BFO season booklet 2019–2020 by Budapesti Fesztiválzenekar

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Budapest Festival Orchestra 2019â&#x20AC;&#x201C;2020

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Greeting Ivรกn Fischer and the BFO Concerts Chamber music On tour BFO cares Support Concert calendar Season and single tickets

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Ivรกn Fischer

Greeting

I would like to extend a warm welcome to each member of our audience as we present the outstanding programme we have prepared for the upcoming season. Our lineup will once again include an opera production: the first masterpiece of music literature, Monteverdi’s La favola d’Orfeo, written in 1607. Orpheus learned about the musical arts directly from the muses, and all of us follow in his footsteps. According to the teachings of Orphism, the soul has divine origins but, held in bondage by the human body, must migrate from one life to the next. The liberation of the soul from this cycle is the objective of enlightenment and, within that, of music. Many trace the origins of the mysteries of Dionysus to Orpheus. Later, however, the prominent singer left this community so devoted to wine and ecstatic love, and prescribed an ascetic lifestyle for his disciples. For this, wild and drunk Maenads ripped Orpheus to shreds, tossing his head and emblematic instrument, the lyre, into the river. The lyre, however, continues to ring out to this day, along with Orpheus’s song. We hope to see as many of you as possible at our concerts! You will hear a number of outstanding soloists, including the extraordinarily creative Patricia Kopatchinskaja, known for forging her own path among violinists, or the refined Vilde Frang, poetic in her musicality. I am very much looking forward to the concert where we will once again perform Mahler’s Symphony No. 5, with which the composer transitioned to a new style and his mature art began to evolve. Come to our Concertino series for a chance to see the musicians of the Budapest Festival Orchestra personally as soloists. And join us in spirit for a journey to the West Coast of the United States, where we finally return to the Hollywood Bowl after 20 years. I wish all of you joyful and uplifting musical experiences! Iván Fischer

The orchestra

Iván Fischer made his dream come true when he founded the Budapest Festival Orchestra in 1983 together with Zoltán Kocsis. From the very beginning, the ambition of the ensemble has been to share music of the highest quality and to serve the community in the most diverse ways. The BFO is rated among the top ten orchestras in the world. The orchestra regularly performs at the most important concert venues of the international music scene, including Carnegie Hall and the Lincoln Center in New York, the Musikverein in Vienna and the Royal Albert Hall in London. They have repeatedly been invited to perform at international festivals such as the Mostly Mozart Festival, the Salzburg Festival and the Edinburgh International Festival. The BFO has won two Gramophone Awards. It was nominated for a Grammy in 2013 for its recording of Mahler’s Symphony No. 1 and won the Diapason d’Or and the Italian Toblacher Komponierhäuschen prize for its recording of Mahler’s Symphony No. 5 in 2014. The BFO received the Association of Music Critics of Argentina’s award for Best Foreign Symphony Orchestra in 2016. The BFO’s innovative concerts, such as the Autism-friendly Cocoa Concerts, Surprise Concerts, and musical marathons, are well known around the world. The Midnight Music concerts attract young adults, while the Dancing on the Square project integrates disadvantaged children. The orchestra promotes free Community Weeks and co-produces the Bridging Europe festival with Müpa Budapest.

Iván Fischer conducts and directs the Budapest Festival Orchestra’s opera productions. These have been invited to the Mostly Mozart Festival, the Edinburgh International Festival and the Abu Dhabi Festival. The Marriage of Figaro was ranked first on the New York Magazine list of the best events in classical music in 2013 . The Vicenza Opera Festival, founded by Iván Fischer, was inaugurated in the autumn of 2018. 6

Iván Fischer

Iván Fischer is the founder and Music Director of the Budapest Festival Orchestra. He is an honorary conductor of Berlin’s Konzerthaus and Konzerthausorchester. In recent years he has also gained a reputation as a composer, with his works being performed in the United States, the Netherlands, Belgium, Hungary, Germany and Austria. He has directed a number of successful opera productions, and, in 2018, founded the Vicenza Opera Festival. The Berlin Philharmonic have played more than ten times under Fischer’s baton, and he also spends two weeks every year with Amsterdam’s Royal Concertgebouw Orchestra. He is a frequent guest of the leading symphony orchestras in the US as well. As Music Director, he has led the Kent Opera and the Opéra National de Lyon, and was Principal Conductor of the National Symphony Orchestra in Washington, D.C. He is considered one of the most successful orchestra directors in the world. The BFO’s frequent worldwide tours, and a series of critically-acclaimed and fast-selling records, have contributed to Iván Fischer’s reputation. Many of his recordings have been awarded prestigious international prizes. Fischer is a founder of the Hungarian Mahler Society and Patron of the British Kodály Academy, and is an honorary citizen of Budapest. He has received the Golden Medal Award from the President of the Republic of Hungary, and the Crystal Award from the World Economic Forum for his services in promoting international cultural relations. The government of the French Republic made him Chevalier des Arts et des Lettres, proclaiming him a Knight of the Order of Art and Literature. In 2006, he was honoured with the Kossuth Prize, Hungary’s most prestigious arts award. In 2011, he received the Royal Philharmonic Society Music Award, Hungary’s Prima Primissima Prize and the Dutch Ovatie Prize. In 2013, he was granted Honorary Membership to the Royal Academy of Music in London. In 2015, he was presented with the Abu Dhabi Festival Award for Lifetime Achievement, and in 2016 he won the Association of Music Critics of Argentina’s award for Best Foreign Conductor.

BFO musicians Violin Asztalos Bence Berentés Zsuzsanna Biró Ágnes Bodó Antónia Bujtor Balázs Czenke Csaba Czirók Györgyi Eckhardt Violetta leader Gál-Tamási Mária Gátay Tibor Gulyás Emese Haják Krisztina Hrib Radu Illési Erika Iván Tímea principal Jász Pál Kádár István Kostyál Péter Kovács Erika Lesták Bedő Eszter Lezsák Zsófia Major Tamás leader Molnár Noémi Mózes Anikó Oláh Gyöngyvér Pilz János principal Selmeczi Gábor Sipos Gábor Szabó Levente Szefcsik Zsolt Szlávik Zsuzsanna Takácsné Nagy Gabriella Tuska Zoltán Viola Bányai Miklós Bodolai Cecília Bolyki László Csoma Ágnes principal Fekete Zoltán Gábor Ferenc principal Gálfi Csaba principal Juhász Barna Polónyi István Rajncsák István Reinhardt Nikoletta Yamamoto Nao

Cello Dvorák Lajos Eckhardt Éva Háry Péter Kertész György Liptai Gabriella Mahdi Kousay Markó György Mód Orsolya Sovány Rita Szabó Péter principal Double bass Fejérvári Zsolt principal H. Zováthy Alajos Kaszás Károly Lajhó Géza Lévai László Magyar Csaba Martos Attila Sipos Csaba Flute Bánki Berta Jóföldi Anett Nagy Bernadett Pivon Gabriella principal Varga Fruzsina Oboe Berger Márta Berta Beáta Nehil Durak Johannes Grosso principal Eva Neuszerova Clément Noël principal Philippe Tondre principal Clarinet Ács Ákos principal Csalló Roland Szitka Rudolf Bassoon Andrea Bressan principal Patkós Sándor Tallián Dániel Horn Bereczky Dávid Nagy Zsombor Szabó András Szőke Zoltán principal

Trumpet Csikota Gergely Czeglédi Zsolt principal Horváth Bence Pálfalvi Tamás Póti Tamás Tóth Balázs Tóth Zoltán Trombone Szakszon Balázs principal Sztán Attila Wagner Csaba Tuba Bazsinka József Harp Polónyi Ágnes Timpani Dénes Roland Percussion Fábry Boglárka Herboly László Kurcsák István Pusztai Gábor Szente Gáspár Keyboards Báll Dávid Dinyés Soma Nagy László Adrián Budapest Festival Orchestra’s academists Emma Gibout (violin) Rosa Hartley (violin) Sophia Mockler (violin) Nathalie Loughran (viola) Sinead O’Halloran (cello) Naomi Shaham (double bass) Gordon Fantini (bassoon) Mees Vos (horn) Diego Valls Ortega (tuba) Boris Boudinov (percussion) Valentin Jousserand (percussion, timpani)

Concerts

Bridging Europe Italy in the spotlight

In recent years, six countries and regions have taken centre stage at the Bridging Europe festival. Luckily, the European family where, to quote Iván Fischer, “every person is equally important, everybody is equally valuable, and everyone has the same opportunities,” is very large. The new season also starts off by richly introducing a member of this family. Each year since 2013, the festival has been organised jointly by the Budapest Festival Orchestra and Müpa Budapest. The first nation to be covered in the series was the Czech Republic, followed by Germany, Austria, France and Spain. Most recently, the programme featured works by composers from Poland and the Baltic countries, while this year’s festival will introduce Italy, the birthplace of several art forms and genres. Famed for its Baroque maestros and Romantic opera composers, the country gained new musical momentum in the 20th and 21st centuries, providing the world with many composers of intriguing and diverse styles. That’s precisely why this year’s festival will also give a taste of Italian early music, opera, the music of 19th century hit makers and contemporary Italian composers, in addition to exhibitions and a wide range of world music, jazz, dance, literature and movie events. The season will start with an unconventional opera production: Monteverdi’s genre-defining L’Orfeo, with an ending reworked by Iván Fischer. We will also cross borders by the musical pieces of the two greatest Italian composers of the 20th century, Ottorino Respighi and Luciano Berio. As for modern music, the works of Giacinto Scelsi, Giovanni Sollima and Niccolò Castiglioni open us to a world that is extraordinary yet familiar, exotic yet homey. The organisers of Bridging Europe believe that there is a great need to facilitate meetings between the peoples of Europe, and that understanding and enjoying one another’s cultures is the perfect means of strengthening friendship.

Bridging Europe Monteverdi Fischer

September 18 + 20 Müpa Budapest, Béla Bartók National Concert Hall 18th Wednesday 19:45 Doráti 20th Friday 19:45 Solti

Claudio Monteverdi: La favola d’Orfeo Emőke Baráth (Euridice, La Musica) Valerio Contaldo (Orfeo) Michal Czerniawski (Pastore, Speranza) Cyril Auvity (Pastore, Spirito) Francisco Fernández-Rueda (Pastore, Spirito) Peter Harvey (Pastore, Plutone) Núria Rial (Ninfa, Proserpina, Baccante) Antonio Abete (Caronte, Spirito) Luciana Mancini (La Messagiera, Baccante) costumes: Anna Biagiotti choreography: Sigrid T’Hooft director: Iván Fischer conductor: Iván Fischer

Iván Fischer premieres a new production each year with his opera company. This season, it will be Monteverdi’s first opera, L’Orfeo. The piece is often called La favola d’Orfeo (The Tale of Orpheus) because this is the original title under which the audience of Mantua first encountered the masterpiece at its 1607 premiere. Its ending, too, was different than the finale widely known today. The original libretto had the opera ending not with the descent of benevolent Apollo, and Orpheus’s transport to the heavens, but with a wild bacchanalia and the killing of the titular hero. We will be staging this original version, with Iván Fischer’s reconstruction of the missing musical part. The creators of last year’s successful performance of Falstaff will be responsible for this production as well; after Budapest, audiences will have the opportunity to see it in in Vicenza and Geneva. Soloists will include singers from the world over, with the Hungarian Emőke Baráth and the Italian Valerio Contaldo featured in the main roles. The dancers are working with choreographer Sigrid T’Hooft, one of the foremost experts of Baroque steps, who has supported the orchestra’s performances of early music for years. Iván Fischer published his thoughts regarding L’Orfeo in a series of blog posts shared on his Facebook page. He is fascinated above all by the figure cast by this mysterious and magical mythological singer, and the role this cult character played in the years of transition between the Renaissance and the Baroque. He describes how Platonic love clashes with those devoted to worldly pleasures, and why he ultimately chose to perform the first Renaissance version of the piece.

Ivรกn Fischer

Luciano Berio: Folk Songs

September 22–23

Johann Sebastian Bach – Ottorino Respighi: Nun komm, der Heiden Heiland, BWV 659

Müpa Budapest, Béla Bartók National Concert Hall 22nd Sunday 15:30 Reiner 23rd Monday 19:45 Solti

Franz Schubert – Luciano Berio: Rendering

Ottorino Respighi: Pines of Rome Nora Fischer (mezzo-soprano) conductor: Iván Fischer

Bridging Europe Schubert Berio Bach Respighi I. Fischer N. Fischer

The greatest Italian symphonic composers of the 19th and 20th centuries, building bridges between nations, periods and styles, in concert with the singer Nora Fischer, Iván Fischer’s world-renowned daughter. The Bridging Europe festival, in addition to L’Orfeo – performed with Iván Fischer’s own ending – will also introduce audiences to Luciano Berio’s and Ottorino Respighi’s takes on early music. The programme will feature these interpretations as well as original works by the two composers. An original work … Rendering could also be called that, for even though it builds on Schubert’s sketches, Berio’s piece is far more than a reinterpretation. Notes produced by the Austrian composer prior to his death suggest a symphony No. 10 was in the works; spiced with Berio’s music, however, they provide the foundations of an exciting and vibrant piece bridging periods. Folk Songs brings together nations: from the Americans and the Armenians to the French, Italians and the Azeris. The eleven songs showcase a total of nine languages or dialects. The song cycle, which was composed to match the abilities of the outstanding singer of the day, Berio’s first wife, Cathy Berberian, will be performed this time by the extraordinarily colourful Nora Fischer. Moving adroitly between styles and languages, the vocally multifaceted Fischer has been called a fitting successor to Berberian by the composer Louis Andriessen. The Bach choral interpretation “Come Now, Saviour of the Heathen” has been reworked by many over the centuries, including the Italian impressionist composer Respighi, who transformed Bach’s choral prelude into an orchestral piece. “Roman Triptych” is Respighi’s best-known work. Its second piece, in four movements, describes the pines of Rome at various times of day, around the city. The richly arranged music includes an organ and a celesta, with the nightingale’s song reproduced by a phonograph in the third movement.

Bridging Europe Scelsi Sollima Castiglioni Volkov Sollima

September 26–27 Müpa Budapest, Festival Theatre 26th Thursday 19:45 Doráti A 27th Friday 19:45 Doráti B

Giacinto Scelsi: Elohim Giovanni Sollima: „Terra con variazioni” for cello and orchestra Giacinto Scelsi: Natura renovatur Niccolò Castiglioni: Inverno In-ver (eleven musical poems for small orchestra) Giovanni Sollima (cello) conductor: Ilan Volkov

Italy in the 20th and 21st centuries: float and shiver in the concert hall, where Giovanni Sollima will take the stage as both composer and soloist. Giacinto Scelsi composed these two pieces during the same creative period, which he spent experimenting with the possibilities in a single musical note. Scelsi, playing with images of notes and using quarter-note inflections, creates a feeling of floating while working with all of the note’s possible components: he is the “master of the smallest possible transition”. In his piece Elohim, the musicians – including a string quartet, a violin duo and a group comprised of two violins and two cellos – are seated in various places around the stage; an amplifier is sometimes used to boost the violin-cello ensemble. Natura renovatur (Nature Renewed), on the other hand, relies on the entire string section, bringing the unique sounds of the piece closer in line with more traditional arrangements. The “post-minimalist” Giovanni Sollima will also bring his unique sound: he is not afraid to mix elements of jazz or even rock with orchestral music. He composed the earth-theme of his Terra con variazoni for the 2015 world expo in Milan. Each in this string of variations relies on the one preceding it, taking the listener further and further from the point of departure until finally the music breaks free entirely of its original boundaries. It is difficult to translate the play on words in the title “Inverno In-ver”: Niccolò Castiglioni’s modern yet harmonic and story-like music, played mostly in the higher registers, brings to life the various – real and inverted – faces of winter (inverno), from frost flowers to silence and death. The title of the last movement is a saying attributed to Saint Francis de Sales: “Noise does no good; good makes no noise.” This evening’s concert will be conducted by an ambassador of modern music, a “conductor of great sensitivity”: Ilan Volkov of Israel.

