Admin

Hungarian State Opera

Tenor

Zoltán Nyári

István

Mezzosopran (+6)

Andrea Meláth

Sarolt

Dirigent

Dirigent (+1)

István Silló

Regissör

Miklós Szinetár

Scenograf

Scenograf (+2)

Balázs Horesnyi

Kostym designer

Kostym designer (+1)

Rita Velich

Koreograf

Bertalan Vári

Dramaturg

Dramaturg (+2)

Eszter Orbán

Tolk

Tolk (+2)

Arthur Roger Crane

Körledare

Direktör (+5)

Nikolett Hajzer

Körledare (+7)

Gábor Csiki

Orchestra

Hungarian State Opera Orchestra

Sopran (+3)

Rita Rácz

Gizella

Baryton (+3)

András Káldi Kiss

Asztrik

Bas-baryton (+3)

Attila Dobak

Vecellin

Bas-baryton (+2)

Antal Cseh

Koppány

Tenor (+1)

Péter Balczó

Torda

Tenor (+2)

János Szemenyei

Laborc

Mezzosopran (+2)

Melinda Heiter

Réka

János Szerekován

Bese

Bas (+3)

András Kőrösi

Benjámin Beeri

First bard

Tenor (+3)

Gergely Ujvári

Second bard

Sopran (+4)

Lusine Sahakyan

Saman woman

Orsolya Bagosi

Boglárka

Sopran

Enikő Mentes-Soós

Enikő

Bas (+1)

Péter Fried

Gyászoló

Baryton (+4)

Dávid Tarnai

Pázmány

Zoltán Bátki Fazekas

First Narrator

Second Narrator

Eiffel Art Studios

Gabriella Rea Fenyvesi

Picur

Barnsångare (+4)

Vivienne Ortan

Pál Botond

Solt

Márió Matyó

Hont

Chorus

Choir of the Hungarian State Opera

Children's Choir of the Hungarian State Opera House

Ballet

Hungarian National Ballet

By far the most successful of the Hungarian crop of rock operas, ever since its original album release Stephen, the King has had not only symphonic features but has also been pervaded by the vocal, closed number structure characteristic of traditional operas, the presence of large tableaus, and instrumentation that gives the rock music universal perspectives. The poems for Levente Szörényi, who approached one of the fundamental stories in Hungarian history through Miklos Boldizsar’s play titled Ezredforduló (Turn of the Millennium), was written by his old co-author János Bródy. The Hungarian State Opera production staged the work with operatic instrumentation and opera singers in 2020. Thanks to the entirely symphonic score by composer Levente Gyöngyösi and the opera singers participating in the production, the work completely sheds the need for amplification, allowing new treasures to be discovered in the interpretation of Miklós Szinetár,  the doyen of Hungarian directors.

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