte, majd a d\u00fcsseldorfi Deutsche Oper am Rhein tagja lett. Olyan jelent\u0151s karmesterekkel dolgozott, mint Riccardo Chailly, Michael Gielen, Jun M\u00e4rkl, Pinchas Steinberg \u00e9s Marcello Viotti.{:}{:en}Andrea Ulbrich<\/strong> completed her studies at the Liszt Academy under \u00c9va Andor. She began her career at the Hungarian State Opera, before becoming a member of the Deutsche Oper am Rhein opera company in D\u00fcsseldorf. She has worked with an array of important conductors, including Riccardo Chailly, Michael Gielen, Jun M\u00e4rkl, Pinchas Steinberg and Marcello Viotti.\r\n

<\/div>\r\n \r\n\r\n \r\n\r\n {:}","post_title":"{:hu}Ulbrich Andrea{:}{:en}Andrea Ulbrich{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"ulbrich-andrea","to_ping":"","pinged":"","post_modified":"2020-03-05 09:53:12","post_modified_gmt":"2020-03-05 09:53:12","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=87164","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}mezzoszopr\u00e1n{:}{:en}mezzo soprano{:}"},{"ID":85934,"post_author":"1","post_date":"2017-07-23 09:20:31","post_date_gmt":"2017-07-23 09:20:31","post_content":"{:hu}

1998-ban m\u00e9g f\u0151iskol\u00e1sk\u00e9nt deb\u00fct\u00e1lt az Operah\u00e1zban, ahol a Boh\u00e9m\u00e9letben Parpignol, a Salom\u00e9ban az I. zsid\u00f3 szerep\u00e9t \u00e9nekelte. Volt m\u00e1r Gounod R\u00f3me\u00f3ja \u00e9s Faustja, Bellini Norm\u00e1j\u00e1ban Pollione, Az \u00e1larcosb\u00e1l Riccard\u00f3ja, a Rigoletto Hercege, az Otell\u00f3ban Cassio, Dohn\u00e1nyi Ern\u0151 A vajda tornya c\u00edm\u0171 oper\u00e1j\u00e1ban Tarj\u00e1n, Petrovics Emil C'est la guerre-j\u00e9nek Sz\u00f6kev\u00e9nye \u00e9s Erkel Hunyadi L\u00e1szl\u00f3ja. A fiatal magyar \u00e9nekesnemzed\u00e9k egyik legjelent\u0151sebb k\u00e9pvisel\u0151je 2005-ben deb\u00fct\u00e1lt az Egyes\u00fclt \u00c1llamokban, Detroitban, ahol Puccini Boh\u00e9m\u00e9let\u00e9nek Rodolf\u00f3j\u00e1t \u00e9nekelte. 2006 tavasz\u00e1n Toront\u00f3ban is nagy sikerrel mutatkozott be Bellini Norm\u00e1j\u00e1ban, June Anderson partnerek\u00e9nt. Orat\u00f3riumok \u00e9s egy\u00e9b koncertek sz\u00f3list\u00e1jak\u00e9nt sz\u00e1mos eur\u00f3pai \u00e9s amerikai nagyv\u00e1rosban \u00e9nekelt m\u00e1r, 2006 j\u00fanius\u00e1ban New Yorkban, a Carnegie Hallban l\u00e9pett fel Cherubini Mede\u00e1j\u00e1nak koncertszer\u0171 el\u0151ad\u00e1s\u00e1ban. 2006 m\u00e1rcius\u00e1ban a Nemzeti Kultur\u00e1lis \u00d6r\u00f6ks\u00e9g Miniszt\u00e9riuma Liszt Ferenc-d\u00edjjal t\u00fcntette ki.<\/p>{:}{:en}The tenor, born in 1973, began his singing career in 1998 as Lensky in Tchaikovsky's \"Eugene Onegin\" at the Debrecen Opera in Hungary. That same year he was a prize-winner at the International Singing Competition in Budapest and also a finalist in the 1999 Concorso Lirico Franco Corelli in Ancona. Since then, Attila Fekete, who graduated from the Franz Liszt Academy in Budapest in 2000, has been closely linked with the Hungarian State Opera. He debuted in the USA in 2005, and in June 2006 he sang at Carnegie Hall, New York, in a concert performance of Cherubini's Medea. In the same year he received the Ferenc Liszt Prize in Hungary.{:}","post_title":"{:hu}Fekete Attila{:}{:en}Attila Fekete{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"fekete-attila","to_ping":"","pinged":"","post_modified":"2020-04-22 10:44:22","post_modified_gmt":"2020-04-22 10:44:22","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=85934","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}tenor{:}{:en}tenor{:}"},{"ID":86446,"post_author":"1","post_date":"2017-05-31 06:17:47","post_date_gmt":"2017-05-31 06:17:47","post_content":"{:hu}Kov\u00e1cs Istv\u00e1n a Magyar \u00c1llami Operah\u00e1zban t\u00f6bbek k\u00f6zt Walter, Raimondo, Sarastro, A k\u00e9kszak\u00e1ll\u00fa herceg \u00e9s Don Giovanni szerep\u00e9t alak\u00edtotta.\u00a0 Vend\u00e9gm\u0171v\u00e9szk\u00e9nt a Berlini \u00c1llami Operah\u00e1zban, valamint a frankfurti, a torin\u00f3i, a palerm\u00f3i, a nizzai, a bordeaux-i \u00e9s a toulouse-i operah\u00e1zban l\u00e9pett fel. Orat\u00f3rium\u00e9nekesk\u00e9nt olyan egy\u00fcttesekkel szerepelt, mint A lipcsei Gewandhaus Zenekara, az Internationale Bachakademie Stuttgart, az Izraeli Szimfonikus Zenekar \u00e9s a New Japan Philharmonic.{:}{:en}He has also taken the stage as a guest artist at Staatsoper Berlin as well as the opera houses of Frankfurt, Turin, Palermo, Nice, Bordeaux and Toulouse. 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