Ilan Volkov

Haydn Mozart Takács-Nagy Bavouzet

October 04–05 Liszt Ferenc Academy of Music, Grand Hall 04th Friday 19:45 Ormándy 05th Saturday 15:30 Reiner A

Joseph Haydn: Symphony No. 20 in C major, Hob. I:20 Wolfgang Amadeus Mozart: Piano Concerto No. 9 in E-flat major (“Jeunehomme”), K. 271; Symphony No. 36 in C major (“Linz”), K. 425 Jean-Efflam Bavouzet (piano) conductor: Gábor Takács-Nagy

“Whenever I play Haydn or Mozart with the Budapest Festival Orchestra, I feel like I become younger,” says Gábor TakácsNagy, who this year continues interpreting the limitless symphonic creations of the two masters, this time featuring the expert piano solo of Jean-Efflam Bavouzet. The conductor for the evening considers the music of Haydn and Mozart medicine for the soul, which he says cured his elderly mother of a serious illness several years ago. He says that no matter how blue he may feel, these two composers have the ability to brighten his mood and even raise his spirits. “There is an incredible amount of positive energy and vitality in both of them,” says Takács-Nagy, who has been drawn to the two composers since his childhood. It is this joy of life that the two symphonies on the programme, both composed in bright C major, will exude, along with Mozart’s piano concerto. Haydn sneaked a touch of mischief into the majority of his symphonies. In the case of his Symphony in C major, this is a trick of form: both sections of the two-part finale are types of miniature sonata. Of course, this is a special joy only the most trained ears will detect and appreciate; the composer did this mostly to entertain himself. Mozart also included a touch of novelty in his Piano Concerto in E-flat major, which was (erroneously) named “Jeunehomme” after a woman called Victoire Jenamy. Early in the overture, the piano descends impatiently upon the orchestra, while in the other two movements, the composer makes us feel like we are listening to an opera. The soloist for the evening will be the French Jean-Efflam Bavouzet, the last musician to be discovered by Georg Solti and a protégé of György Cziffra. He is a return guest of the BFO. “Because I do not have a single symphony with me, I shall write a new one in a hurry,” Mozart told his father when, recently married and travelling with his wife from Salzburg to Vienna, he spent a night and gave a concert in Linz. This is how the symphony “Linz” came to be, which, despite the rush, turned out to be a colourful, entertaining and smart piece.

Jean-Efflam Bavouzet

Lahav Shani

Sergei Prokofiev: War and Peace – overture, Op. 91 Pyotr Tchaikovsky: Violin Concerto in D major, Op. 35 Sergei Prokofiev: Romeo and Juliet - suite, Op. 64a and 64b (excerpts)

November 07–08–09 Liszt Ferenc Academy of Music, Grand Hall 07th Thursday 19:45 Doráti A 08th Friday 19:45 Széll 09th Saturday 15:30 Reiner B

Prokofiev Tchaikovsky Shani R. Capuçon

Renaud Capuçon (violin) conductor: Lahav Shani

Three works which at one time were banned, but today are recognised as some of the most famous pieces of music in the world. Two guest performers who have played from an early age with some of the greatest masters. An unforgettable evening of Russian music. What a half century ago was considered unplayable from a technical perspective is today part of the standard repertoire. Tchaikovsky’s violin concerto was deemed too difficult by the intended soloist Leopold Auer, and the commissioning theatres were put off by Prokofiev’s opera and ballet music. The opera entitled War and Peace, composed in 1941–1942, is based on Tolstoy’s world-famous novel and is nearly four hours long. The two-part piece divides the story into themes of peace and war. The beautiful overture, rich in melodies, evokes peace: it is both heroic and lyrical. Escaping to the countryside from his disastrous marriage and following a suicide attempt, Tchaikovsky rediscovered his creative powers in Clarens, Switzerland. He sketched out the violin concerto over the course of 11 days in 1878, and then completed it in two weeks. Adolph Brodsky ended up playing the solo at the premier, but some years later the originally intended soloist, Leopold Auer, also performed the piece. This evening, Renaud Capuçon, the former concertmaster of Claudio Abbado, will play what is perhaps the most famous and most difficult violin solo in the world under the direction of Israeli conductor Lahav Shani, himself only 30 years old. The ballet music to Romeo and Juliet is one of the richest in themes among Prokofiev’s works. Denied a premier, the composer reworked the various movements of his ballet into three suites so that his melodies could still reach audiences. The suites, exceptionally rich in character to begin with and colourful in their arrangement, lent themselves to an exciting selection which, in addition to the famous love theme, will also feature joyful dance and grievous mourning.

Dvořák Beethoven Fischer Leonskaja

November 21–22–23 Müpa Budapest, Béla Bartók National Concert Hall 21st Thursday 19:45 Solti 22nd Friday 19:45 Doráti 23rd Saturday 15:30 Reiner

Antonín Dvořák: Legend in D minor, Op. 59/1; Slavonic Dance No. 2, Op. 46/2; I Will Not Say – chorus for mixed choir, Op. 29, No. 3 Ludwig van Beethoven: Concerto No. 4 in G major, Op. 58 / Concerto No. 5 in E-flat major (“Emperor”), Op. 73 Antonín Dvořák: Symphony No. 7 in D minor, Op. 70 Elisabeth Leonskaja (piano) conductor: Iván Fischer

The Dvořák-Beethoven series continues! Elisabeth Leonskaja, a former duet partner of Sviatoslav Richter, is one of the great masters of the piano. She will perform two Beethoven piano concertos over three days with the Budapest Festival Orchestra. First up from Dvořák will be the opening piece of the Legends, promising clear blue skies. His Slavonic Dances are often mentioned as a partner to the Legends. Of the eight pieces written in the spirit of Czech folk music, each is built around its own melodies; the concert this evening will feature No. 2. Dvořák’s choral works for mixed choir are seldom heard in concert; following their success last year, the orchestra will perform one of these, entitled “I Will Not Say”. The first part of the concert will conclude with a Beethoven piano concerto. Elisabeth Leonskaja made her debut as a soloist at the age of 11 with Beethoven’s Piano Concerto No. 1. She will now choose from No. 4 and 5 at her three concerts. While the two pieces – both dedicated to the composer’s friend and patron, Crown Prince Rudolf – were written just a few years apart, one important change took place in the interim period: Beethoven lost his hearing. The composer was able to play the solo in his Piano Concerto No. 4, but was never able to hear No. 5 as performed by his student, Czerny – in all likelihood the reason he gave up composing piano concertos. Ignoring the rules of the period, both pieces begin with a solo piano, the first ones to do so in the history of music. Many say Symphony No. 7 is Dvořák’s finest piece of music. After hearing Brahms’s Symphony No. 3, the composer decided to return to the genre following a hiatus of five years. “There is not a single superfluous note in the work,” he wrote to his publisher. The piece features heated Czech political passions, together with the composer’s peaceful, harmonious love for his homeland. The slow movement represents Dvořák’s mourning of his mother, who had recently died, and of his eldest daughter, who passed away at an early age.

Elisabeth Leonskaja

Vilde Frang

Gerald Finzi: The Fall of the Leaf, Op. 20 Johannes Brahms: Double Concerto in A minor for violin and cello, Op. 102 Hector Berlioz: Fantastic Symphony, Op. 14 Vilde Frang (violin) Truls Mørk (cello) conductor: Mark Elder

December 12–13 + 15 Müpa Budapest, Béla Bartók National Concert Hall 12th Thursday 19:45 Solti 13th Friday 19:45 Doráti + Midnight Music 23:30 15th Sunday 15:30 Reiner

Finzi Brahms Berlioz Elder Frang Mørk

Vilde Frang and Truls Mørk together on stage, and Gerald Finzi’s debut with the Budapest Festival Orchestra – conductor Sir Mark Elder returns to lead the orchestra for an exciting and diverse concert. The event will mark the first ever Hungarian performance of The Fall of the Leaf by British composer Gerald Finzi, an artist rarely featured in Hungary and known primarily for his choral work. Finzi survived both World Wars and fled from the noise of the city to the countryside, turning to apple growing. His elegy evokes the all-encompassing sadness which is typical of his oeuvre, as well as sombre lyricism and pastoral peace. The Fall of the Leaf was intended to be part of a chamber symphony, but was ultimately completed as a stand-alone piano duet and later as a symphonic piece. “I was struck with the amusing idea of writing a concerto for violin and cello,” Brahms wrote to Clara Schumann. The purpose of writing the double concerto was to reconcile with his estranged old friend, the violin virtuoso Joseph Joachim. The piece, with the cello melody symbolising Brahms and the violin melody Joachim, achieved the desired effect. The two characters, engaging in dialogue, found harmony with one another both in the music and in life. This concert will feature two Norwegian soloists: the “absolutely enchanting” Vilde Frang, and Truls Mørk, who The Strad says “enthralls the audience from the first to last note.” The conductor for the evening, the British Sir Mark Elder, who is also music director of the Hallé orchestra in Manchester, describes his own style of conducting (with some self-deprecation) simply as “sweaty”. He will take on another perspirational task in the second half of the concert. Berlioz’s five-movement Fantastic Symphony is romanticism’s first successful answer to Beethoven’s symphonies. Accompanied by a voluminous programme, Berlioz’s piece was inspired by the composer’s own failure in love. The idolised woman is symbolised by a leitmotif which is encountered in various forms in each movement.

Christmas concert – audience choice programme Fischer

December 26 Budapest Congress Center 26th Thursday 19:45 conductor: Iván Fischer

“There was a moment when it seemed an angel passed through the hall,” wrote a member of the audience after the BFO’s christmas concert last year. Another commenter said the performance was “the best Christmas present”. Iván Fischer will bring the same gift this year, and while the packaging may be familiar, the contents are always unknown, never boring, and always determined by the wishes of the audience. The members of the Festival Orchestra are the most multifaceted musicians in Hungary – and perhaps in the world. Apart from being outstanding orchestral musicians, they also perform in chamber formations of the highest quality and often appear before the audience as soloists. They approach Baroque, classical and contemporary music with the same level of professionalism, and are also no strangers to jazz or folk music. They know everything there is to know about their own instruments, and are able to enchant and capture the attention of everyone from children who are complete newcomers to music to seasoned aficionados of the classics. They also hold their own as a choir, so their musical toolbox is, in a word, simply unlimited. Just as Iván Fischer’s ideas, creativity and enthusiasm know no limits. The purpose of the christmas concert is to allow the audience to share in all these miracles. This is an evening where anything can happen. The audience will have a role in determining the programme, so the concert will be custom-tailored to its listeners. Of course, there will also be surprises in store, which Iván Fischer will handle. As he puts it: “This concert is like a wrapped gift, as when a child announces ahead of time what they would like for Christmas, but at the same time, of course, they also want to be surprised.” At this concert, the audience will get both. The holiday concert will also mark an anniversary: the BFO made its debut at the Liszt Academy at Christmas in 1983, which was when the Grand Hall became available. It is through this coincidence that perhaps the orchestra’s most beautiful tradition was born, which continues to bring warmth to the hearts of music lovers year after year during the holiday season.

Ivรกn Fischer

Vivaldi Cohen Baráth Reinhold Sherratt

January 10–11 Liszt Ferenc Academy of Music, Grand Hall 10th Friday, 19:45 Ormándy 11th Saturday, 19:45 Széll

Antonio Vivaldi: La Senna Festeggiante, RV 693 Emőke Baráth (soprano) Anna Reinhold (alto) Brindley Sherratt (bass) artistic leader: Jonathan Cohen

British master of Baroque music and a return conductor of the Festival Orchestra, Jonathan Cohen, will use Vivaldi’s clever, storylike piece to show how international diplomacy worked in the 18th century. La Senna Festeggiante (The Celebrating Seine) is by far the best of Antonio Vivaldi’s three surviving serenatas from what we believe was a total of eight pieces. Composed for an instrumental ensemble with three vocal soloists, the two-part piece runs just shy of ninety minutes. It was composed in 1726 in hopes of creating an alliance joining nations. Venice, whose army was rather modest in size, was in need of the support of larger powers, which is how certain French elements seeped into the clearly identifiable Italian musical style, and also why Vivaldi pays homage in the piece to the 16 -year-old Louis XV with an almost embarrassing enthusiasm. The piece’s tremendously simple theme, which employs only positive, allegorical characters – Louis’s positive characteristics – was written, along with the lyrics, by Domenico Lalli, who was the librettist for several of Vivaldi’s operas. According to the story, Virtue and The Golden Age meet on the shores of the Seine to ponder the horrors of the world. The river speaks to them and takes them in, and the three characters then sing praises to Louis’s greatness. Vivaldi’s music, however, elevates this awkward lobbying to great heights. The arias, alternately describing the flow of the river or the storm, are expressive. The vocal melodies are instrumentally challenging, the duets are lyrical and the instrumental solo arrangements are clever. In addition to the French elements (such as the overture of the second part), Vivaldi also relied heavily on his earlier works, and the results are in many places better than the original. The piece, rarely performed in Hungary, will feature Emőke Baráth alongside the Festival Orchestra. Baráth also sang in the piece’s 2012 Hungarian premiere.

Jonathan Cohen

Beethoven Schumann Janowski Beilman

January 19–20 Müpa Budapest, Béla Bartók National Concert Hall 19th Sunday 15:30 Reiner 19th Sunday 19:45 Doráti 20th Monday 19:45 Solti

Ludwig van Beethoven: Violin Concerto in D major, Op. 61 Robert Schumann: Symphony No. 2 in C major, Op. 61 Benjamin Beilman (violin) conductor: Marek Janowski

The king of violin concertos and the musical embodiment of healing – Marek Janowski, one of the foremost conductors of the German musical repertoire will lead the BFO’s performance of masterpieces from Beethoven and Schumann. A returning guest conductor for the Budapest Festival Orchestra, the German conductor of Polish heritage will take the stage with two pieces that are traditional in form yet musically exceptional. First up will be Beethoven’s only violin concerto. The piece – like many other well-known violin concertos – was written in D major, perhaps the most comfortable key for this solo instrument, and is 45 minutes in length, taking up the entire first half of a concert. It was commissioned by Franz Clement, who would regularly drop in on the composer to make sure the work was progressing properly. Clement played the solo at the 1806 premiere, sight-reading the music without a single rehearsal with the orchestra. With its musical obstacles demanding great technical expertise and its deeply sensual lyricism, the piece is doubly challenging for the violinist. Benjamin Beilman, however, who despite his young age is at home across a wide variety of styles and has played some of the grandest violin concertos of music literature, is a guarantee of quality. He will use a 1709 Stradivarius named “Engleman”. Schumann’s Symphony No. 2 takes a cue from Beethoven, but primarily evinces the influence of Bach. And no wonder, since Schumann, along with his wife Clara, did in-depth research into the Baroque master’s style, and he learned from Beethoven how to paint a musical path from grim darkness to heroic light. When he began to compose the piece in C major – which premiered with Mendelssohn conducting the orchestra – Schumann was at an all-time low of physical and mental health, and was plagued by mood swings, memory problems and tinnitus. Still, upon hearing Schubert’s symphony in C major (“The Great”) he began composing, and by the time he reached the finale, he had discovered positive musical notes offering the hope of healing.

