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Moltopera productions


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Puccini: La Bohéme

Strauss The Bat Fliedermaus


31/1/2013 - National Theater of Pécs



Bohème – how do we live?


La Bohème is the fifth most played opera in the world. What makes people excited about a piece that presents wretched artists, love tragedy and self-sacrifice? Why do so many people want to be an artist? Are there any rules to govern the life of the „bohèmes”? This opera opens a view on a lifestyle believed by many to be a dream – but it is not the same to watch it or to live it. The greatest opera hits like Mimi’s Aria, Coat Aria, or the famous Rodolfo-Mimi Duett may be sounding in our memory in the voice of Pavarotti, Callas and Ghiaurov, but now young Hungarian talented artists are those who sing it: members of the MoltOpera Company and guest artists.


Our goal is to make opera understandable and lovable without previous musical or other studies. Our average ages is barely 30 years – just like in the libretto. We perform an one hour explained excerpt designed explicitly for those who are not familiar with the genre. How to understand and love such an old and complex genre? The Bohèmes of MoltOpera seek to answer this question.

Read more: Puccini: La Bohéme

Mozart: Die Zauberflöte (The Magic Flute)

Mozart Die Zauberflöte


12/8/2012  - Sziget Fesztival

28/9/2012 - Ajka

3/11/2012 - Palace of Arts (Budapest)




The hero, Tamino, suddenly arrives to the realm of wonders from the human world. He escapes from the dragon, but after that, the real challenges follow. What is justice? Who is on whose side and why don’t the flying young couple run away from Sarastro’s palace? Is it possible to fall in love at the first sight with a picture?

The Magic Flute is maybe the most known opera of Mozart and of music history – but understood by no one. Most specators remember plot contradictions and strange scenes after having seen the piece. MoltOpera wishes to cast light on these issues, and beside singing the known arias such as the revenge aria of the Queen of the Night, the Picture Aria or Sarastro’s prayer, we hope to help the audience get closer to understand the plot of the opera, as well.

Read more: Mozart: Die Zauberflöte (The Magic Flute)

Mascagni: Cavalleria rusticana (Rustic chivalry)

Mascagni Cavalleria Rusticana


22/3/2013 - National Theater of Pécs



A true verist opera where everybody is guilty. Lola seduces Turiddu, Turiddu cheats on his bride, Santuzza betrays his husband, Mamma Lucia closes her eyes, Alfio becomes a murderer. The drama, which turns the destiny of all the 5 characters, takes place on the main square of a little Sicilian town, in a single Easter morning. The author compresses it in a single hour, and MoltOpera makes it even briefer by presenting a narrated, staged excerpt. Nothing else remains but the core: society traps, love, relations and expectations.


With a single piano insted of a big orchestra, with minimalist sets instead of South-Italian tableaux, MoltOpera presents all this easily and securely since the task is familiar: they have performed numerous operas in similar circumstances. However, they face their biggest challenge with this performance: the drama almost exploding with extraordinary inner tensions is performed only from 2 mtrs distance from their audience. This unusual situation in opera playing, however, will permit the spectators to feel themselves really close, on the main square of the little Sicilian town.

Read more: Mascagni: Cavalleria rusticana (Rustic chivalry)

Menotti: The telephone

Menotti Telephone


May 2013  - National Theater of Pécs




A non-everyday opera. 25 minutes, two singers, music from the 20th century and a telephone in the centre. Maybe this is why the piece of Giancarlo Menotti is known by few but loved by many. The husband-wannabe (Ben) is desperately trying to propose to his chattery and flustered girlfriend (Lucy), but, at every attempt, the telephone rings – and he, on the other hand, must leave. When Lucy remains by herself in the room, she starts to doubt whether there will be any serious consequences of not having payed attention to him, whatever he wanted to say. The telephone rings once again, and this time, it is Ben from a phone-booth near the railway station, proposing to her – and gaining her hand.

Exactly for its speciality, this piece is ideal for fitting in a programme, making company for other MoltOpera Productions, or performing in „solo”, when there is no time and attention for listening to a whole grand opera. Besides, the piece can be performed anywhere because of the insignificant needs of scenery, lights and props.



