Michael Halász

Biography

Born: 1938   Country: Hungary  
Exemplifying the efficacy of good recordings, conductor Michael Halász has achieved worldwide recognition for his extensive Naxos discography. Fully prepared to seize the opportunity to preserve his interpretations on disc, the conductor has won strong approbation for both orchestral works and several operas, which critics determined warranted highest recommendation. After his successful recording of Mozart's Die Zauberflöte, even stronger Read more accolades awaited his Fidelio with Inga Nielsen, Gösta Winbergh, and Kurt Moll, singers who matched the best efforts of other legendary casts. For detail and propulsiveness, Halász's own work demanded comparison with the best of those who had preceded him. Trained as a bassoonist, Halász began his professional career as principal bassoonist in the Philharmonia Hungarica. After eight years with that ensemble, he elected to train as a conductor in Essen, subsequently making his podium debut at Munich's Gardenplatztheater in 1972. For the next three years, he directed the theater's operetta productions before moving to Frankfurt to assume the position of principal Kapellmeister under Christoph von Dohnányi. In Frankfurt, he learned an extensive opera repertory and, in 1977, he followed Dohnányi to Hamburg to continue his work as principal Kapellmeister. The following year, Halász was appointed general music director at the Hagen Opera and remained in that position until his engagement as resident conductor at the Vienna Staatsoper in 1991. While primarily devoting himself to his chief positions, the conductor has accepted guest-conducting engagements and has been a frequent visitor to the recording studio. In addition to his opera recordings, Halász has taped numerous orchestral works for Naxos, most notably symphonies of Beethoven and Mahler and two volumes of symphonic poems by Liszt, the latter greeted with especially warm reviews. His collaboration with cellist Maria Kliegel in the cello concertos of Elgar and Dvorák also elicited positive remarks. Important works in the choral repertory, too, have been recorded by Halász, including Fauré's Requiem, Mozart's Mass in C minor and Kyrie in D minor, and Pergolesi's Stabat Mater. For the Naxos sister label Marco Polo, Halász has recorded works by Anton Rubinstein, Myaskovsky, Goldmark, and Franz Schmidt. Franz Schrecker's opera Der Ferne Klang, recorded for Marco Polo, was subsequently re-released on the Naxos label. Read less

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Biography

Born: 1938   Country: Hungary  
Exemplifying the efficacy of good recordings, conductor Michael Halász has achieved worldwide recognition for his extensive Naxos discography. Fully prepared to seize the opportunity to preserve his interpretations on disc, the conductor has won strong approbation for both orchestral works and several operas, which critics determined warranted highest recommendation. After his successful recording of Mozart's Die Zauberflöte, even stronger Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
I. Allegro
II. Adagio ma non troppo
III. Finale: Allegro moderato - Andante - Allegro vivo
dolorosa
Cuius animam gementem
O quam tristis et afflicta
Quae moerebat et dolebat
Quis est homo qui non fleret
Vidit suum dulcem natum
Eia, mater, fons amoris
Fac ut ardeat cor meum
Sancta mater, istud agas
Fac ut portem Christi mortem
Inflammatus et accensus
Quando corpus morietur
I. Allegro moderato
II. Andante con moto
I. Andante - Allegro ma non troppo
II. Andante con moto
III. Scherzo: Allegro vivace
IV. Finale: Allegro vivace
I. Allegro moderato
II. Andante con moto
I. Andante - Allegro ma non troppo
II. Andante con moto
III. Scherzo: Allegro vivace
IV. Finale: Allegro vivace
I. Langsam, schleppend
II. Kraftig bewegt, doch nicht zu schnell
III. Feierlich und gemessen, ohne zu schleppen
IV. Sturmisch bewegt
Blumine (original second movement)
Stabat Mater
Cujus animam
O quam tristis
Quae moerebat
Quis est homo
Vidit suum
Eja mater
Fac, ut ardeat
Sancta Mater
Fac ut portem
Inflammatus
Quando corpus
I. Langsam, schleppend
II. Kraftig bewegt, doch nicht zu schnell
III. Feierlich und gemessen, ohne zu schleppen
IV. Sturmisch bewegt
Blumine (original second movement)
Langsam - Allegro con fuoco
Nachtmusik: Allegro moderato
Scherzo: Schattenhaft
Nachtmusik: Andante amoroso
Rondo - Finale
I. Andante comodo
II. Im Tempo eines gemachlichen Landlers
III. Rondo-Burleske: Allegro assai. Sehr trotzig
IV. Adagio: Sehr langsam und noch zuruckhaltend
I. Allegro maestoso
II. Scherzo: Presto
III. Quasi fantasia: Grave -
IV. Finale: Allegro guerriero
I. Allegro passionato, ma un poco maestoso
II. Adagio ma non troppo -
III. Allegro molto tranquillo
I. Allegro un poco maestoso
II. Romanze: Andante - Allegretto
III. Finale alla Zingara: Allegro con spirito
No. 1. An die Nacht
No. 2. Ich wollt' ein Strausslein binden
No. 3. Sausle, liebe Myrte!
No. 4. Als mir dein Lied erklang
No. 5. Amor!
No. 6. Lied der Frauen
Sinfonia
Act I No. 1: Duettino - Cinque...dieci...venti...trenta
Act I No. 1: Recitativo - Cosa stai misurando
Act I No. 2: Duettino - Se a caso madama la notte ti chiama
Act I No. 2: Recitativo - Or bene, ascolta, e taci!
Act I No. 3: Cavatina - Se vuol ballare, signor Contino
Act I No. 3: Recitativo - Ed aspettaste il giorno fissato a le sue nozze
Act I No. 4: Aria - La vendetta, oh, la vendetta
Act I No. 4: Recitativo - Tutto ancor non ho perso
Act I No. 5: Duettino - Via resti sevita, madama brillante
Act I No. 5: Recitativo - Va' la, vecchia pedante
Act I No. 6: Aria - Non so piu cosa son faccio
Act I No. 6: Recitativo - Ah son perduto!
Act I No. 7: Terzetto - Cosa sento! Tosto andate
Act I No. 7: Recitativo - Basilio, in traccia tosto di Figaro volate
Act I No. 8: Chorus - Giovani liete fiori spargete
Act I No. 8: Recitativo - Cos' e questa commedia?
Act I No. 9: Chorus - Giovani liete fiori spargete
Act I No. 9: Recitativo - Evviva!
Act I No. 10: Aria - Non piu andrai, farfallone amoroso
Act II No. 11: Cavatina - Porgi amor qualche ristoro
Act II No. 11: Recitativo - Vieni, cara Susanna
Act II No. 11: Recitativo - Quanto duolmi, Susanna
Act II No. 12: Arietta - Voi, che sapete
Act II No. 12: Recitativo - Bravo! Che bella voce!
Act II No. 13: Aria - Venite, inginocchiatevi
Act II No. 13: Recitativo - Quante buffonerie!
Act II No. 13: Recitativo - Che novitŕ
Act II No. 14: Terzetto: Susanna, or via, sortite
Act II No. 14: Recitativo - Dunque voi non aprite?
Act II No. 15: Duettino - Aprite, presto, aprite
Act II No. 15: Recitativo - Oh, guarda il demonietto!
Act II No. 15: Recitativo - Tutto e come il lasciai


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