Silence in the place of sound – but what in the place of silence? Remembering Dezső Tandori

He created an own universe, went on his own path, and after his poetry arrived to collective consciousness, no one could think the same old ways anymore.

Some Favourites of the Erdődy Orchestra – interview with Zsolt Szefcsik

Innovative spirit, rediscovery of forgotten pieces, playing at unusual places, contributing to Polish-Hungarian siblinghood: this is the Erdődy Orchestra.

Can physical theatre and circus visualize totalitarian dictatorship? – Alexander Vantournhout and the Red-Haired Men

It will work out very well in Trafó to awake feelings with the mere method of looking at people – says Alexander Vantournhout.

Music that shows you how deep can silence be – interview with James Wood

Rumi always returns us to the quiet, reflective state of Khamush in the final strophe – this is to allow ’the giver of speech to speak’.

Electra is a murderer in my view – says choreographer János Feledi

Characters stay the same, but we put them in contemporary situations. Swirling and flowing emotions will be easy to understand and feel.

Create your inner images – on the basis of sounds! – interview with drummer Julian Sartorius

I’m playing the piece with recordings doing one part and me the other. I’m alone on stage, but I’m not playing alone – says drummer Julian Sartorius.

In John Cage’s piece, the singer feels naked on stage – interview with opera singer Katalin Károlyi

Katalin Károlyi mezzosoprano will give the concerts Human Voice 2.1 and 2.2. The repertoire consists of three contemporary pieces of different kinds.

Did the Nazis put their hand on our arm forever? – director Oliver Zahn on the art history of the outstreched arm

The ‘outstretched arm‘ says a lot about how contaminated signifiers work, and the interconnections between art and politics in general – says Oliver Zahn.

Japanese lady found alternative ways that led to Hungarian composer – interview with Ryoko Aoki

After the concert, Toshio Hosokawa introduced me to Peter. He knew that I am Noh singer, he said “Please sing my piece Harakiri”.

Pope Francis receives a print by Lajos Vajda from the Ferenczy Museum Center

A Remembrance Mass in the Saint Peter’s Basilica, and artworks by Szentendre artists showcasted in streets surrounding the Campo di Fiori.

Great things are coming to the reconstructed Trafó next year – interview with director Beáta Barda

A system of multiannual support could sustain independent theatre groups – says Beáta Barda, executive director of the Trafó.

Traumas of the past come to light in the sordidest ways – interview with Kristóf Kelemen

“You could think agent network was a hidden and secretive organization, but actually it happened in front of public eyes, invisibly.”

The triplets who were 19 when they first met – interview with docu-director Tim Wardle

“When I showed them the finished film for the first time, and they loved it, there was the sense that I had delivered on my promise and that was great.”

Sliding metro doors changed his perception on art and reality – interview with Teun Vonk

“The culture of images might be harmful too. I want to make something where people can feel their body and they can focus on their physical existence.”

Europe through the eyes of a Finnish and a Hungarian girl – interview with Jenna Jalonen

“Language was the base idea, and we moved towards culture, stereotypes, isolation, communication” – Jenna Jalonen on the performance ‘Long Time No See!’

Why do musicians fear Rachmaninoff’s Piano Concerto No. 3?

“Rachmaninoff composed this peace to do whatever he wanted with the instrument he dominated. It was a demonstration of possibilities.”

These three films can profoundly change audience’s view on dance – interview with Gábor Pintér

They liberated dancers from following the rhythm, the tonality, or the structure of music; everything exists on its own in the same space and time.

Constant, Real-time Composition

Naturally, people have expectations and prejudices regarding such a famous piece, but the final result works in a way similar to jazz standards…

Temperamento Ungherese

Italian composers admired Verdi so much that no one dared to come after him. But Leoncavallo’s piece cries out for a symphony orchestra version…

Presenting All the Beauty of Vertical Dance

Strings will be important elements of the performance, both literally and metaphorically. We’d like the people in the audience to discover common threads…

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