You were on stage at the first festival already in 2001, conducting Verdi?s Requiem. As the leader and conductor of the Miskolc Symphony Orchestra since 1984, did you never have any doubts about the success of such a great undertaking?
Everyone had doubts at the beginning about how such a diverse programme could be presented and whether the concert halls would be filled every evening. But then the first festival had an amazing impact and it completely changed everyday life in Miskolc. Trams were given spectacular decorations, streets were flooded with men on stilts and comedians, concerts were performed day after day, and there were some additional smaller events. Some excellent performances were played to full houses and the city was filled with life. We musicians were truly pleased about that. The tentacles of the festival then reached further. First the cities of Miskolctapolca and Lillafüred joined in the events, then further places in the area joined and this resulted in an amazing number of events. The locals were very surprised to see that this could happen.
During the year, it?s not always possible to fill the concert hall and theatre. Did you every feel any envy because of this?
No because it?s obvious that more people are interested in the festival, not only the circle that would buy passes for the Symphony Orchestra?s concerts. New faces appeared in the lobby, not only the usual concert-goers, and many acquaintances or professionals came from Budapest. It was of course surprising that, in spite of the higher prices, the members of the public would buy more tickets but I think this was thanks to the festival?s atmosphere. During the year, all attention cannot be focused on the music every day. Locals also want to be part of Bartók+? and it is very good that there are concert series that actually get a response from them. Our orchestra has already managed to attract similarly bit interest at our New Year?s Day concerts which have become social events where people feel the need to be present. We now have to hold three such concerts in a row to satisfy all demands. But getting back to the festival, I try to go to as many performances as I can. For many years I used to work as the first conductor of the Radio Symphony Orchestra and during the Wagner Festival in Budapest, which almost coincided with the series in Miskolc, I had plenty of things to do and unfortunately did not manage to see everything. But it feels great to come out of the concert hall and find that instead of empty streets, there are rows of stands and the emblem of the festival is all over, and people wander and shop around. Even during the evening, one bumps into street musicians, passers-by discuss what they have seen and all this is organically linked to the festival. Miskolc shows a completely different face in June than in other parts of the year, ever since the first festival. Verdi was followed by Puccini whose magical orchestral colours were met with great success, similarly to Mozart?s in the third year. And audiences had a chance to applaud guest performances by renowned operas. After that it was more difficult to again create such a powerful series. I think partly because of this it was a good idea to return to Verdi this year.
But it?s sad news that the festival suffers from financial difficulties and some of the planned events had to be cancelled because of the budget cuts.
It would be an incredible loss if the festival could not be held next year. Over the years, the programme has become important even to those who never even watched a performance. The Miskolc locals are proud of Bartók+? and it isn?t true that anybody would ever have thought the money better spent on building more pavement. This year there will be fewer performances than originally planned but I hope no other cuts will be necessary.
This year you will conduct a Bartók piece, Bluebeard?s Castle, in the grand theatre and this will be the second time you show this piece at the festival. Did you happily accept this piece?
Yes, because I love this opera and have conducted it at a great many venues. It was very special the first time we played it at the festival, with Éva Marton singing in the role of Éva and Robert Hale in the role of the prince. It is usually festival director Tamás Bátor who brings up his ideas about which production I should be part of. At times I say yes right away and at other times I request another proposal after a few days. In this case I immediately said yes. What?s more, on June 12, the two singers will be Szilvia Rálik and Krisztián Cser, with whom I have worked many times but never in a Bartók opera.
From decades of festivals which one do you like to remember the most?
An evening of arias and songs with Éva Marton and Attila B. Kiss or the concert when a chorus with four hundred members was singings at an open-air event. The singers walked down from the stage and surrounded the audience. Another two memorable concerts were with singer László Polgár. Also because it was held at the new home of the orchestra, the House of Arts. We received the concert hall three years ago and its acoustics are excellent. Every piece sounds different in our concert hall than in the theatre. We make recordings here every year: Hungaroton has published our series of works by the Hungarian composers Dohnányi, Hubay, Weiner and Joachim. Almost all of them were world premieres and the French Diapason magazine gave us the Diapason d?or award for our recording of Leo Weiner?s Toldi in 2009. And we finished another Dohnányi album just a few days ago.
The festival is also important for the Miskolc Symphony Orchestra, considering that it plays more and more concerts every year.
We have been the core orchestra for the Bartók+? and we hope it stays that way. The festival poses increased demands on the orchestra because it plays three or four different pieces in ten days. We have to learn full operas and works that are different from our usual repertoire, and of course I do the preparatory work with the orchestra. We enjoy an exceptional position because we are ?only? a symphony orchestra, without any theatre obligations. I am convinced that this is the only way we can maintain the high quality of our work. But also because of this, the musicians are excited and look forward to seeing which new artists they can work with. Some of the guests are excellent conductors, soloists and singers with whom we may not meet outside of the festival. If our cooperation works well, then some of them will be invited by the orchestra again.
You are starting your 28th season heading the Miskolc Symphony Orchestra. Is it tiresome spending this much time with the same orchestra?
Indeed, it is like a marriage. There are conflicts every seven years but I feel that the emotions have survived considering that musicians get to regularly make a secret vote about who they want for their leader and I have always been elected so far. I became the leading conductor of the orchestra at age 27. I am thankful to them for the patience they had with me in the initial period. If one is willing to constantly learn and is able to develop, then the Beethoven symphony will always sound different even if repeated many times. I think the most important thing is to do meticulous work every day. From a musical point of view, I went through different stages over the years and from a technical point of view I learnt many different things from various people. We continuously shape each other with the orchestra, our cooperation enriching us in both directions. I am very glad when guest conductors praise the fast reactions of the orchestra and its high-quality work. Since I am omnivorous in music, I can appreciate any style from rock to world music, I am happy to play different styles next to each other, which makes our programme unique. For instance in the next season we?ll have a concert with the Hot Jazz Band. Perhaps it was partly because of this that all season tickets have been sold out. I have never been motivated by one grand purpose but by many small tasks. I am not making plans but all I want is that the next concert should always turn out well. Which is now Bluebeard?s Castle.
Interviewer: Zsuzsa Réfi / Photo: Bence Kovács