Marek Janowski

Vivaldi Handel Bach Mozart Pilz Gálfi Juhász Pivon Á. Polónyi

January 25–26 Italian Cultural Institute 25th Saturday 19:45 Ormándy 26th Sunday 15:30 Reiner A

Antonio Vivaldi: Concerto in G minor for two violins, cello and strings, RV 578 Georg Friedrich Handel: Concerto Grosso in D major, HWV 323 Johann Sebastian Bach: Brandenburg Concerto No. 6 in B-flat major, BWV 1051 Wolfgang Amadeus Mozart: Symphony No. 4 in D major, K. 19; Concerto in C major for flute, harp and orchestra, K. 299 Csaba Gálfi (viola) Barna Juhász (viola) Gabriella Pivon (flute) Ágnes Polónyi (harp) leader: János Pilz

The Budapest Festival Orchestra is full of musicians with the characteristics of a soloist. Meet them at our Concertino series that continues this season as well. The first half of the evening will feature three Baroque concerto grossos – works in which a smaller ensemble will engage in musical dialogue with a larger group. Antonio Vivaldi published twelve concert pieces as part of the series L’estro armonico (The Harmonic Inspiration) in 1711. The Concerto in G minor, following Venetian traditions, should be a work in three movements, but the slow introduction has grown into its own movement at the beginning of the piece. Handel’s Op. 6 Concerti Grossi series also includes a dozen pieces. The composer borrowed liberally from his peers or from himself, which we can hear in his kaleidoscopelike concerto in D major. Bach’s Brandenburg Concerto No. 6 is unique in that it employs only low pitched string instruments. In fact, the viola da gamba, generally used to play the melody, is relegated to a simple accompaniment part, while the typically restrained viola is promoted to the lead role. Observers suggest that the piece represented Bach’s critique of the social order. Following the intermission, the spotlight will be on Mozart, who was on a concert tour of Europe with his father and sister when he wrote his first symphonies. Just nine years old, he met Johann Christian Bach in England, whose impact can be detected in the works of the young composer genius from this period. Mozart was 22 years old when he wrote the closing piece. The double concerto was commissioned in Paris by a flautist prince and his daughter, a harpist; this combination, as well as the fragile lyricism of the piece, makes it unique in Mozart’s oeuvre, despite the fact that he is said to have disliked both instruments.

ร gnes Polรณnyi

Beethoven Marathon Fischer

February 02 Müpa Budapest, Béla Bartók National Concert Hall Müpa Budapest, Festival Theatre 02nd Sunday 10:30 – 22:00

A joint event by Müpa Budapest and the BFO artistic director: Iván Fischer

“There is no rule which one cannot break for the sake of beauty,” Beethoven said. Fortunately for us, he did break quite a few rules, thus becoming one of the best-known composers in the world. The Budapest Festival Orchestra and Müpa Budapest will once again celebrate this giant among composers, 250 years after his death, with a full-day joint marathon. Iván Fischer, too, will break a rule of sorts: never before in the 13 year history of the marathons has the same composer been featured in the programme series more than once. After Tchaikovsky, Bach, Bartók, Mozart, Schubert, Dvořák, Stravinsky, Mendelssohn and Schumann, Brahms, Bernstein, and Debussy and Ravel, Beethoven will once again be the central figure of the event. His diverse and abundant oeuvre includes enough musical material for several marathons, but the BFO hopes the audience won’t be bothered if, after a decade, the marathon also includes some of Beethoven’s popular works. “Duality” is a word that is expressive for many reasons when talking about Beethoven’s art. Not when it comes to quality, of course, but definitely in terms of periods: the composer, who lived at the turn of the 18th and 19th centuries, is considered a representative of Viennese Classicism, although his work reaches well into the Romantic era. He employed traditional genres and forms, but often transgressed their boundaries. He behaved unpredictably, and with his mood swings would punish the nobility that supported him, or even his closest friends. This extreme range of emotions is present in a number of his compositions, which is what makes his music so genuine, honest and free. The marathon will feature performances by prominent soloists, symphony orchestras and chamber music ensembles of the Hungarian musical community. Through the concerts and the screenings, everyone will have the chance to leave reality behind for a full day and immerse themselves in the phenomenon that comes closest to divinity: music.

Ludwig van Beethoven

Mahler Fischer Romberger

February 15–16–17

Gustav Mahler: Kindertotenlieder; Symphony No. 5 in C-sharp minor

Müpa Budapest, Béla Bartók National Concert Hall 15th Saturday 19:45 Doráti 16th Sunday 15:30 Reiner + Midnight Music 23:30 17th Monday 19:45 Solti

Gerhild Romberger (mezzo-soprano) conductor: Iván Fischer

While the BFO’s highly successful series, the Mahler Fest, came to a close in 2013 to be replaced by the Bridging Europe festival, Iván Fischer – the founder of the Hungarian Mahler Society – continues to spotlight the master’s works on a regular basis. This time, he will guide us on a journey from death to love and the desire to live. In 1901 following a serious illness, Gustav Mahler began to compose music with surprising speed. Despite his desires to create and to live, the majority of the pieces he composed in this period, including the two works on the programme this evening, explore the topic of death. The songs kicking off the concert were composed for lyrics written by Friedrich Rückert. The author was attempting to cope with the death of his two children by writing 428 poems; Mahler set five of these poems to music composed for solo voice and chamber ensembles. When he completed the cycle, the pieces of which form an indivisible whole, he did not yet know that he was to lose his own daughter one year later. The songs, evoking an unhappy sunrise, death reflected in the eyes of children, the emptiness of the most mundane activities and the hazy hope of undoing the past, lead ultimately to acceptance, expressed in a bright major-key arrangement. The concert will feature mezzo-soprano Gerhild Romberger, a return guest of the BFO, as the orchestra’s soloist. Mahler’s marriage with Alma Schindler brought unprecedented positive energy to the composer’s life. Symphony No. 5, which begins in a minor key, moves up a semitone to a major key for the finale. While this was the first work of Mahler’s for which he did not write a text programme, the score includes a number of symbolic instructions. Divided into three parts, Mahler’s five-movement piece includes a funeral march, a storm, a dance, a confession of love to his wife – the Adagietto is one of his most recognised pieces of music – and a light-hearted finale. “An absolute must-hear,” wrote one critic of the BFO’s 2013 recording of the same symphony – and we feel confident the same will hold true of this concert.

Ivรกn Fischer

Jordi Savall

Matthew Locke: The Tempest – incidental music Jean-Féry Rebel: Les éléments – suite Marin Marais: Alcyone Suite No. 4 (“Airs pour les Matelots et les Tritons”) Antonio Vivaldi: Violin Concerto in F minor (“Winter”), RV 297 Georg Philipp Telemann: Water Music (“Hamburg ebb and flood”), TWV 55:C3

March 06–07–08 Liszt Ferenc Academy of Music, Grand Hall 06th Friday 19:45 Ormándy 07th Saturday 19:45 Széll 08th Sunday 15:30 Reiner B

Locke Rebel Marais Vivaldi Telemann Savall

conductor: Jordi Savall

Jordi Savall is a living legend and an uncrowned king of early music. At his concert with the Budapest Festival Orchestra’s Baroque ensemble, he will spotlight and praise tempests, thunder and water using the energy and astonishing methods we have come to expect of him. For centuries, artists have been fascinated by the depiction of storms. This concert will provide a glimpse into the numerous ways in which the theme was addressed in the Baroque, using examples of English, French, Italian and German music, and genres ranging from opera to dance accompaniment to purely instrumental music. Matthew Locke, one of the most significant English composers of the 17th century, wrote music for a period opera based on Shakespeare’s The Tempest. Just before the curtain rises, the shockingly powerful music instantly bears down on the audience with full force. Similarly, Jean-Féry Rebel makes an impression with the very first notes of his suite about the elements and creation, which seems to point the way forward to Haydn. He depicts chaos by using the daringly dissonant sound of all the notes of the scale at the same time, which leads to the creation of order in a single note. “I have spent my entire professional career since 1965 delving deeper and deeper into the world of the Baroque through the music of Marin Marais,” Savall has said. His opera Alcyone, written about sailors and gods, culminates in a storm at sea, and so does the suite based on it. The raging of nature also plays a key role in Vivaldi’s The Four Seasons cycle. On this occasion, the Winter part of the series, which contains programme titles and sonnets, will be presented, showcasing everything from the motionless frost to destructive storms. The concert will conclude on a more peaceful note with Telemann’s Water Music, also known as “Hamburg ebb and flood”. The festive, ten-movement suite pays tribute to water and describes gods and natural wonders.

Miklรณs Lukรกcs

Péter Eötvös: da capo György Ligeti: Cello Concerto Steve Reich: Pulse Lukas Ligeti: Surroundedness Miklós Lukács (cimbalom) Miklós Perényi (cello) conductor: Zoltán Rácz

March 09 Budapest Music Center 09th Monday 19:45 Széll

Eötvös Gy. Ligeti Reich L. Ligeti Rácz Lukács Perényi

Starting over, pulsations, pattern recognition and two legends, Miklós Lukács and Miklós Perényi: a concert for those open to exciting modern sounds and the works of the greatest artists alive today – all this, expertly conducted by Zoltán Rácz. First on the programme will be Péter Eötvös’s da capo (“from the beginning”), whose leitmotif is, fittingly, a repeated start. The melodies borrowed from Mozart’s sketchbook are quickly joined by the sounds of the 21st century, not least of all thanks to a selection of instruments unusual in classical music. The cimbalom solo was inspired by one of the most-employed cimbalom players in the world, Miklós Lukács, who will once again perform it himself this evening. “Miklós Perényi is like a force of nature,” Eötvös has said, and it is just this elemental force and richness in colour that is required for György Ligeti’s Cello Concerto, which rounds out the first half of the concert. It has been called an anticoncerto because of the unusual relationship between the soloist and the orchestra. The two-movement piece, performed without an intermission, starts out with an almost imperceptibly quiet “pppppppp” sound, which grows louder and then disappears again at the end of the piece. Steve Reich’s Pulse also features similarly sensitive, but far more frequent pulsations. Completed in 2015, the work is a juxtaposition of continuously pulsating winds and strings, against a piano coupled with a bass guitar that stands out in sound, without sounding out of place. According to the composer, this is a “calmer, more contemplative piece”. The concert will conclude with the piece Surroundedness, by György Ligeti’s son, the percussionist and composer Lukas Ligeti. The work begins with unexpected musical booms, and brings effects usually reserved for electronic music to real instruments. Focusing, the listener will find beautiful and logical orchestral parts in what at first appears to be intentionally murky music, as suggested by the title of the piece, borrowed from Gestalt psychology.

R. Strauss Sibelius Mahler Fischer Kopatchinskaja

March 19–20–21 Müpa Budapest, Béla Bartók National Concert Hall 19th Thursday 19:45 Solti 20th Friday, 19:45 Doráti + Midnight Music 23:30 21st Saturday 19:45 Széll

Richard Strauss: Der Rosenkavalier – Waltz Sequence No. 1 Jean Sibelius: Violin Concerto in D minor, Op. 47 Gustav Mahler: Adagio from Symphony No. 10 in F-sharp major Richard Strauss: Till Eulenspiegels lustige Streiche Patricia Kopatchinskaja (violin) conductor: Iván Fischer

One of the highlights of the season promises to be a real sensation. Funny, playful and deeply dramatic, it features as soloist Patricia Kopatchinskaja, who has taken the violin world by storm. “The sweeping joy of the opening waltz sequence of Der Rosenkavalier showcased all the BFO’s fortes,” wrote one critic of an earlier performance of the orchestra. Richard Strauss’s own selection from his opera, combining waltzes of Der Rosenkavalier into a single concert piece, is a joy to play for every section, owing to its magical arrangement. Jean Sibelius’s only concerto offers similar variety in its melodies. “I have great themes for the violin concerto,” the composer wrote about his piece-in-progress. The current version was conducted at the premiere by none other than Strauss. Sibelius, who had trained to be a violinist and truly knew the instrument, composed one of the most comfortable, yet most challenging, solos for the violin in the history of music. Iván Fischer described the violinist of the evening, Patricia Kopatchinskaja, as “an enterprising and exciting woman, with unbounded imagination”. According to Bachtrack, she is incapable of giving a boring performance, and the Berner Zeitung simply calls her “Madam 150 percent”. After the intermission, the orchestra will perform the first movement of the unfinished Symphony No. 10 by Gustav Mahler, who dreaded the curse of the ninth. His finished Adagio, composed in 1911, the same year Der Rosenkavalier was written, has the same meditative, tragic tone as Symphony No. 9 and is something of a swansong. The concert will conclude with the merry pranks of Till Eulenspiegel, as told by Strauss in his symphonic poem. Arranged like a rondo, the adventures are linked by two unmistakable Till-motifs. These continue to echo even after the death of the title hero, suggesting that épater le bourgeois is eternal.

Patricia Kopatchinskaja

Stanley Corelli Vivaldi Mozart Britten Pilz Kertész Szőke

April 04–05 Italian Cultural Institute 04th Saturday 15:30 Reiner A 05th Sunday 15:30 Reiner B

John Stanley: Concerto for Strings in D minor, Op. 2, No. 4 Arcangelo Corelli: Concerto Grosso in D major, Op. 6, No. 1 Antonio Vivaldi: Cello Concerto in A minor, RV 419 Wolfgang Amadeus Mozart: Horn Concerto No. 3 in E-flat major, K. 447 Benjamin Britten: Simple Symphony, Op. 4 György Kertész (cello) Zoltán Szőke (horn) leader: János Pilz

The second BFO concert in this year’s Concertino series, featuring music from Corelli to Britten, will spotlight horn player Zoltán Szőke and cellist György Kertész in the spirit of virtuosity, intimacy and clarity. English, Italian and Austrian music, various periods and musical schools, and special solo instruments: the closing concert of our chamber music series will deliver the usual diversity. The first half of the concert will introduce three faces of the Baroque concerto. First up will be a piece by John Stanley, the outstanding 18th century organist-composer who lost his eyesight as a child. The piece reflects the influence of Corelli and Handel, yet its musical seasoning is decidedly English: it is characterised by festiveness, a light touch of melancholy and density. In terms of concert pieces, Corelli was the greatest role model of his time. His Op. 6 series, comprised of concerto grossos, made it fashionable for two violins and one cello to sit across from the orchestra. Vivaldi, however, followed the Venetian example: his cello concerto – unlike Corelli’s piece in five movements – has three movements and is simpler in form and more soloistic. The concert continues with a piece composed much later: Mozart’s Horn Concerto No. 3. Mozart composed all four of the concert pieces he wrote for the horn between 1783 and 1791 while in Vienna, for the horn player Joseph Leutgeb. The light-hearted comments found in the sheet music attest to a friendly relationship between the two, while the score itself points to an expert musician. Benjamin Britten dedicated his music to his viola teacher. In 1933, at the age of twenty, he decided to revisit the eight dance themes he had composed as a child. He arranged them into pairs, leading to the birth of the four-movement Simple Symphony. The titles of the movements are alliterative: Boisterous Bourrée, Playful Pizzicato, Sentimental Sarabande and Frolicsome Finale.

