Organization

Dirigat

Szabolcs Kulcsar

Krisztián Kálló

Regie

Emese Szabó

Bühnenbild

Ralph Zeger

Kostümbild

Choreographie

Melinda Jakab

Chordirektion

Endre Ferenczi

Sándor Barabás

Faculty Director Maestru de cor

Correpetitor Corepetitor

Gergő Nagy

Katalin G. Incze

Head of staff The musical of the Corului de Copii

Sänger

Bariton

Csaba Sándor

Háry János

Mezzosopran

Veress Orsolya

Örzse

Székely Zsejke

Mária Lujza

Adam Jon

Emperor Francis / Napoleon / Judge

Sprechrolle

Judit Hary

Ferenc császár

Tenor

Lóránt Madarász

Ebelasztin lovag

János Szilágyi

Uncle Marci / Pubmaster

Elek Gergely

Student / Hungarian syllables / Lakáj / Strázsa / Dufla general

Zsombor Rétyi

General Krucifix, Burkus silbak

Lívia Antal

Countess Melusina

Éva Ádám

Báróné star

Others

Children's Choir of Cluj-Napoca

Opera Maghiară din Cluj-Napoca

Háry János, op. 15

Klausenburg

Rumänien

Opera Romana Cluj-Napoca

Háry János Kodály

Public

Genehmigt

Zoltán Kodály: Háry János
Maganénekes / solist: Sándor  Csaba

The song by János Háry Zoltán Kodály, originally composed of five adventures, presented at the Hungarian State Opera House in 1926. The significance of the play lies primarily in the fact that it introduced Hungarian folk songs to Hungarian theaters.

Kodály in János Háry is practically the folk lyrical song play of the 19th century. He created the Hungarian counterpart as a 19th century genre. He knew that folk songs in their original closed form could only be used in the form of such song games, all other genre experimentation would lead to a style break. In addition, it had to be reckoned that for the urban audience of the time, folk songs could be linked to the past: they could not have imagined singing and speaking in this way today, but it was very conceivable in the 19th century. century. And folk song playing was a very popular entertainment genre in the West in this century. Despite appearances, Kodály composed János Háry in a very modern genre. Even contemporary criticism has drawn attention to the fact that János Háry is as much a community art as Kurt Weill's song plays. He used the usage music of many in the author and anti-Wagnerian, that is, neoclassical: he followed the aesthetics before the Wagnerian musical drama. However, it is very different from modern urban song playing because it did not process the urban utility music of the time, but the musical lyric of an ideal crowd, the people. Hence, it is not primarily critical but idealistic.

All the melodies of János Háry are of folk origin, except for the verbunkos style interlude. The musical material of this was provided by a piece from Gáti's piano school, published in 1802, from the craft of claving from coke. The verbunk theme in modern orchestration exudes a contemporary feel, as does the vibrant recruiter. A very well-executed instrumentation characterizes the chimes and the music of the battle against Napoleon. The harmony world of the work is rich in humorous, humorous ideas, the application of surprising turns and tones. The music that painted the court march very imaginatively does not show what the Viennese court was like at the time, but how a Hungarian peasant saw it.

However, Kodály's strongest side is not the grotesque orchestral representation, but the lyrical tone of the vocal parts. The imaginative selection of musical material lists all types of choral compositions. The folk songs, which are simply or richly orchestrated, give a very good musical description of the performers. Court people usually do not sing Hungarian-style songs, while all foreign melodies are far from Hungarian characters. Mária-Lujza sings a song with an minuet slope, while Örzse sings an old Hungarian folk song. The world of the fairy tale and fantasy is framed by the reality music of the foreplay and the epilogue. The special feature of the music is that it is fundamentally symphonic, close to a purely musical world of form. This type of solution is very rare for stage works.

English

Háry János, op. 15 by Kodály, Ab (2022/2022), Unter der Regie von Emese Szabó,, Dirigat Szabolcs Kulcsar, Krisztián Kálló, Opera Romana Cluj-Napoca, Klausenburg, Rumänien

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