Read more: Menotti: The telephone

How to survive an aria recital?

How to survive an opera recital


15/2/2012 - Nádor Hall

11/3/2012 - Nádor Hall

29/4/2012 - Aranytíz 

30/6/2012 - Antheis Conference

12/8/2012 - Sziget Fesztivál 

6/1/2013 - Gózon Gyula Kammertheater


Is opera boring? Banal? Ancient? Yes, it is!


MoltOpera knows well that an aria recital usually is to be survived and that few would sacrifice their precious free time on listening to hundreds-years-old music. But, then, why have we become opera singers? What attracts twentysome-years-old people in this genre? Our goal is to answer these quetions, and we do not only aiming for high quality performances (with singers awarded at international competitons), but we would like to prove that opera may be a 21st century genre, too.


Beside the selection of the pieces (easily understandable but quality arias and ensembles), the everyday language narration makes our recital enjoyable for every age and every audience.  Moreover, the programme itself is flexible and may fit for every occasion, which makes the recital not only survivable – but enjoyable, too.

Read more: How to survive an aria recital?

Strauss: Die Fledermaus (The Bat)

Strauss The Bat Fliedermaus


27/2/2013 - National Theater of Pécs



Drama among the upper ten (but no Barons’ Arms Torn off)


It is not always good to be Batman – and Dr. Falke knows it pretty well. If the husband is sentenced to jail, but the man taken from the side of the wife is not the husband – well, a complex situation it may be, but, mostly, this is not particularly advantageous, either. If, meanwhile, the husband conquers an unknown woman, who, in reality, is his wife – it could be a happy turning, but in our case it is not. If the housmaid becomes an artist and is courted by cavaliers for a night – well, this is good news, but is the cavalier a cavalier? No wonder that the jailer gets confused, when he has to close two pretty, well-dressed ladies in the cell, and though he is drunk, it is not his drinks that make him see two of the protagonist.


The narrated and explained concert excerpt contains the most known music, and in the end it turns out what the fooled „Batman’s” revenge was. And some good news: after all this confusion, they will Live Happily Ever After.

Read more: Strauss: Die Fledermaus (The Bat)

Mozart: Don Giovanni

Mozart Die Zauberflöte


in preparation



How loving, desperate and mad could a noble lady (Donna Elvira) from Burgos be who travels 750 km just to „scratch out the eyes” of the nobleman who left her? Is it really true that the bored noble lady (Donna Anna) does not know who attempts to rape (?) her, calling after him in a fainting, gentle voice? Is the man driven by evilness who kidnappes the bride (Zerlina) from the very day of her wedding, and beats up the groom (Masetto) as well? Or is it so that he is not able to do else? Why does the servant (Leporello) stay with his master if he always gets into trouble? Is death conquarable to man (Commendatore)? The noble, man, stranger, human – he is Don Giovanni. Every man wishes to be like him and every woman desires to get him. Or – rather not?

In the play of questions, MoltOpera Company attempt to give answers based on their own interpretation, respecting the tradition of the work but not being afraid of uniqueness. Though everybody may be different, the relationship between man and woman remains the same for ever.

Read more: Mozart: Don Giovanni

Mozart: Le nozze di Figaro

Mozart Le Nozze di Figaro


in preparation



The Beauty (Rosina) has grown old and Prince Charming (Count Almaviva) now desires another woman – a housmaid (Susanna), who is about to marry Figaro, another servant. Of course, at the end of the piece, everybody finds their mate, but there is a long way to go to reach there. Women and men (between 15 and 51) turn upside down everything. There will be a womanizer teenager sent to war, a real harpy turning to a loving mother, a hangman hung up, and an unfaithful husband courting his very own wife by mistake. All this is supported by a music full of top hit opera tunes, which can gain a new dimension if listened to with attention this time...


Understanding of the piece and the music is aided by everyday language narration fitted for place and audience. This way, Le nozze di Figaro is ready to be performed everywhere from a children’s performance to the premium category.

Read more: Mozart: Le nozze di Figaro