György Kertész

Haydn Mozart Takács-Nagy Gringolts

April 17–18 Liszt Ferenc Academy of Music, Grand Hall 17th Friday 19:45 Doráti B 18th Saturday 19:45 Ormándy

Joseph Haydn: Symphony No. 59 in A major (“Fire”), Hob. I:59 Wolfgang Amadeus Mozart: Violin Concerto No. 5 in A major, K. 219 Joseph Haydn: Symphony No. 99 in E-flat major, Hob. I:99 Ilya Gringolts (violin) conductor: Gábor Takács-Nagy

Who could get tired of the warmth-exuding music of Haydn and Mozart, the energetic conducting of Gábor Takács-Nagy, or the sound of Ilya Gringolts’s Stradivarius? No one could. The first movement of Haydn’s Symphony No. 59 explodes like fire. The piece was performed in the Esterházy Court between the acts of Gustav Friedrich Grossman’s play The Fire; the symphony was nicknamed “Fire” only then, in the 1770s, many years after it was completed. In any event, the title of the piece, theatrical and filled with surprising changes in dynamics and arrangement, is rather fitting. Words cannot express our gratitude to the New York City cab driver who in 2008 returned the Stradivarius he found on the back seat of his car to its owner. Known as Kiesewetter, the instrument today is played by the Russian Ilya Gringolts, a former student of Itzhak Perlman and the first violinist of the Gringolts Quartet. This time he will use the instrument to perform the solo of Mozart’s final violin concerto, No. 5. Mozart bade farewell to the genre when he completed the piece in late 1775, just shy of his 20th birthday. In addition to the apparatus and the key, the operatic character also connects the piece to Haydn’s Fire symphony, with the solo violin behaving at times like a prima donna. Also known as “Turkish,” the concerto ends with a finale that truly does evoke Turkish, or perhaps even Verbunkos or other Hungarian, motifs. After the intermission, the BFO will be joined by timpani as well as a sizable wind section, necessary to perform Haydn’s Symphony No. 99. For the composer, accustomed to private concerts in royal courts, England’s capital and the paid concerts performed for the public were a tremendous experience. He composed this piece in 1793 for his second hugely successful tour in London, while at the same time paying tribute to his friend Marianne von Genzinger, who had passed away not much earlier.

Gรกbor Takรกcs-Nagy

Rachmaninoff Sibelius Kitayenko Son

April 24–25 + 27 Müpa Budapest, Béla Bartók National Concert Hall 24th Friday 19:45 Solti 25th Saturday 19:45 Doráti 27th Monday 19:45 Ormándy

Sergei Rachmaninoff: Piano Concerto No. 2 in C minor, Op. 18 Jean Sibelius: Symphony No. 2 in D major, Op. 43 Yeol Eum Son (piano) conductor: Dmitri Kitayenko

A piano concerto that helped Rachmaninoff recover from depression. A symphony that made Sibelius successful throughout Europe. An expert in interpreting both composers, and a pianist playing even the most difficult concert pieces. The BFO brings them all together. Important events took place in 1901 across the musical world: Rachmaninoff completed his Piano Concerto No. 2, and Sibelius set to work on his Symphony No. 2. Both works represented breakthroughs for their composers. The former helped Rachmaninoff give up alcohol and break free from his depression caused by a failed premiere, and the latter brought Sibelius wide acclaim throughout Europe, something no other Nordic composer had achieved before. Conducting both pieces this time will be the 80-year-old Russian conductor Dmitri Kitayenko, who has already produced multiple award-winning recordings of symphonies by both composers. “Marvellous, intense and boundlessly virtuosic,” wrote one critic of the South Korean Yeol Eum Son. The Times described the young pianist, the BFO’s soloist for the first half of the concert, as “a model of clarity and fleetness”. All of these qualities are necessary for Rachmaninoff’s Piano Concerto No. 2, which the composer performed himself at the piece’s premiere. The work is dedicated to Rachmaninoff’s physician Nikolai Dahl, who through hypnotherapy supported him in writing the concerto. The sessions worked: the composer recovered from his depression once and for all. Sibelius began to ponder his Symphony No. 2 under entirely different circumstances, while on a peaceful excursion in Italy. This is the last work in which the composer clearly pays tribute to classical forms and the greatest of his predecessors. The building blocks of small motifs, the uninterrupted transition between the final two movements and the solemn finale all evoke Beethoven.

Yeol Eum Son

Dancing on the Square Fischer

June Budapest

“The Dancing on the Square project can play an important role in the life of an entire generation, imparting positive values to the adults of tomorrow.” Sándor Zwack In 2020, for the sixth time, Iván Fischer and the Budapest Festival Orchestra will stage a free open-air concert in early summer where hundreds of young people can dance together in the heart of Budapest, all before an audience of several thousand. Dancing on the Square, however, is about far more than just music and dance. It teaches us that no matter how different we may be, we are able to create something truly uplifting together when we accept and respect one another. Over the last five years, we have shared the values of this project with nearly 2000 children. Participating young people work together for months towards a shared goal, while the BFO works to ensure that the communities taking part become as closely knit as possible and boost their social abilities. They encounter classical music, and through the regular dance rehearsals and the performance in Budapest, they come to believe in themselves, their values, skills and strengths. We partner with participating schools in the effort to include as many children as possible, whether Roma or non-Roma, disadvantaged or more privileged. In addition to the weekly dance rehearsals, we organise regional meetings and workshops for them. “Kids who were involved in the project became totally different people. Their horizons were broadened and their confidence boosted. A whole new world opened up for them,” we were informed by the György Dózsa Elementary School in Apátfalva. At the school in Edelény, where only Roma children with multiple disadvantages attend, they asked the participants why they were looking forward to the concert. Getting straight to the point, the children said: “Because it’s great, so great!” Need we say more?

December 13th Friday 23:30 Castle Garden Mark Elder

February 16th Sunday 23:30 Castle Garden Iván Fischer

March

20th Friday 23:30 Castle Garden Iván Fischer

Midnight Music Elder Fischer

“I had never heard the Budapest Festival Orchestra prior to my first midnight concert, but I knew they are a special institution. This was confirmed on that night, and since then I have moved on from the beanbag chairs to the concert halls as a regular attendee of their concerts. But what makes Midnight Music so great? You get to listen to music while sitting inside the best hi-fi system in the world. It is an unrivalled experience!” Botond Békési, a member of our audience Some prefer listening to music at night. At the Midnight Music concerts, beginning at 23:30, audiences enjoy classical music from a new perspective with unique acoustics, lounging on beanbags right near our musicians in a relaxed and informal atmosphere. “I wanted to find a time for the concert when parents and grandparents would not be able to make it, because they would be in bed already. This helps young people feel like the performance is intended for them. They are among friends, and it is fun to sit on beanbags and among the musicians. The format is appealing to the younger generation,” says Iván Fischer. The Midnight Music concerts are for the open-minded who enjoy getting to know our artists under unusual circumstances and, of course, are night owls. In addition to a beautiful, high-quality classical performance, the audience is also provided with short, insightful and entertaining introductions to the pieces. For those who have never heard the BFO perform live, this is the perfect opportunity to get to know our world-renowned ensemble. Instruments are but an arm’s length away as you are embraced by the music – a perfect setting even for a date.

Chamber music

Sunday chamber music

2019 September 15

BFO Rehearsal Hall, 17:00

Wahlund, Debussy, Shostakovich, Schönberg

Dauprat, Schumann

Ben Wahlund: Pegasus Claude Debussy: Danse – Tarantelle Styrienne (arr. by Aurél Holló for percussion) Dmitri Shostakovich: String Quartet No. 8, Op. 110 (arr. by Mark A. Popkin for wind quintet) Arnold Schönberg: Verklärte Nacht, Op. 4 Emese Gulyás, violin Péter Kostyál, violin Zoltán Fekete, viola István Polónyi, viola György Kertész, cello Kousay Mahdi, cello Fruzsina Varga, flute, piccolo Beáta Berta, oboe, English horn Roland Csalló, clarinet Dániel Tallián, bassoon Dávid Bereczky, French horn Boglárka Fábry, percussion László Herboly, percussion István Kurcsák, percussion Ádám Maros, percussion

November 10

BFO Rehearsal Hall, 17:00

Louis François Dauprat: Horn Sextet in C major, Op. 10, No. 1 Robert Schumann: Piano Quintet in E-flat major, Op. 44 Tímea Iván, violin Noémi Molnár, violin Barna Juhász, viola Péter Szabó, cello Dávid Bereczky, horn Balázs Borbély, horn János Keveházi, horn Zsombor Nagy, horn András Szabó, horn Zoltán Szőke, horn Dávid Báll, piano

Chamber music

Sunday chamber music

2020 March 15

May 10

May 31

BFO Rehearsal Hall, 17:00

Shostakovich, Bartók, Webern, Mozart

Holborne, Arnold, Pinto-Correia, Nagle, Tchaikovsky

Fauré, Brahms

Dmitri Shostakovich: Five Pieces for two violins and piano (arr. by Lev Atovmyan) Béla Bartók: Contrasts Anton Webern: Slow Movement for string quartet Wolfgang Amadeus Mozart: Piano Quartet No. 1 in G minor, K. 478

Anthony Holborne: Elizabethan Dances Malcolm Arnold: Brass Quintet No. 1, Op. 73 Andreia Pinto-Correia: Puppet Theatre Paul Nagle: Jive for Five Pyotr Tchaikovsky: String Quartet No. 1 in D major, Op. 11

Ágnes Biró, violin Antónia Bodó, violin Balázs Bujtor, violin Mária Gál-Tamási, violin Anikó Mózes, violin Barna Juhász, viola István Polónyi, viola György Kertész, cello Gabriella Liptai, cello Roland Csalló, clarinet Mária Kovalszki, piano Emese Mali, piano Benjámin Perényi, piano

Antónia Bodó, violin Noémi Molnár, violin Csaba Gálfi, viola Gabriella Liptai, cello Zoltán Szőke, horn Tamás Póti, trumpet Zoltán Tóth, trumpet Balázs Szakszon, trombone József Bazsinka, tuba József Bazsinka Jr, tuba László Herboly, percussion

Gabriel Fauré: Élégie, Op. 24; Piano Trio in D minor, Op. 120 Johannes Brahms: Clarinet Quintet in B minor, Op. 115 Eszter Lesták Bedő, violin Zsuzsanna Szlávik, violin István Rajncsák, viola Kousay Mahdi, cello Orsolya Mód, cello Zsolt Fejérvári, double bass Ákos Ács, clarinet Rudolf Szitka, clarinet Ágnes Polónyi, harp Zoltán Fejérvári, piano

Chamber music

Music of the future – contemporary chamber music

Back to nature – chamber music on period instruments

2020

January 12

February 08

BFO Rehearsal Hall, 17:00

Lutosławski, Kurtág, Gubaidulina, Csíky, Penderecki, Kovács, Schoenfield

Leclair, Bach, Kusser, Capricornus, Werner, Monteverdi, Frescobaldi, Strozzi

Witold Lutosławski: Mini Overture for brass quintet György Kurtág: The Little Predicament, Op. 15b Sofia Gubaidulina: Garden of Joy and Sorrow Boldizsár Csíky: String Quartet No. 3 Krzysztof Penderecki: Duo Concertante for violin and double bass Zoltán Kovács: “-3” Paul Schoenfield: Trio for violin, clarinet and piano

Jean-Marie Leclair: Sonata in G major for two violins, Op. 3, No. 1 Johann Sebastian Bach: Trio Sonata in G major, BWV 1038 Johann Sigismund Kusser: Overture (from the series Composition de musique suivant la méthode françoise) Samuel Capricornus: Domine Jesu Christe (from the collection Opus Musicum) Gregor Joseph Werner: Februar (from the series Musikalischer Instrumental-Kalender) Johann Sebastian Bach: Sonata for Viola da Gamba in G major, BWV 1027 Claudio Monteverdi: Quel sguardo sdegnosetto Girolamo Frescobaldi: Se l’aura spira Barbara Strozzi: Hor che Apollo (from the edition of Arie a voce sola), Op. 8, No. 3 Unknown composer: Ciaccona di Paradiso e dell’Inferno

Violetta Eckhardt, violin Mária Gál-Tamási, violin István Kádár, violin Noémi Molnár, violin György Fazekas, viola Csaba Gálfi, viola Lajos Dvorák, cello Zsolt Fejérvári, double bass Anett Jóföldi, flute Berta Bánki, piccolo Ákos Ács, clarinet Zoltán Szőke, horn, flugelhorn Tamás Póti, trumpet Zoltán Tóth, trumpet Balázs Szakszon, trombone Attila Sztán, trombone József Bazsinka, tuba László Herboly, percussion András Csáki, guitar Ágnes Polónyi, harp Emese Mali, piano

Éva Bodrogi, soprano Nóra Tatai, soprano Emese Gulyás, baroque violin Péter Kostyál, baroque violin Eszter Lesták Bedő, baroque violin Gyöngyvér Oláh, baroque violin János Pilz, baroque violin Zsolt Szefcsik, baroque violin István Polónyi, baroque viola Rita Sovány, viola da gamba György Kertész, baroque cello Gabriella Liptai, baroque cello Csaba Sipos, baroque double-bass László Herboly, percussion Gábor Tokodi, lute Soma Dinyés, harpsichord Augusztin Szokos, harpsichord, organ Judit Varga, harpsichord

On tour

Together in the world

“The sense of an orchestra actually enjoying themselves, wanting to communicate this joy as directly as possible, the generosity and talent and spirit of it all is quite overwhelming,” said one enthusiastic review following the BFO’s performance at the BBC Proms. Listening to the Budapest Festival Orchestra, journalists often turn to expressions such as “perfect” or “one-of-a-kind”. We are regularly invited to return to some of the most prestigious concert venues in Europe and the USA. In addition to our audiences demanding encore after encore at the end of each of our performances, they often don’t want to let the orchestra leave the stage. Wherever we go, we are always able to surprise our audiences by showing them that we are more than just an orchestra: our musicians are also quite skilled as a choir! “Someone who was playing the viola a minute ago is now standing next to the flautist. And then they begin to sing, without instrumental accompaniment, in perfect clarity, letting their outstanding soprano voices ring out. (…) Amazing!” wrote a critic for the Süddeutsche Zeitung. One of the highlights of this year’s season is our return, for the first time since 1998, to the Hollywood Bowl. We will perform at the Lincoln Center in New York twice, and we will also be return visitors to the Elbphilharmonie in Hamburg and the Barbican in London. We are delighted to be on tour again with András Schiff, and to return to one of Belgium’s largest and most renowned classical music event series, the Klarafestival. The Vicenza Opera Festival, founded in 2018 by Iván Fischer, continues: in addition to opera performances, we will also be giving community chamber music concerts. We want everyone to be able to enjoy the music of the BFO! Therein lies the incredible power of our orchestra, able to speak to any audience. Together, as a community, we are at home everywhere. Orsolya Erdődy Deputy Managing Director

Vicenza Opera Festival

The Iván Fischer Opera Company and the Budapest Festival Orchestra kicked off the Vicenza Opera Festival in Italy with outstanding success in October 2018. The international audience at the Teatro Olimpico was enchanted by the ensemble’s performance of Verdi’s Falstaff, and by a gala concert at the festival, which was conceived and founded by Iván Fischer. The breathtaking building, designed by Andrea Palladio and listed as a UNESCO World Heritage site, is the oldest Renaissance theatre still in use anywhere in the world. As Iván Fischer puts it, “this is one of Europe’s most remarkable treasures. It is a place that takes us back to our roots.” The Festival Orchestra’s musical director established this festival for the world’s opera fans with the hope of enriching the diversity of international festivals in Europe. In his direction, Fischer seeks a flawless, organic harmony between theatre and music, ensuring neither supersedes the other. In the first year, the festival drew audiences from nine countries, and their support provided the funding for the performances. The event, featuring some of the world’s best singers and costume designers in collaboration with the Budapest Festival Orchestra, offers a real alternative to international opera trends, with a repertoire encompassing all opera genres ranging from the Baroque to modern. Following Falstaff, Iván Fischer brings a Baroque opera to the stage in 2019: Claudio Monteverdi’s piece, La favola d’Orfeo. The BFO will also perform an orchestral concert at the Teatro Olimpico, and for the first time will bring its chamber music ensemble to perform at schools, nursing homes and hospitals in Vicenza. As with their Community Weeks in Hungary, this allows those who cannot make it to the festival’s main events to experience the orchestra’s music.

