Adapting László Sáry's chamber opera Great sound in the Rush, based on Sándor Weöres’ poem, for the stage is far from an easy task. However, the members of the Maladype Theatre and the Qaartsiluni Ensemble were not deterred by the challenge. These adventurous creators offer a rare fusion of music and theater as part of the International Bartók Festival. The unconventional performance, debuting on July 15, will be hosted by the Weöres Sándor Theatre in Szombathely.

As part of the International Bartók Seminar and Festival, you are staging László Sáry’s semi-serious opera Great sound in the Rush. Whose idea was it to use a Sáry composition as the foundation for this collaborative theatrical and musical piece?

Zoltán Balázs: The idea came from László Sáry himself. He had long wanted to see his operatic adaptation of Sándor Weöres’ poem Theme and Variations performed in this format. He introduced me to Lajos, the artistic director of the Qaartsiluni Ensemble and an exceptional clarinetist. After ongoing discussions between the three of us, the project took shape, culminating in Maladype and Qaartsiluni jointly bringing the work of this distinguished composer—who is celebrating his 75th birthday this year—to the stage.

- The genre designation of the piece is ‘semi-serious opera.’ Opera is generally considered a classical music genre, so doesn’t this label create a paradox?

Lajos Rozmán: People tend to focus on the practical aspects of a production, but it’s equally—if not more—important to reflect on fundamental questions. In this case, that means considering what ‘semi-serious opera’ truly signifies. This work does not fit neatly into the classical opera tradition. Instead, it highlights the act of making music itself, showcasing all its creative, playful, and flexible aspects. While Sáry’s piece initially raised the possibility of parody, we quickly ruled out that approach for this production.

Z. B.: The secret of this genre is actually quite simple: we have a brilliant poet, Sándor Weöres, and an equally brilliant composer, László Sáry. What unites them? Both are playful creators who see the world through a unique kaleidoscope, one that constantly reshapes itself into an ever-evolving universe. Just as their structures seem to solidify, they deliberately break them apart to rebuild something fresh and exciting. Lajos once described this as creative destruction—a concept that is present both in Weöres’ Theme and Variations and in the musical material reimagined by Sáry.

- Would you say this production is a niche piece aimed at a highly knowledgeable audience?

Z. B.: I’d rather put it this way: works of this nature—be they poetry, theater, or musical compositions—can be fully appreciated by those who carry within themselves the adventurous spirit of Weöres and Sáry. We are motivated by the desire for risky exploration and the mapping of uncharted paths. I believe both artistic teams will execute this creative destruction at a remarkably high level on stage.

L.R.: I find that contemporary musical sensibilities still lean heavily toward Romanticism, even though the sentiments traditionally associated with that movement are now quite distant from modern life. Remek hang a futkosásban may appeal to a broader audience precisely because it lacks pathos and avoids forced seriousness. We are offering a production that, much like life itself, is both serious and not.

- What are the most exciting aspects of merging literature with contemporary music and theater?

Z. B.: The performance will be as exciting as the audience’s creative imagination allows. The spectators will extend the work beyond the stage, shaping it into their own narratives. I have always believed in staging productions that are infused with music, literature, visual arts, and movement. These additional layers help the audience engage, making their role in the performance as significant as ours as creators.Rather than presenting a conventional storyline, we are offering a series of etudes that reflect the events that structure our lives. Each viewer, drawing from their own experiences and cultural background, will assemble a personal and unique story while experiencing the piece. The etudes vary drastically: rapid mood shifts, continuous movement between individuals and groups, moments of disintegration followed by reunion. It’s reminiscent of how schools of fish move in the ocean. This dynamic interplay of contrasts forms the organic structure that unifies the performance.

L.R.: The audience will be bombarded with a multitude of stimuli—we are presenting a broad arsenal of artistic elements all at once. It takes time for the fusion of visuals, theater, literature, and music to settle in their minds.

- I understand that the musicians will be using unconventional ‘instruments’ alongside their primary ones. What are these, and how do they enhance the original composition?

L.R.: Yes, this aspect makes the production particularly special. László Sáry wrote the piece for creative performers, imagining at least seven players—either musicians or actors—who could build the work based on their own capabilities. Our ensemble consists of eight performers, and we have structured the piece to highlight each of their strengths, amplifying their potential. These unconventional instruments help bring out the piece’s more abstract and playful dimensions. At first, the members of Qaartsiluni found it challenging to shift their mindset away from their traditional roles as pianists or clarinetists. But in this production, they’re required to do more: they ride scooters, run, create sounds with stones, pipes, bells, and even their own shoes, or carry actors on their backs while playing the tikfa. This approach ensures full integration between the musicians and the actors on stage.

- How are rehearsals progressing?

L.R.: The majority of the rehearsal process has focused on concentration and precision—on how to execute this highly refined work at the highest level. We have an exceptionally talented group of soloists and musically gifted actors (such as Kata Huszárik and Ágota Szilágyi), yet it remains a challenging task. We’ve dedicated months to rehearsals, but the better the team, the more worthwhile the effort. The filtering process is crucial.

- What do you mean by filtering? Could you clarify?

L.R.: We need to eliminate anything that could disrupt the seamless functioning of this intricate material. As Dezső Tandori wrote in one of his abstract poems—set to music by Sáry and appearing like a watermark in the performance: “Even a speck of unfiltered time settles fatally.”

- Got it, I think.

Z. B.: The artists are now practicing individually or in pairs. The foundation of the production is solid, but that offers no guarantees—after all, the piece is a constantly evolving, dynamic entity that demands transformation from its performers. We are tasked with making an invisible world visible, and the only way to achieve that is through a relaxed yet ever-alert presence.

- This relaxed yet highly focused work style is a signature of Maladype...

Z. B.: Yes, and audiences can tell when a piece has been put together with forced, labored effort. That’s not the case here. Lajos also doesn’t believe in that approach. But we both know exactly where we are headed and what we aim to achieve: quality and a liberated creative process.

- How much room was left for improvisation?

Z. B.: Both actors and musicians needed space to improvise. Actors might be more accustomed to this territory, but I am not a director who follows traditional rehearsal methods—I welcome unconventional ideas and experimentation. This approach requires time and focus, but that’s the price of straying from conventional theater-making.

- Maladype avoids classical theater traditions, but minimalism is a strong element of its work...

Z. B.: Absolutely. Minimalism plays a crucial role in movement and verbal situations alike. Once again, I am applying the principle of minimalist monumentalism: a piece can feel grand even when we place only a few precise markers in space—markers that the audience then connects into a unique system of meaning. Balancing this with musical demands and the characters crafted by musicians and actors is essential for the performance to become a self-writing story.

- Could this collaboration lead to future joint projects?

L.R.: We’ll see. I believe in focusing fully on the present moment.

Z. B.: If the stars align, we’ll meet again on another project. Let’s see what the future holds.

Kortárs Online, 2015

Translation by Zsuzsanna Juraszek