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.”
Interview
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…
They forgot that Hitler and Eichmann were also Austrians
After Waldheim was elected, big discussions started. Nowadays, nobody would call Austria a victim of the war. The history books changed.
Branford Marsalis: Playing with Sting for four years was a great experience
“Working with singers, you have to understand that you are in a support role. Now that we are a quartet again, we use that experience to support each other.”
Twenty-two students join professional musicians at the Classical Chill Out concert
Students on stage, students in the audience. A cool experience of classical music, mostly (but not exclusively) for young people…
Tomoki Sakata: I admire Liszt and Hungary is my all-time favorite
Péter Dobszay and the Szeged Symphony Orchestra, Müpa, 24 February 2019, 7:30 pm Thinking about he is only 26 and…
It’s not about you in the music, it’s about music in yourself
She answers the phone and I’m astonished how beautiful her voice is. I can imagine her leading a meditation group…
Why did Gilbert Varga decide to sign a contract with the Pannon Philharmonic? – video
Gilbert Varga, the British conductor with Hungarian roots, found his way “back home” last February when he performed in Hungary….
Even the conductor was outraged because of my blonde wig – interview with Karine Babajanyan
The Land of Smiles, Müpa, 1 February 2019, 7 pm We caught the incredibly nice opera singer, Karine Babajanyan, for…
The way we play this instrument is like conducting a whole orchester
“I found it fantastic that every organ is different, you can hear completely new sounds, hundreds of years of music is awaken, and there are all these historical organs, still working today, all around the world…”
She heard Jerusalem’s stones crying out to her to sing
“I am the result of the most beautiful mixture and this mixture is the fountain from which I create.” Yasmin Levy on her father, the Sephardim, Jerusalem and the sacredness of music.
Seven-year-old Nina cried when she found out she was Serbian and not Croatian
The Croatian movie Srbenka received The Human Rights Film Award of the Verzió 15 International Human Rights Film Festival in Budapest. We interviewed the director Nebojša Slijepčević.
We strive for a life with six hours of work per four days a week
In The Limits of Work, journalist Saša Uhlová used hidden camera to find out some of the ugly truths of work.
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