On tour 2019

2020

July 30 – August 06 United States of America

February 20–24 United States of America

June 04–06 Belgium

30th Los Angeles, Hollywood Bowl 01st Los Angeles, Hollywood Bowl 04th New York City, Lincoln Center, Mostly Mozart Festival 06th Los Angeles, Hollywood Bowl

20th Ann Arbor, Hill Auditorium 21st Washington, Music Center at Strathmore 23rd New York City, Lincoln Center 24th New York City, Lincoln Center

04th Bruges, Concertgebouw 05th Bruges, Concertgebouw 06th Bruges, Concertgebouw

August 25–29 Denmark Italy

March 25–29 Spain Belgium

25th Copenhagen, Tivoli SommerKlassisk 29th Merano, Kursaal, südtirol festival merano.meran

25th Valencia, Palau de la Música 26th Madrid, Auditorio Nacional de Música 29th Brussels, Bozar, Klarafestival

October 21–29 Italy Switzerland 21st Vicenza Opera Festival, Teatro Olimpico 22nd Vicenza Opera Festival, Teatro Olimpico 23rd Vicenza Opera Festival, Teatro Olimpico 24th Vicenza Opera Festival, Teatro Olimpico 28th Geneva, Grand Théâtre de Genève 29th Geneva, Grand Théâtre de Genève November 25 – December 03 Austria Great Britain Germany 25th Vienna, Musikverein 26th Vienna, Musikverein 29th London, Barbican Centre 30th London, Barbican Centre 01st Baden-Baden, Festspielhaus 02nd Hamburg, Elbphilharmonie 03rd Hamburg, Elbphilharmonie

May 16–27 Germany The Netherlands France Great Britain 16th Dortmund, Konzerthaus 17th Amsterdam, Concertgebouw 19th Paris, Philharmonie 23rd London, Barbican Centre 24th London, Barbican Centre 26th Hamburg, Elbphilharmonie 27th Hamburg, Elbphilharmonie

June 16–19 Czech Republic Lithuania Latvia Estonia 16th Ostrava 17th Vilnius 18th Riga 19th Tallinn

Reviews of the BFO

“There are a few concerts that automatically go to the top of the list. Some promise the highest quality of music-making, others have performers with a track record of delivering something out-of-the-ordinary – or, as in this case, both at the same time. Nothing that Iván Fischer and the Budapest Festival Orchestra do ever settles for the status quo.” Richard Fairman, Financial Times

“There are surprises to be had in the classical music scene – and the surprise today was a wonderful one.” Egbert Tholl, Süddeutsche Zeitung

“Played by the Budapest Festival Orchestra under Iván Fischer, it was an exposition of a timbre unlike any other string section’s — musky as a chained library, waxy and herbal.” Anna Picard, The Times

“Some things never go out of fashion. It’s two centuries or more since the passion for Hungarian gypsy music swept over the musical world, inspiring the greatest composers from Haydn to Liszt. On Thursday night, that tradition of classical gypsy music came roaring back to life, in this hugely enjoyable Prom from the Budapest Festival Orchestra.” Ivan Hewett, The Telegraph

“It was as though the musicians had been freed from their chains, while the audience had acquired something beautiful yet unknown.” Bernhard Uske, Frankfurter Rundschau 75

BFO cares

Community Weeks Music Castle and Playtime

Every segment of society and age group is equally important to us, which is why we visit youngsters living in the countryside during our Community Weeks, just as we do for the elderly living in nursing homes. The programme is designed to give as much joy as possible. Our interactive and playful Music Castle programme is prepared for the children, while for the elderly, we play healing melodies. Through these concerts, our hope is to introduce audiences to the miraculous world of music, removing any obstacles and allowing young and old alike to enjoy music in a familiar environment. This was the reason for our visits last year to the Cseppkő Children’s Home, the Institute for the Blind and the village of Őcsény. How did these concerts go? Hear it from the participants themselves! “We had toyed with the idea as early as last summer that the very faces we saw recently on the BBC would in September come walking through the doors of the school. The BFO brought renewed magic to the hearts of these children: they were the radiant sunshine between two downpours,” wrote Judit Gilicze, principal of the Benjámin Szőnyi Calvinist Primary School, following the Music Castle event in Hódmezővásárhely. “It was a memorable afternoon, and you could see the amazement on the children’s faces. This is how we want to live!” We also visited 12 nursing homes within a single week to hold Playtime concerts. These are intimate events, festive and personal at the same time, where our musicians receive a great deal of love in return from the elderly residents. Mrs Bálint Hodos, director of the nursing home in Karcag, had this to say of the experience: “We are grateful that through your performance you introduced this elderly audience to the wonderful world of classical music. They need your artistic work very much to enrich their daily lives and turn them into celebrations.”

Community Weeks Church Concerts and Synagogue Concerts

To quote a young boy from Apátfalva after the Budapest Festival Orchestra’s Baroque ensemble gave a concert at their church using period instruments, “It’s like music made by angels.” The concert has been the talk of the village ever since, and they are looking forward to the orchestra’s next visit. The aim of our free Community Weeks is to help the BFO family grow, and to strengthen the ties within existing communities and forge new ones through the power of music. We launched our Church Concert series in the summer of 2014. Our nationwide tour has taken us from Pannonhalma to Kiskőrös to Debrecen. The concert in Szécsény became a genuine regional event: some journeyed 60 kilometres to be there. At Jánoshalma, 900 children listened to us in utter silence; a group of local enthusiasts even visited us in Budapest. Bach cantatas form the backbone of this event series. In addition to visiting Calvinist, Catholic and Lutheran communities, we also frequently give concerts at countryside synagogues that have been abandoned or that no longer serve their original purpose. We gave our second concert at the synagogue in Eger last year, and also performed at the newly renovated House of Jewish Excellence in Balatonfüred. Though the Békés synagogue is now home to a pálinka museum, it was still a fitting place for music. Our series is unique in the world, and has attracted interest from Great Britain, Austria and the USA. Our goal is to once again bring to life synagogues that were left empty by the Holocaust. Melodies, stories and flavours can introduce local communities to the diversity and tolerance that was once so typical of Hungary. Our concerts feature works by composers with Jewish ties, as well as klezmer tunes. Synagogue concerts are sponsored by the BFO’s platinum level benefactor, the Art Mentor Foundation Lucerne. The concert series is a joint production by the BFO, the Unified Hungarian Jewish Congregation, and the Federation of Hungarian Jewish Communities.

Young BFO

Listening to music, singing and playing an instrument all contribute to the development of speech and creativity. The Budapest Festival Orchestra’s globally unrivalled, diverse programme of musical education endeavours to introduce the treasures of classical music to children and young adults. I count myself fortunate that my parents and grandparents helped me open up to music from an early age. I therefore consider it an important task to make the joy of playing and listening to music accessible to both younger and older children, whether they are from the capital or the countryside, or from well-off or disadvantaged families. Their sparkling eyes are constant reminders of the beauty and purpose of my work. We will continue our popular youth programmes in the 2019–20 season, including our Choose your Instrument sessions and the See What You Hear! film competition. Through rehearsal visits and concerts, we are meeting students of our partner schools increasingly often, and showing them the multi-coloured world of instruments and music literature, as well as the creativity of the orchestra. At our Teachers’ Cafés, we discuss current educational issues over a cup of coffee with conversation partners such as children’s book author Judit Berg or pianist Izabella Simon. During our Community Weeks, we encounter people who are open to music and culture in children’s institutions, schools, churches, synagogues and nursing homes. Our goal is to make music speak to every member of society. This is also the driving force behind the Dancing on the Square project, which helps those living in disadvantaged communities visit Budapest and participate together in the creation of an important and major event. Each year, several hundred underprivileged young people participate in our concert and share in the life-changing experience. Be sure to check out the Budapest Festival Orchestra’s colourful and diverse programmes! Orsolya Erdődy Deputy Managing Director

Young BFO

For 6–10 year olds Choose your instrument Our musicians visit partner schools to give interactive mini-concerts. They are chatting, playing and singing folk songs with the children. The young ones can try the instruments and see if they have a knack for making music, and find out which instrument would suit them the best. This programme is recommended for children who haven’t picked an instrument yet.

For 14–24 year olds BFO Reaches Out! Our musicians visit youngsters studying music in the countryside to hold master courses to help them prepare for becoming a musician. Making music together with young people presents a great opportunity for discovering and supporting new talent. The course concludes with a joint concert. In the meantime, the BFO’s chamber music groups are playing at unusual locations across the city, visiting prisons, institutions for underprivileged children, post offices, hospitals and other places where classical music is a rare commodity. For 8–18 year olds Open Rehearsals It is not just the BFO that’s reaching out; children can also reach out to the orchestra. By visiting our rehearsals, students in partner schools have an excellent opportunity to observe a symphonic orchestra from close up and see how we prepare for concerts. We also provide a little booklet to give them more insight. Students giving the correct answers to quiz questions after the rehearsal can win valuable prizes at the end of the year.

For 12–19 year olds See What You Hear! The BFO has been inviting film submissions from secondary school students for the past nine years. Our vision is to help young people get closer to classical music, and express their thoughts and feelings by combining various art forms. We provide interactive cinematic workshops to support the creative process. The jury has been chaired by a number of prestigious directors such as Ildikó Enyedi, Kristóf Deák, Péter Lichter and László Csuja.

Cocoa Concerts

September

February

November

March

21st Saturday, 14:30 and 16:30 BFO Rehearsal Hall Iván Fischer

16th Saturday, 14:30 and 16:30 BFO Rehearsal Hall Iván Fischer

09th Sunday, 14:30 and 16:30 BFO Rehearsal Hall Erika Illési

14th Saturday, 14:30 and 16:30 BFO Rehearsal Hall Erika Illési

May

09th Saturday, 14:30 and 16:30 BFO Rehearsal Hall Erika Illési

For 5–12 year olds Cocoa Concerts “At Cocoa Concerts, you can see children picturing themselves as princesses or as participants in an African safari while listening to the music. They are awed and amazed, giving themselves completely over to music, which is an experience for all of us that never gets old.” József Bazsinka tuba player We often meet adult audience members who came to love classical music at our concerts. Their children now make up the core of Cocoa Concert audiences. At these concerts, the children are not bombarded by stimuli, but taught to be engrossed in music. The series promises weekend afternoons of music and storytelling in a cosy atmosphere. This year, we once again welcome families to our interactive concerts, and after the music and applause have died down, the young audience will be able to queue up for polka-dot mugs of hot cocoa. Autism-Friendly Cocoa Concerts “A child who finds it difficult to express themselves in words can be reached through music, because they share the same feelings as everybody else.” Iván Fischer With the help of the International Cseperedő Foundation, we have developed a unique concert format in recent years that provides a safe and fun environment for autistic children and their families alike. Before the Autism-Friendly Cocoa Concerts, we send some helpful materials to the families so that they can prepare for the effects of the concert’s visual and audio stimuli, ensuring the children do not encounter anything unexpected. By the time they enter the orchestra’s rehearsal hall, they will already be familiar with the musicians’ faces as well as the instruments. We also offer other aids like story-like explanations and colourful visual tools, which help the little ones follow the music.

Support

Experience the uplifting power of charity! We’d like to thank our Supporters for their tireless efforts in helping the Budapest Festival Orchestra realise its mission.

We are delighted to be able to play not only in the most prestigious concert halls around the world, but to bring the lifechanging magic of music to the remotest corners of Hungary. Contributions from the BFO Patrons enable us to organise our free community and youth programmes year after year, and it is their devotion that allows us to transform Iván Fischer’s groundbreaking concepts into reality. We are looking forward to welcoming you into this extraordinary community, and to the exclusive and intimate events dedicated to supporters throughout the season. Common causes The Dancing on the Square project has hundreds of kids dancing together in the spirit of tolerance; our Synagogue Concerts advocate acceptance and loving co-existence; and our Church Concerts bring the ecclesiastical music of centuries past to life. Choose your Instrument and Music Castle introduce young schoolchildren to the magic of music.

Our community and youth programmes are free. This way, even those who cannot make it to the concert halls can enjoy them. Every school year, we offer several free programmes to our nearly 50 partner schools. Our foundation spends all contributions on funding concerts, as well as community and youth programmes. Generous donations can help more and more people benefit from the joy of music. Volunteer programme Those who would like to have closer ties to the BFO and volunteer their time to help our foundation are welcome to join our volunteer programme. They can also help by contributing homemade cookies, translations, office work or organisational work. Young friends of the BFO Let’s discover the magic of music across generations! We are encouraging young members of our audience to join the ranks of the BFO’s supporters. Friends under 35 will get a 50 % discount from the annual membership fee of the BFO Patrons, and can enjoy events organised specifically for them. More information is available at tamogatoiklub@bfz.hu +36/06 1 489 4330

How to support? Benefits and levels

Exclusively for BFO Patrons discounted tickets are made available twice a year The BFO’s electronic newsletter for supporters 10 % discount at P’Art Bistro

Gold

Bronze

Silver

Gold

Bronze

Silver

Gold

Conductor’s circle

Silver

Invitation to an open rehearsal

days pcs.

Benefactors

Bronze

Purchase season tickets before they go on general sale in 2019

Supporters

11 2

12 2

13 2

14 2

14 4

15 4

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Opportunity to join the orchestra on an international tour (includes discounted travel offers) Admission to Müpa Budapest’s VIP room during the intervals of certain concerts

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Invitation to the annual Benefactor+ Dinner with music

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An opportunity to buy BFO single tickets before they go on general sale (day)

Invitation to an exclusive dinner with music organised for the Benefactors Invitation to a breakfast with music organised at the BFO Rehearsal Hall A gift BFO CD signed by Iván Fischer

Personal concert ticket bookings, ticket change and concierge service Informal coffee and chat with our musicians and staff before a concert Invitation to an exclusive reception of the BFO at a special venue Invitation to an after-concert champagne reception with the Music Director

Support amounts by level: Supporters: Bronze HUF 25 000 Benefactors: Bronze HUF 150 000 Conductor’s circle: Bronze HUF 1 200 000

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· · · · · · · · · · · · · · · Silver HUF 50 000 Gold HUF 100 000 Silver HUF 300 000 Gold HUF 600 000 Silver HUF 2 000 000 Gold HUF 5 000 000

The BFO reserves the right to make occasional modifications or withdraw specific club membership benefits as it sees fit. Due to circumstances beyond the BFO’s control, at some performances the full range of club membership benefits may not be available.

BFO Patrons

Conductor’s circle - gold Walter Katalin

Conductor’s circle - silver Simor András Hubertus von Wulffen and 4 anonymous supporters

Conductor’s circle - bronze Stephen Benko Bojár Gábor and wife, Zanker Zsuzsanna dr. Élő Nóra

Gold benefactors Bottka Erzsébet dr. and Feldmájer Péter dr.

‫אליעזר יצחק בן אברהמ‬

John Farago Ferjentsik Miklós dr. Bernhard Hulla Juhász Zoltán instrument maker Nicholas Kabcenell and Gudor Orsolya Meinczinger-Krug Zsuzsanna and Krug Armin Mosonyi Ágnes Szecskay Law Firm Szelényi Iván Vámos György Varga Júlia Zsámboki Gabriella dr.

