„Beau Is Afraid” Review: Ballad of the Wounded Man-Child

Antonio Castrignanò: Babilonia is traditional music, not from the past but the future

Sándor Márai compared the sea to a mother’s womb

Roberta Gambarini: suddenly I was there, hanging out with James Moody

About Gods and Heroes: the most popular Wagner works in the Müpa

Studio 11 is 60 years old – interview with Gyula Tóth

Bartók meets ska: PASO launches its new album!

What childhood fear fantasies did Ligeti have…?

Neptune Frost: Open Your Soul and Dare to Give In

Inside: Is No Man an Island or Every Man an Island?

After Yang Review: There Is No Something Without Nothing

Mísia – and her melancholic, brooding, passionate fado

You might see Martin Grubinger on stage for the last time

Bea Palya welcomes Estonian Mari Kalkun to Hungary

Ivan Repušić: I Lombardi and Nabucco are twin plays – an interview

Ferenc Szijj and the little man lost in the intricate system

Did Borodin really write Prince Igor?

Frau Holle is a children’s opera this time

A wise woman gives up her younger love for the heiress

Adams and Durante: musicians of deep emotions

Strauss’ Zarathustra absorbs you completely

Ligeti 100: “Music as frozen time, as an object in imaginary space”

Composer Benjámin Eredics evokes Hungary in Ottoman times

From East to iLand: history of a Hungarian progressive rock band