Silver benefactors Arriba Taqueria Besenyi Péter Bíró Ágnes Bognár Péter – Vaya Travel Ltd Richard Brasher Bródy Péter dr. and Ildikó Csépe Valéria dr. Csík Gabriella dr. Garai Ferenc and Győri Zsuzsanna dr. György Pál dr. and Simon Ágnes Kertész Gabriella dr. notary Kohlrusz Milán and Szabó Dária Lengyel Péter Marschall Miklós Mártonfi Attila Mécs Endre Mészáros János and Mészárosné dr. Bende Hedvig Mária Nyitrai István Rényi Andrea and Straub Elek SBGK Law Firm, Szamosi Katalin dr. Sólyom Éva dr. Steiner László David and Petra Thompson Varsányi Katalin and Pál Vihar Judit dr. Zoltán Ágnes and István and 1 anonymous supporter

Bronze benefactors Bakró-Nagy Marianne Beghetto Klára Berger Györgyné

Boros István Bőcs Ferenc Burger Balogh Ingeborg Csillag György dr. Egervári Gábor dr. Gergely Pál dr. – Fortuna Gallery Göczőné Magyar Andrea Göncz Kinga and Benedek László dr. Gyarmati György Hanák Gábor Hancz László Havass Miklós Horváth Ágnes dr. Huebner Suzanne Kalmár György Kelemenné dr. Visky Katalin Király Éva Király Júlia Komáromy Péter Kökény Mihály dr. and Stiller Mária Lantos István dr. Markovich György dr. Mészáros Balázs Molnár Gábor dr. Németvölgyi Ágnes Professional Orvosi Ltd Salgó Judit Sápi Lajosné Soltész + Soltész Ltd Somfai Éva dr. – Somfai and Partners Industrial Law Ltd Surányi Sándor and Sándorné Szántó Csaba Szauer Péter Székely Zoltán Tóth Gábor Zachár Zsófia and Dornbach Alajos and 1 anonymous supporter

BFO Patrons

Gold supporters Bálint Andrásné dr. Bánáti Mária Baráth Barna and Szemerédy Viktória dr. Barta Pál Batta Mária Bittner Péterné Dalos Mihály Dögei Anna Drexler Miklós Eisler Péter dr. James and Maria Eliason Esztervári Adrienn Felkai Tamás Gala Tours Garics Zoltánné Karl Philip Hall Hargitai Tibor Holéci József Horváth Jánosné dr. and Fekete István Kelemen László dr. Kiss Erzsébet Kocsány János Lantos Mihály and Berkes Zsuzsanna dr. Richard Lock Madách Zsuzsánna Nyárádiné dr. Szabady Judit Paksy László dr. Pálfia Judit dr. Sáfár László dr. Soltész Anikó dr. Somogyi Éva and Horváth László Spohn Ferenc Szegvári Mária dr.

Szilágyi Béláné, Szilágyi Éva and Horváth Péter Tanos Zsuzsa Tárnok Gyöngyi Theatrum Mundi Literary and Theatre Agency Geoffrey Thomas Torma Kálmán Vámos Tibor and 4 anonymous supporters

Silver supporters Alföldi István Ambrus Ágnes dr. Apáthy István Bárd Anna Barta Éva Beck Éva Benedek Andor Benedek János Bérczi Gábor Berecz József Berényi Gábor and Pető Katalin dr. Bertalan Éva dr. Böszörményi Katalin dr. Csanádi Judit Csernay László dr. Dalmy Dénes Dévai Tibor and wife Falus András dr. Farkas Gábor Feldmájer Ágnes and Sándor Feldmájer Máté Földényi Éva Füredi Gábor Gadzsokova Kraszimira Gálosi György

Gálosi Juli – Géta Center Ltd Greiner Ákos Gyulai András Halász Anna Halász Gábor dr. Hegedűs Andrásné Hegyes Erzsébet dr. and Szolnoki Gábor Hornung Hajnalka and János Horváth Anna Horváth István dr. Horváth László Horváthné Szakonyi Mirella Hőnig Gábor Jáger Gyula Kabódi Erzsébet Kabódi Ferenc Kabódi Mátyás Kádár Lászlóné dr. and Kádár Zsuzsanna Kádi Anna Keviczky László Kiss Attila Komlósi Zsolt Kőszegi László Ladányi Viktória Lázár József Lebhardt Imre Lövenberg Gábor and Radó Julianna dr. Makai Katalin and Ungár János dr. Malatinszky István Matskási István dr. Mohácsi Endréné Mosonyi Annamária dr. Nagy István Nagy Margit Nagy Mária Éva

BFO Patrons

Németh György Ottó Mária Pappné dr. Radics Edit Patkós Katalin Patyánik Mihály dr. Péley Bernadette Pelle Gáborné Petrucz György Prágai Éva Révai Péter dr. Rimanóczy Zoltán Rónai Tiborné Sitkei Éva dr. Sivó Róbert Szabó Klári Szentesi Péter dr. Szigeti Éva dr. Szűcs András Tihanyi Ferenc Tokaji Nagy Erzsébet Tolcsvai Rózsa Tóth Katalin Tóth Kinga Tóth Mihály and neje Valis Éva Márta Váradi János Váradi Mónika dr. Varga Péter Vígh János Vörös Imre Zeidler Gerdné and 27 anonymous supporters

Bronze supporters Abonyi Iván dr. Ábrahám Zoltán Agócs Ágnes

Almási Józsefné dr. Andrási Andor Árpási Krisztina Bálint Ferencné Balogh Edit Baltay Mária Banai Endréné dr. Bánki Ervinné Baranyi Éva dr. Barczikay László Benczédi Krisztina Benkő Judit dr. Boda Zsuzsanna Bodor József Bogdán Istvánné Bogdány Éva Bognár Béla dr. Bolyó Ilona Aranka dr. Borissza József Bölöni Eszter Bumberák József dr. Csurgó Ottóné dr. Danziger György dr. Deák Ágnes Deák János Dorogi Gabriella Dósai Tamara Duba Andrea dr. Eörsi Anna Erdős Erzsébet dr. Fábián András Falus Péter Faragóné Ható Katalin Fehéregyházi Zsuzsa Feldmájer Györgyi and Benedek Zsolt Félegyházi Pál Félix László Földes Iván dr. and Zsuzsa

Francsicsné dr. Czinege Erzsébet Galambos Imréné dr. Gallasz József Gál Mátyásné Gál Nóra dr. Garai Anikó Gerő Judit Gerő Zsolt dr. Gervai Judit dr. Gidáli Júlia dr. Glatt Gábor Guti Péter Gyarmati Béla Gyulai József dr. Hajdu András dr. Halász Péterné Halbrohr Pál Halmos Judit and Magyar Mihály Hámori Ferenc Havas Ágnes Havas István dr. Havas Katalin Hegyközi Ilona Herczeg Ferenc Hetényi Ágnes Hollós Sándor dr. Inkei Péter Jáki János Jakob Károly Jankó Katalin Jászberényi Hanna Jenei Gábor Jeney Sarolta Kappelné Haraszty Noémi Kardos István Kárpáti András Kárpáti Margit Katonáné Halasi Ágnes

BFO Patrons

Kelemen Zsolt Kerékgyártó Kálmán Kerényi Gyula Keve Károly Kis Ádám Kiss Lászlóné Klinga Ágnes Kondor András Kónya Albert Kónya Katalin dr. Kósa Jánosné Kovács Katalin Kovács Zsuzsanna dr. Kriston József dr. Kutas Magdolna Láner Judit Lantos Gáborné dr. Lantos Zsolt dr. Lehel Erzsébet Katalin Lendvayné dr. Győrik Gabriella Liliom Károly Liptay-Wagner Sándor Lovas Jánosné Maár Judit dr. and Krokovay Zsolt dr. Major György dr. Máté András Matos Lászlóné dr. Meitner Tamás Meleghegyi Józsefné Mélykuti Ilona Mészáros Sándorné Mezei Katalin Molnár Gáborné Monoki Klára Nagy Ákos Nagy Boldizsár Nagy Ervinné

Nagy Gábor Nagy Károly dr. Nagy Krisztina Nagy Pál Németh Zsófia Novák József György Paksy Zoltán Pallag Tibor Pálné Kutasi Éva and Banász Andrásné Pankotai Csaba Pankotainé Lux Margit Pável Iván dr. Pernesz Péterné Pethő Anna dr. Petur Márta Pongó Judit Rácz Zsuzsanna Ráday-Kiss Sarolta Ilona Radó János dr. Réti Péter Pál Rudas Jánosné Rutkai Ágnes Sáfár Judit Schaffler György Sikóné dr. Horváth Ágnes Soltész András Solti Series Circle of Friends (Sáska Géza) Süveges Márta dr. Szabó Daniella Szabó Márta Szabóné Farkas Anikó Szabó Piroska Székely Anna Székely Józsefné dr. Szekeres Sándorné Szepesi László

Szomor Márta and Rimanóczy Kálmán Szőke Helga and András Szőnyi Péterné Szörcsei Zsuzsa Sztrinkai László dr. Tábor István dr. Tardos Julianna Török Ilona Ujvári Tibor Ungár Péter Vágó Júlia dr. Vajda János and Radnai Mónika Vajda Julianna dr. Varga Pál Varga Veronika Várkonyi Vera dr. Várnai Gyöngyi dr. Várnai Magdolna Vass Gabriella Veress Istvánné Mariann Vidák Jánosné Volenszky Paula Wirth András Zelczerné Déri Erzsébet Zlatniczky Tamás dr. Zoltai Józsefné dr. and 69 anonymous supporters

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Concert calendar

2019 September The colour-coded dots indicate which season ticket is valid for which concert. Doráti A és B Solti Reiner A és B Ormándy Széll

15th Sunday 17:00 BFO Rehearsal Hall Sunday chamber music 18th Wednesday 19:45 Müpa Budapest, BBNCH Bridging Europe Monteverdi Fischer Doráti 20th Friday 19:45 Müpa Budapest, BBNCH Bridging Europe Monteverdi Fischer Solti 21st Saturday 14:30 and 16:30 BFO Rehearsal Hall Cocoa Concert Fischer 22nd Sunday 15:30 Müpa Budapest, BBNCH Bridging Europe Schubert, Berio, Bach, Respighi I. Fischer, N. Fischer Reiner 23rd Monday 19:45 Müpa Budapest, BBNCH Bridging Europe Schubert, Berio, Bach, Respighi I. Fischer, N. Fischer Solti

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26th Thursday. 19:45 Müpa Budapest, Festival Theatre Bridging Europe Scelsi, Sollima, Castiglioni Volkov, Sollima Doráti A 27th Friday 19:45

Müpa Budapest, Festival Theatre Bridging Europe Scelsi, Sollima, Castiglioni Volkov, Sollima Doráti B

Concert calendar

October

November

December

04th Friday 19:45 Liszt Academy, Grand Hall Haydn, Mozart Takács-Nagy, Bavouzet Ormándy

07th Thursday 19:45

Liszt Academy, Grand Hall Prokofiev, Tchaikovsky Shani, R. Capuçon Doráti A

12th Thursday 19:45 Müpa Budapest, BBNCH Finzi, Brahms, Berlioz Elder, Frang, Mørk Solti

05th Saturday 15:30 Liszt Academy, Grand Hall Haydn, Mozart Takács-Nagy, Bavouzet Reiner A

08th Friday 19:45 Liszt Academy, Grand Hall Prokofiev, Tchaikovsky Shani, R. Capuçon Széll

13th Friday 19:45 Müpa Budapest, BBNCH Finzi, Brahms, Berlioz Elder, Frang, Mørk Doráti

09th Saturday 15:30 Liszt Academy, Grand Hall Prokofiev, Tchaikovsky Shani, R. Capuçon Reiner B

13th Friday 23:30 Castle Garden Midnight Music Elder

10th Sunday 17:00

BFO Rehearsal Hall Sunday chamber music

16th Saturday 14:30 and 16:30 BFO Rehearsal Hall Cocoa Concert Fischer 21st Thursday 19:45 Müpa Budapest, BBNCH Dvořák, Beethoven Fischer, Leonskaja Solti

15th Sunday 15:30 Müpa Budapest, BBNCH Finzi, Brahms, Berlioz Elder, Frang, Mørk Reiner 26th Thursday 19:45 Budapest Congress Center Christmas concert – audience choice programme Fischer

22nd Friday 19:45 Müpa Budapest, BBNCH Dvořák, Beethoven Fischer, Leonskaja Doráti 23rd Saturday 15:30 Müpa Budapest, BBNCH Dvořák, Beethoven Fischer, Leonskaja Reiner 101

Concert calendar 2020 January

February

March

10th Friday 19:45 Liszt Academy, Grand Hall Vivaldi Cohen, Baráth, Reinhold, Sherratt Ormándy

02nd Sunday 10:30–22:00 Müpa Budapest, BBNCH Müpa Budapest, Festival Theatre Beethoven Marathon Fischer

11th Saturday 19:45 Liszt Academy, Grand Hall Vivaldi Cohen, Baráth, Reinhold, Sherratt Széll

08th Saturday 17:00 BFO Rehearsal Hall Back to nature – chamber music on period instruments

06th Friday 19:45 Liszt Academy, Grand Hall Locke, Rebel, Marais, Vivaldi, Telemann Savall Ormándy

12th Sunday 17:00

BFO Rehearsal Hall Music of the future – contemporary chamber music

19th Sunday 15:30

Müpa Budapest, BBNCH Beethoven, Schumann Janowski, Beilman Reiner

09th Sunday 14:30 and 16:30 BFO Rehearsal Hall Cocoa Concert Illési 15th Saturday 19:45 Müpa Budapest, BBNCH Mahler Fischer, Romberger Doráti 16th Sunday 15:30

19th Sunday 19:45 Müpa Budapest, BBNCH Beethoven, Schumann Janowski, Beilman Doráti

Müpa Budapest, BBNCH Mahler Fischer, Romberger Reiner

20th Monday 19:45 Müpa Budapest, BBNCH Beethoven, Schumann Janowski, Beilman Solti

Castle Garden Midnight Music Fischer

25th Saturday 19:45

Italian Cultural Institute Vivaldi, Handel, Bach, Mozart Pilz, Gálfi, Juhász, Pivon, Á. Polónyi Ormándy

26th Sunday 15:30 Italian Cultural Institute Vivaldi, Handel, Bach, Mozart Pilz, Gálfi, Juhász, Pivon, Á. Polónyi Reiner A 102

07th Saturday 19:45

Liszt Academy, Grand Hall Locke, Rebel, Marais, Vivaldi, Telemann Savall Széll

08th Sunday 15:30 Liszt Academy, Grand Hall Locke, Rebel, Marais, Vivaldi, Telemann Savall Reiner B 09th Monday 19:45 Budapest Music Center Eötvös, Gy. Ligeti, Reich, L. Ligeti Rácz, Lukács, Perényi Széll

16th Sunday 23:30

14th Saturday 14:30 and 16:30 BFO Rehearsal Hall Cocoa Concert Illési

17th Monday 19:45

15th Sunday 17:00 BFO Rehearsal Hall Sunday chamber music

Müpa Budapest, BBNCH Mahler Fischer, Romberger Solti

19th Thursday 19:45 Müpa Budapest, BBNCH R. Strauss, Sibelius, Mahler Fischer, Kopatchinskaja Solti

Concert calendar

20th Friday 19:45 Müpa Budapest, BBNCH R. Strauss, Sibelius, Mahler Fischer, Kopatchinskaja Doráti 20th Friday 23:30

Castle Garden Midnight Music Fischer

21st Saturday 19:45 Müpa Budapest, BBNCH R. Strauss, Sibelius, Mahler Fischer, Kopatchinskaja Széll

April

May

04th Saturday 15:30 Italian Cultural Institute Stanley, Corelli, Vivaldi, Mozart, Britten Pilz, Kertész, Szőke Reiner A

09th Saturday 14:30 and 16:30 BFO Rehearsal Hall Cocoa Concert Illési

05th Sunday 15:30 Italian Cultural Institute Stanley, Corelli, Vivaldi, Mozart, Britten Pilz, Kertész, Szőke Reiner B

10th Sunday 17:00 BFO Rehearsal Hall Sunday chamber music 31st Sunday 17:00 BFO Rehearsal Hall Sunday chamber music

17th Friday 19:45

Liszt Academy, Grand Hall Haydn, Mozart Takács-Nagy, Gringolts Doráti B

18th Saturday 19:45 Liszt Academy, Grand Hall Haydn, Mozart Takács-Nagy, Gringolts Ormándy 24th Friday 19:45 Müpa Budapest, BBNCH Rachmaninoff, Sibelius Kitayenko, Son Solti 25th Saturday 19:45 Müpa Budapest, BBNCH Rachmaninoff, Sibelius Kitayenko, Son Doráti 27th Monday 19:45

Müpa Budapest, BBNCH Rachmaninoff, Sibelius Kitayenko, Son Ormándy

The Budapest Festival Orchestra reserves the right to change the dates, the programme or the performers.

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Our BFO /Imprint Budapest Festival Orchestra Artistic Direction Music director: Fischer Iván Artistic planning consultant: Jennifer Spencer* Executive Direction Managing director: Martin Hoffmann Deputy managing director: Erdődy Orsolya Personal assistant to the managing director: Szántó Ildikó Orchestra Management Operational manager: Zöld Krisztina Operational assistant, community programme coordinator: Szani Szolongo Youth programme coordinator: Melisko Krisztina Tour manager: Pócs Bence Tour assistant: Wolf Ivett Stage manager: Zentai Róbert Stage technicians: Kathi Sándor, Siba István Personnel manager: Kelemen Éva Marketing, Communications, Audience Relations Marketing director: Kolesár Krisztián Marketing associate: Ondok Csilla, Tiszolczi-Bertalan Anna PR manager: Tossenberger Adél PR, communications: Váradi Júlia* Audience relations: Molnár Adél, Máthé Kiss Simona Sponsorship Individual donations, BFO Patrons: Deák Zsuzsanna* Finance Chief accountant: Maglódi Györgyné Accountant: Szalai Lászlóné Secretariat Office assistant: Aranyosné Boros Angyalka *independent consultant

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Budapest Festival Orchestra Foundation Chair of the Board: Simor András Board of Directors: Besenyi Péter, Boros István, Heal Edina, Bernhard Hulla, Illés Gábor, Nicholas Kabcenell, Strohmayer János, Szecskay András, Sylvia Tóth, Vámos György, Varga Zoltán Honorary Member of the Board: Marschall Miklós Members of the Supervisory Board: László Csaba (Chair), Jalsovszky Pál, Juvancz Beáta, Terták Ádám Budapest Festival Orchestra Association Chair of the Association: Bánffy Eszter International Friends of the BFO US Friends of the BFO Stephen R. Angel Colleen Bell Susan Bender Stephen E. Benko (Chairman) Aaron Feinstein Aniko Gaal Schott Sylvia Hemingway (Secretary) Kathleen Horvath Andrew D. Komaromi (Treasurer) Heidi Lee-Komaromi Kathryn Livingston Forgan Kati Marton Terez Rowley Christine Schott Ledes Laine Siklos Daisy M. Soros (Director Emeritus) Stephanie Stokes Emese Tardy-Green David M. Tobey Die Freunde des BFO (Germany) Barthold Albrecht Patrick Bellenbaum Gräfin Andrea von Bernstorff Silke Cölln Freifrau Jutta von Falkenhausen John Flüh Karin Hansen-Becker Thomas Kexel Lorenz Kiefer

Wolfram Krohn Friedrich Kuhn Inga Petersen Patrick Reich Konstantin Schimert (Chairman) Wolfgang Schlenter Roland Schmidt Siegmar von Schnurbein Isolde Schröder Sabine und Eberhard Weiershäuser Franz Willnauer Hubertus von Wulffen BFO contacts Office: Polgár utca 8–10. (Flórián Udvar Office Blocks), Block B, mezzanine H-1033 Budapest, Hungary Telephone: +36 1 489 4330 Fax: +36 1 355 4049 Email: info@bfz.hu IBAN: HU58 109180010000008959160000 (Unicredit Bank Ltd) Website and ticket sales: www.bfz.hu/en Published by the Budapest Festival Orchestra Foundation Publisher: Martin Hoffmann, managing director of the BFO Texts: Mona Dániel Editor: Tossenberger Adél Graphic design: büro für mitteilungen Close of editing: 11 February 2019 BFO Foundation qualifies as an organisation receiving foreign funds as defined under Act LXXVI of 2017 on the Transparency of Organisations Receiving Foreign Funds. Pictures: Benkő-Molnár Fanni (58–59, 63, 76–77); Birtalan Zsolt (44); Marco Borggreve (24, 27, 28, 33); Felix Broede (35); Miguel Bueno (51); Benjamin Ealovega (23); David Ignaszewski (42); Kurcsák István (37, 49, 71, 81); Eric Melzer (47); James Mollison (21); Németh Dániel (87); Pictorial Press Ltd / Alamy Stock Photo (39); Prisma Archivo / Alamy Stock Photo (17); Schiller Kata (73); Sorin Colac /Alamy Stock Photo (14); Stiller Ákos (2–3, 4, 9, 10–11, 18, 31, 41, 55, 56, 66–67, 83, 88–89); Young Soo Joe (53)

Season and single ticket information 2019â&#x20AC;&#x201C;20

Ticket prices Premium Premium plus

II.

III.

IV.

9 400

6 600

5 100

3 000

Budapest Congress Center 19 300

15 300

Müpa Budapest, BBNCH Liszt Academy

15 300 9 400 6 600 5 100 3 000

Haydn–Mozart Plus Baroque concerts Concertino series

11 800

7 100

5 000

4 000

Contemporary concert – Müpa Budapest, Festival Theatre Budapest Music Center

4 400

Beethoven Marathon – Müpa Budapest

1 500

Midnight Music – Castle Garden

2 000

Chamber music – BFO Rehearsal Hall

3 200

3 000

Cocoa Concerts – BFO Rehearsal Hall

The prices are in HUF. The Budapest Festival Orchestra reserves the right to change the dates, the programme or the performers.

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3 000

Season and single tickets Purchasing season and single tickets Season tickets are available from 9 April 2019. BFO Patrons are eligible to buy their season tickets before the general audience. Single tickets for concerts included in season tickets are available from 28 May 2019. Online ticket sales To purchase your tickets and season tickets for Budapest Festival Orchestra programmes, visit www.bfz.hu/en. Online purchases are not subject to a handling fee. For the sake of our environment, we ask you not to print your tickets when attending events at venues offering electronic ticket checks (Müpa Budapest, Castle Garden). For concerts at these venues, please save your electronic ticket (pdf) to your telephone and present it at the entrance. E-season ticket If you buy your season ticket online, you will receive an e-season ticket. E-season tickets are fully valid electronic season tickets that grant concert admission. If you would like to exchange your e-season ticket for a paper ticket, you can do so in person at the BFO office until 31 August 2019. For concerts at these venues, please save your electronic season ticket (pdf) to your telephone and present it at the entrance.

Order by email or telephone You may place your order by sending an email to rendeles@bfz.hu or by calling +36 1 489 4332. A HUF 500 handling fee is charged for personal collection of tickets or season tickets. Postal orders are subject to an additional postage cost of HUF 610. You can collect your items in person at the BFO office (1033 Budapest, Polgár utca 8–10. Building B) on weekdays from 9:00 to 13:00; between 09 and 12 April from 9:00 to 17:00; and between 28 and 31 May from 9:00 to 17:00. Requests will be processed upon receipt of order. Please include your contact details (phone number, email address) in your request and indicate alternative preferences for your individual season or single ticket orders. We accept cash, credit/debit cards, SZÉP Cards, OTP Cafeteria Cards, Erzsébet Cards or Erzsébet gift or leisure vouchers, and Ticket Culture & Sport vouchers.

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Extra options At ticket offices Season and single tickets can also be purchased nationwide through Interticket offices, and from the Budapest Festival Orchestra’s special vendors at: Rózsavölgyi Szalon Arts & Café •1052 Budapest, Szervita tér 5. +36 1 266 8337 Rózsavölgyi Szalon Arts & Café is a preferred ticket vendor for the BFO. Müpa Budapest, ticket offices •1095 Budapest, Komor Marcell utca 1. +36 1 555 3300 1061 Budapest, Andrássy út 15. +36 1 555 3310 +36 1 555 3311

Liszt Academy, ticket office •1061 Budapest, Liszt Ferenc tér 8. +36 1 321 0690

•

Castle Garden Tourist Information and Ticket Office 1013 Budapest, Ybl Miklós tér 4. +36 30 198 5274

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My first BFO season ticket You will receive a gift upon your very first purchase of a BFO season ticket. We will issue you a voucher that can be redeemed for a concert of your choice (subject to the availability of seats). Choose your subscription Upon the launch of single-ticket sales in May, you will be given the opportunity to purchase “flexible” season tickets, allowing you to choose the 5 to 10 performances you want to visit. Included is a discount of 15–20 % off the price of single tickets. The discount is applied when purchasing your tickets in the same transaction. Guests in wheelchairs Subject to the availability of seats, guests in wheelchairs may request a free ticket up to one week before the concert by sending an email to rendeles@bfz.hu. Companions are eligible for a 50 % discount. Payment by instalments You may purchase your season tickets in two instalments; for these purchases we charge a handling fee of 5 % of the total sales price. You will receive your season ticket upon payment of the second instalment. The deadline for making the payment is 31 August 2019. Payment by instalments may only be requested in person at the BFO office.

Ticket replacement Should you be unable to attend a performance for which you hold a season ticket, we provide an opportunity to obtain replacement tickets. You can notify the BFO office one month prior to the concert you are unable to attend. Depending on the availability of seats, you will be provided with tickets to the replacement concert 30 days in advance. You can arrange for replacement tickets via phone, email or in person (only at the BFO office). The handling fee for replacement tickets is HUF 500, to be paid when picking up the ticket. Reiner family season ticket Purchase Reiner season tickets and receive a discount of 50 % for children. The discount is available on season ticket purchases for two adults and at least one child. To receive the discount, please visit the BFO office and present the childrenâ&#x20AC;&#x2122;s identity cards.

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Season tickets 2019–20 Doráti A+B 9 concerts + bonus concert: a Back to nature, Contemporary chamber music or Sunday chamber music concert PRICES Save 25 % off of single ticket prices Premium category: HUF 97 000 I. category: HUF 62 000 II. category: HUF 45 000 III. category: HUF 36 000 IV. category: HUF 23 500

2019 SEPTEMBER 18 Wednesday 19:45 MÜPA BUDAPEST BBNCH Monteverdi: La favola d’Orfeo Fischer SEPTEMBER 26 Thursday 19:45 (A) MÜPA BUDAPEST Festival Theatre Scelsi: Elohim Sollima: “Terra con variazioni” for cello and orchestra Scelsi: Natura renovatur Castiglioni: Inverno In-ver (eleven musical poems for small orchestra) Volkov, Sollima SEPTEMBER 27 Friday 19:45 (B) MÜPA BUDAPEST Festival Theatre Scelsi: Elohim Sollima: “Terra con variazioni” for cello and orchestra Scelsi: Natura renovatur Castiglioni: Inverno In-ver (eleven musical poems for small orchestra) Volkov, Sollima NOVEMBER 07 Thursday 19:45 (A) LISZT ACADEMY Grand Hall Prokofiev: War and Peace – overture, Op. 91 Tchaikovsky: Violin Concerto in D major, Op. 35 Prokofiev: Romeo and Juliet – suite, Op. 64a and 64b (excerpts) Shani, R. Capuçon

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NOVEMBER 22 Friday 19:45 MÜPA BUDAPEST BBNCH Dvořák: Legend in D minor, Op. 59/1; Slavonic Dance No. 2, Op. 46/2; I Will Not Say – chorus for mixed choir, Op. 29, No. 3 Beethoven: Piano Concerto No. 4 in G major, Op. 58 / Piano Concerto No. 5 in E-flat major (“Emperor”), Op. 73 Dvořák: Symphony No. 7 in D minor, Op. 70 Fischer, Leonskaja DECEMBER 13 Friday 19:45 MÜPA BUDAPEST BBNCH Finzi: The Fall of the Leaf, Op. 20 Brahms: Double Concerto in A minor for violin and cello, Op. 102 Berlioz: Fantastic Symphony, Op. 14 Elder, Frang, Mørk

2020 JANUARY 19 Sunday 19:45 MÜPA BUDAPEST BBNCHH Beethoven: Violin Concerto in D major, Op. 61 Schumann: Symphony No. 2 in C major, Op. 61 Janowski, Beilman

MARCH 20 Friday 19:45 MÜPA BUDAPEST BBNCH R. Strauss: Der Rosenkavalier – Waltz Sequence No. 1 Sibelius: Violin Concerto in D minor, Op. 47 Mahler: Adagio from Symphony No. 10 in F-sharp major R. Strauss: Till Eulenspiegels lustige Streiche Fischer, Kopatchinskaja APRIL 17 Friday 19:45 (B) LISZT ACADEMY Grand Hall Haydn: Symphony No. 59 in A major (“Fire”), Hob. I:59 Mozart: Violin Concerto No. 5 in A major, K. 219 Haydn: Symphony No. 99 in E-flat major, Hob. I:99 Takács-Nagy, Gringolts APRIL 25 Saturday 19:45 MÜPA BUDAPEST BBNCH Rachmaninoff: Piano Concerto No. 2 in C minor, Op. 18 Sibelius: Symphony No. 2 in D major, Op. 43 Kitayenko, Son

FEBRUARY 15 Saturday 19:45 MÜPA BUDAPEST BBNCH Mahler: Kindertotenlieder; Symphony No. 5 in C-sharp minor Fischer, Romberger

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Solti 8 concerts + bonus concert: a Back to nature, Contemporary chamber music or Sunday chamber music concert PRICES Save 25 % off of single ticket prices Premium category: HUF 94 000 I. category: HUF 59 000 II. category: HUF 42 000 III. category: HUF 33 000 IV. category: HUF 20 500

2019 SEPTEMBER 20 Friday 19:45 MÜPA BUDAPEST BBNCH Monteverdi: La favola d’Orfeo Fischer SEPTEMBER 23 Monday 19:45 MÜPA BUDAPEST BBNCH Schubert–Berio: Rendering Berio: Folk Songs Bach–Respighi: Nun komm, der Heiden Heiland, BWV 659 Respighi: Pines of Rome I. Fischer, N. Fischer NOVEMBER 21 Thursday 19:45 MÜPA BUDAPEST BBNCH Dvořák: Legend in D minor, Op. 59/1; Slavonic Dance No. 2, Op. 46/2; I Will Not Say – chorus for mixed choir, Op. 29, No. 3 Beethoven: Piano Concerto No. 4 in G major, Op. 58 / Piano Concerto No. 5 in E-flat major (“Emperor”), Op. 73 Dvořák: Symphony No. 7 in D minor, Op. 70 Fischer, Leonskaja DECEMBER 12 Thursday 19:45 MÜPA BUDAPEST BBNCH Finzi: The Fall of the Leaf, Op. 20 Brahms: Double Concerto in A minor for violin and cello, Op. 102 Berlioz: Fantastic Symphony, Op. 14 Elder, Frang, Mørk

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2020 JANUARY 20 Monday 19:45 MÜPA BUDAPEST BBNCH Beethoven: Violin Concerto in D major, Op. 61 Schumann: Symphony No. 2 in C major, Op. 61 Janowski, Beilman FEBRUARY 17 Monday 19:45 MÜPA BUDAPEST BBNCH Mahler: Kindertotenlieder; Symphony No. 5 in C-sharp minor Fischer, Romberger MARCH 19 Thursday 19:45 MÜPA BUDAPEST BBNCH R. Strauss: Der Rosenkavalier – Waltz Sequence No. 1 Sibelius: Violin Concerto in D minor, Op. 47 Mahler: Adagio from Symphony No. 10 in F-sharp major R. Strauss: Till Eulenspiegels lustige Streiche Fischer, Kopatchinskaja APRIL 24 Friday 19:45 MÜPA BUDAPEST BBNCH Rachmaninoff: Piano Concerto No. 2 in C minor, Op. 18 Sibelius: Symphony No. 2 in D major, Op. 43 Kitayenko, Son

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Reiner A+B 7 concerts + bonus concert: Reiner A: 04 April 2020 Reiner B: 05 April 2020 PRICES Save 25 % off of single ticket prices Premium category: HUF 86 500 I. category: HUF 53 000 II. category: HUF 37 500 III. category: HUF 29 000 IV. category: HUF 18 000

2019 SEPTEMBER 22 Sunday 15:30 MÜPA BUDAPEST BBNCH Schubert–Berio: Rendering Berio: Folk Songs Bach–Respighi: Nun komm, der Heiden Heiland, BWV 659 Respighi: Pines of Rome I. Fischer, N. Fischer OCTOBER 05 Saturday 15:30 (A) LISZT ACADEMY Grand Hall Haydn: Symphony No. 20 in C major, Hob. I:20 Mozart: Piano Concerto No. 9 in E-flat major (“Jeunehomme”), K. 271; Symphony No. 36 in C major (“Linz”), K. 425 Takács-Nagy, Bavouzet NOVEMBER 09 Saturday 15:30 (B) LISZT ACADEMY Grand Hall Prokofiev: War and Peace – overture, Op. 91 Tchaikovsky: Violin Concerto in D major, Op. 35 Prokofiev: Romeo and Juliet – suite, Op. 64a and 64b (excerpts) Shani, R. Capuçon NOVEMBER 23 Saturday 15:30 MÜPA BUDAPEST BBNCH Dvořák: Legend in D minor, Op. 59/1; Slavonic Dance No. 2, Op. 46/2; I Will Not Say - chorus for mixed choir, Op. 29, No. 3 Beethoven: Piano Concerto No. 4 in G major, Op. 58/ Piano Concerto No. 5 in E-flat major (“Emperor”), Op. 73 Dvořák: Symphony No. 7 in D minor, Op. 70 Fischer, Leonskaja

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DECEMBER 15 Sunday 15:30 MÜPA BUDAPEST BBNCH Finzi: The Fall of the Leaf, Op. 20 Brahms: Double Concerto in A minor for violin and cello, Op. 102 Berlioz: Fantastic Symphony, Op. 14 Elder, Frang, Mørk

2020 JANUARY 19 Sunday 15:30 MÜPA BUDAPEST BBNCH Beethoven: Violin Concerto in D major, Op. 61 Schumann: Symphony No. 2 in C major, Op. 61 Janowski, Beilman JANUARY 26 Sunday 15:30 (A) ITALIAN CULTURAL INSTITUTE Vivaldi: Concerto in G minor for two violins, cello and strings, RV 578 Handel: Concerto Grosso in D major, HWV 323 Bach: Brandenburg Concerto No. 6 in B-flat major, BWV 1051 Mozart: Symphony No. 4 in D major, K. 19; Concerto in C major for flute, harp and orchestra, K. 299 Pilz, Gálfi, Juhász, Pivon, Á. Polónyi

MARCH 08 Sunday 15:30 (B) LISZT ACADEMY Grand Hall Locke: The Tempest – incidental music Rebel: Les éléments – suite Marais: Alcyone Suite No. 4 (“Airs pour les Matelots et les Tritons”) Antonio Vivaldi: Violin Concerto in F minor (“Winter”), RV 297 Telemann: Water Music (“Hamburg ebb and flood”), TWV 55:C3 Savall Bonus concert for the season ticket: APRIL 04 Saturday 15:30 (A) APRIL 05 Sunday 15:30 (B) ITALIAN CULTURAL INSTITUTE Stanley: Concerto for Strings in D minor, Op. 2, No. 4 Corelli: Concerto Grosso in D major, Op. 6, No. 1 Vivaldi: Cello Concerto in A minor, RV 419 Mozart: Horn Concerto No. 3 in E-flat major, K. 447 Britten: Simple Symphony, Op. 4 Pilz, Kertész, Szőke

FEBRUARY 16 Sunday 15:30 MÜPA BUDAPEST BBNCH Mahler: Kindertotenlieder; Symphony No. 5 in C-sharp minor Fischer, Romberger

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Ormándy 5 concerts + bonus concert: 25 January 2020 PRICES Save 25 % off of single ticket prices Premium category: HUF 58 500 I. category: HUF 35 500 II. category: HUF 25 000 III. category: HUF 19 500 IV. category: HUF 14 000

2019 OCTOBER 04 Friday 19:45 LISZT ACADEMY Grand Hall Haydn: Symphony No. 20 in C major, Hob. I:20 Mozart: Piano Concerto No. 9 in E-flat major (“Jeunehomme”), K. 271; Symphony No. 36 in C major (“Linz”), K. 425 Takács-Nagy, Bavouzet

2020 JANUARY 10 Friday 19:45 LISZT ACADEMY Grand Hall Vivaldi: La Senna Festeggiante, RV 693 Cohen, Baráth, Reinhold, Sherratt Bonus concert for the season ticket: JANUARY 25 Saturday 19:45 ITALIAN CULTURAL INSTITUTE Vivaldi: Concerto in G minor for two violins, cello and strings, RV 578 Handel: Concerto Grosso in D major, HWV 323 Bach: Brandenburg Concerto No. 6 in B-flat major, BWV 1051 Mozart: Symphony No. 4 in D major, K. 19; Concerto in C major for flute, harp and orchestra, K. 299 Pilz, Gálfi, Juhász, Pivon, Á. Polónyi

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MARCH 06 Friday 19:45 LISZT ACADEMY Grand Hall Locke: The Tempest – incidental music Rebel: Les éléments – suite Marais: Alcyone Suite No. 4 (“Airs pour les Matelots et les Tritons”) Antonio Vivaldi: Violin Concerto in F minor (“Winter”), RV 297 Telemann: Water Music (“Hamburg ebb and flood”), TWV 55:C3 Savall APRIL 18 Saturday 19:45 LISZT ACADEMY Grand Hall Haydn: Symphony No. 59 in A major (“Fire”), Hob. I:59 Mozart: Violin Concerto No. 5 in A major, K. 219 Haydn: Symphony No. 99 in E-flat major, Hob. I:99 Takács-Nagy, Gringolts APRIL 27 Monday 19:45 MÜPA BUDAPEST BBNCH Rachmaninoff: Piano Concerto No. 2 in C minor, Op. 18 Sibelius: Symphony No. 2 in D major, Op. 43 Kitayenko, Son

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Széll 4 concerts + bonus concert: 09 March 2020 PRICES Save 20 % off of single ticket prices Premium category: HUF 49 500 I. category: HUF 32 000 II. category: HUF 23 500 III. category: HUF 19 000 IV. category: HUF 13 000

2019 NOVEMBER 08 Friday 19:45 LISZT ACADEMY Grand Hall Prokofiev: War and Peace – Overture, Op. 91 Tchaikovsky: Violin Concerto in D major, Op. 35 Prokofiev: Romeo and Juliet – suite, Op. 64a and 64b (excerpts) Shani, R. Capuçon

2020 JANUARY 11 Saturday 19:45 LISZT ACADEMY Grand Hall Vivaldi: La Senna Festeggiante, RV 693 Cohen, Baráth, Reinhold, Sherratt MARCH 07 Saturday 19:45 LISZT ACADEMY Grand Hall Locke: The Tempest – incidental music Rebel: Les éléments – suite Marais: Alcyone Suite No. 4 (“Airs pour les Matelots et les Tritons”) Antonio Vivaldi: Violin Concerto in F minor (“Winter”), RV 297 Telemann: Water Music (“Hamburg ebb and flood”), TWV 55:C3 Savall Bonus concert for the season ticket: MARCH 09 Monday 19:45 BUDAPEST MUSIC CENTER Eötvös: da capo Gy. Ligeti: Cello Concerto Reich: Pulse L. Ligeti: Surroundedness Rácz, Lukács, Perényi

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Cocoa Season Ticket MARCH 21 Saturday 19:45 MÜPA BUDAPEST BBNCH R. Strauss: Der Rosenkavalier – Waltz Sequence No. 1 Sibelius: Violin Concerto in D minor, Op. 47 Mahler: Adagio from Symphony No. 10 in F-sharp major R. Strauss: Till Eulenspiegels lustige Streiche Fischer, Kopatchinskaja

5 concerts PRICE HUF 15 000

2019 SEPTEMBER 21 Saturday 14:30 and 16:30 BFO Rehearsal Hall Iván Fischer NOVEMBER 16 Saturday 14:30 and 16:30 BFO Rehearsal Hall Iván Fischer

2020 FEBRUARY 09 Sunday 14:30 and 16:30 BFO Rehearsal Hall Erika Illési MARCH 14 Saturday 14:30 and 16:30 BFO Rehearsal Hall Erika Illési MAY 09 Saturday 14:30 and 16:30 BFO Rehearsal Hall Erika Illési Valid tickets are required (for both children and adults) to attend each performance.

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MÜPA Béla Bartók National Concert Hall (BBNCH)

1st FL OOR s tage b alcony LEF T

2nd FLO OR

RIGHT alcony stage b

Stage

OR 2nd FLO

RIGHT alcony tage b OOR s 1st FL

stage b alcony LEFT

1st FLOOR organ seats

A B C 1 2 3 4 5 6

7 8

9 10

11 12

13 14

15 16

17 18

2nd FLOOR side balcony LEFT

1st FLOOR side balcony LEFT

19 20

GROUND floor boxes LEFT

GROUND floor boxes RIGHT

2nd FLOOR side balcony RIGHT 1st FLOOR side balcony RIGHT

21 22

Ground floor LEFT

GROUND floor RIGHT

24 25 1 2

1st FLOOR middle balcony LEFT

2nd FLOOR middle balcony LEFT

3rd FLOOR middle balcony LEFT

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3 4 5 1 2 3 4 5 6 7 1 2 3 4 5

1st FLOOR middle balcony RIGHT

2nd FLOOR middle balcony RIGHT

3rd FLOOR middle balcony RIGHT

LISZT ACADEMY Grand Hall

Choir seats

Stage

Side balcony LEFT

I II III IV V VI VII VIII IX X XI XII XIII XIV XV XVI XVII XVIII

Side balcony RIGHT

Ground

Premium I. category II. category III. category IV. category

Middle balcony

Reserved places Seats for persons with disabilities

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ITALIAN CULTURAL INSTITUTE

Stage LEFT side

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RIGHT side

BUDAPEST CONGRESS CENTER

Stage Ground floor 1 2 3 1 4 2 5 3 4 6 5 7 6 8 7 9 8 10 9 11 10 11 12 12 13 13 14 14 15 15 16 16 17 17 18 18 19 19 20 20 21 21 22 23

Balcony 1 2 1 3 2 4 3 5 4 6 5 6 7 7 8 8 9 9

Left side

Technical box Left center seats

Right center seats

Right side

Premium plus Premium I. category II. category III. category IV. category Prémium plusz

Reserved places Prémium I. Kategória II. Kategória III. Kategória IV. Kategória Állóhelyek

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BFO Friends Card Joining the loyalty programme of the Budapest Festival Orchestra remains free of charge. As a member of the programme, you will be closer to the BFO community, obtaining a new perspective on one of the worldâ&#x20AC;&#x2122;s top orchestras. Following your registration on our website, you will be able to earn points with each single or season ticket you purchase, and through your active engagement with the BFO. You can redeem your points for exclusive experiences and discounts beyond the concerts. Your points will automatically add up in your profile. As you collect more points and progress through the corresponding levels, you will get more and more benefits. Depending on the number of points earned and the level reached, we will invite you to meet the musicians and management of the BFO; we will offer early purchase opportunities for single tickets before they go on sale; and we will hold a Black Friday during which you will be able to purchase concert tickets at discounted prices. In addition, you will become eligible for discounts and unique events offered by our partners.

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Experiences from Pianissimo to Fortissimo â&#x20AC;&#x201C; become part of the large BFO family and join the BFO Friends Card programme! For further information, visit www.bfz.hu/en/loyalty-program

What we give Pianissimo Piano Forte Fortissimo Monthly newsletter

· · · Personalised BFO Friends Card · · ·

Opportunity to purchase discount tickets at least once a year 10 % 15 % 20 % Discounts at BFO’s partners 1

Early purchase opportunity for BFO single tickets Invitation to meet the BFO’s artists and managers

· ·

Invitation to the Müpa Budapest VIP room once per season Black Friday (occurring once a year with all of the season’s single tickets available at a discount price)

· ·

1 Bohém Restaurant (Müpa Budapest) 10 % discount Rózsavölgyi Szalon 10 % off tickets, 7 % off books Magvető Café 10 % off tickets, 7 % off books published by Magvető sold at the café ResidentArt free participation in the Contemporary Encounters walk organised for Friends of the BFO; participation in the Street of Antiquities walk with a 50 % discount for two persons Zwack Museum and Visitor Centre 15 % off tickets, 5 % off spirits Kempinski Hotel Corvinus Budapest Fortissimo level members receive invitations to select cultural programmes offered by the hotel Our list of partners keeps growing. The BFO reserves the right to make occasional modifications or withdraw specific club membership benefits as it sees fit. 2 1 day before tickets go on public sale 3 2 days before tickets go on public sale Early purchase option is not available for marathon ticket sales.

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Concert venues Müpa Budapest 1095 Budapest, Komor Marcell u. 1. Tram 1 – Közvágóhíd; 2, 24 – Müpa – Nemzeti Színház Bus 23, 23E, 54, 55 – Müpa – Nemzeti Színház Suburban railway H7 – Müpa – Nemzeti Színház Boat D11, D12 – Müpa – Nemzeti Színház Parking Concert visitors may park for free in the outdoor parking lot and in the underground parking garage. Liszt Ferenc Academy of Music 1061 Budapest, Liszt Ferenc tér 8. Tram 4, 6 – Király utca Trolleybus 70, 78 – Király utca Bus 105 – Oktogon Metro M1 – Oktogon Parking Concert visitors may park at a discounted rate in the parking garage at Akácfa utca 60. A voucher, good for one hour of free parking, may be picked up on the day of the concert in the Liszt Academy ticket office by showing your parking pass and concert ticket. Italian Cultural Institute 1088 Budapest, Bródy Sándor utca 8. Tram 47, 48, 49 – Astoria or Kálvin tér Bus 5, 7, 8E, 110, 112, 133E, 178 – Astoria; 9, 15, 115 – Kálvin tér Metro M2 – Astoria; M3 – Kálvin tér Parking Paid parking is available across from the old building of the Hungarian Radio: Bródy Sándor u. 18., or in the Pollack Mihály tér underground parking garage.

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Budapest Congress CENTER 1123 Budapest, Jagelló út 1–3. Tram 17, 61 – BAH-csomópont; 59 – Apor Vilmos tér Bus 8E, 139, 140, 212 – BAH-csomópont; 110, 112 – BAH-csomópont or Sirály utca; 102, 105 – Apor Vilmos tér Parking Concert visitors may park for a fee in the outdoor parking lot outside the Congress Center and the Hotel Novotel. Budapest Music Center 1093 Budapest, Mátyás utca 8. Tram 2 – Zsil utca; 47, 49 – Fővám tér Trolleybus 83 – Fővám tér Bus 9 – Kálvin tér; 15, 115 – Czuczor utca Metro M3 – Kálvin tér; M4 – Fővám tér Parking In the surrounding streets you have to pay for parking till 20:00; you are also allowed to use the Bálna Budapest underground parking garage for a fee. BFO Rehearsal Hall 1034 Budapest, Selmeci utca 14–16. Tram 17, 19, 41 – Selmeci utca Bus 9, 109, 111 – Tímár utca Parking In the surrounding streets you are allowed to park for free on public holidays.

Contact us Office: Polgár utca 8–10. (Flórián Udvar Office Blocks), Block B, mezzanine H-1033 Budapest, Hungary Telephone: +36 1 489 4330 Fax: +36 1 355 4049 E-mail: info@bfz.hu Published by the Budapest Festival Orchestra Foundation Publisher: Martin Hoffmann, managing director of the BFO BFO Foundation qualifies as an organisation receiving foreign funds as defined under Act LXXVI of 2017 on the Transparency of Organisations Receiving Foreign Funds.

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Budapest Festival Orchestra