repertoire

A. Vivaldi:

  • Gloria

G. F. Händel:

  • Il Resurrezione: Angelo
  • Messiah

G. Pergolesi:

  • Stabat Mater

J. Haydn:

  • Stabat Mater
  • Die Jahreszeiten
  • Die Schöpfung
  • Nelson-Messe
  • Kleine Orgelmesse
  • Assorted concert arias

M. Haydn:

  • Kaiser Constantin I Feldung und Zieg

L. Boccherini:

  • Assorted concert arias

W. A. Mozart:

  • Mass in C minor
  • Coronation Mass
  • Davide Penitente
  • Regina Coeli
  • Laudate Dominum
  • Exultate, Jubilate
  • Requiem
  • Assorted concert arias

L. van Beethoven:

  • Symphony no. 9
  • Christus am Ölberge

reviews

“Klára Kolonits sang the soprano solo with her usual professionalism, pliant and ethereal – but in the same time giving a distinct character to her part.”

Mozart: Requiem | 9th May 2016, fidelio.hu, Endre Tóth

“Two concert arias and Constanze’s aria from Entführung were exquisite. Kolonits sang with perfect technique and put all her heart into them.”

Mozart: Concert arias | 2nd February 2016, Tiszatáj, Tamás Márok

repertoire

G. Rossini:

  • Stabat Mater

F. Mendelssohn:

  • Hör mein Bitten, Herr

J. Brahms:

  • Ein Deutsches Requiem

G. Verdi:

  • Requiem

F. Liszt:

  • Christus
  • Esztergomi Mise
  • Koronázási mise

A. Bruckner:

  • Te Deum

O. Respighi:

  • Lauda per la Natività del Signore

B. Britten:

  • Ceremony of Carols
  • Spring Symphony

J. Hubay:

  • Ara Pacis

G. Mahler:

  • Symphony no. 2
  • Symphony no. 8

Z. Kodály:

  • Budavári Te Deum

J. Soproni:

  • Mise

E. Petrovics:

  • I Cantata

S. Szokolay:

  • Tűz márciusa

Z. Jeney:

  • Halotti szertartás

G. Orbán:

  • Naphimnusz
  • Stabat Mater

L. Gyöngyösi:

  • Szimfónia
  • Vanitatum vanitas

productions

2018 Kecskemét
MD: Erdei Péter, Kecskemét Symphony Orchestra, Hungarian National Choir

2018 Vác, Cegléd
MD: Alpaslan Ertüngealp, Hungarian State Opera Orchestra and Choir

2018 Pécs
MD: Bogányi Tibor, Pécs Symphony Orchestra, Hungarian State Opera Choir

2017 Győr
MD: Berkes Kálmán, Győr Symphony Orchestra, Hungarian Radio Choir

2017 Ördögkatlan Festival
MD: Dinyés Dániel, Hungarian National Orchestra and Choir

2017 Ekaterinburg
MD: Dmitry Liss, Sverdlovsk Philharmonic Orchestra and Choir

2016 Hungarian State Opera, Erkel Theatre
MD: Giacomo Sagripanti, Hungarian State Opera Orchestra and Choir

2016 Budapest Congress Centre
MD: Záborszky Kálmán, Zugló Symphony Orchestra, Szent István Király Oratorio Choir

2015 Pécs, Székesfehérvár, Budapest MüPa, Budapest St.Stephen’s Basilica
MD: Antal Mátyás, Hungarian National Orchestra and Choir

2014 Budapest MüPa
MD: Vásáry Tamás, Hungarian Radio Orchestra and Choir

2011 Hungarian State Opera
MD: Ion Marin, Hungarian State Opera and Choir

reviews

“Klára Kolonits was terrific last year as well; back then I felt mainly the spirituality in her singing, this year it was her overwhelming serenity and passion for life that was striking for me, as well as her gestures and her relationship with the other singers, that made me see them as an ensemble.”

31st October 2015, mezeinezo.blog.hu, Zsuzsanna Makk

“Klára Kolonits delivered a collosal artistic experience. Tamás Vásáry found in her everything what he might need to put in his interpretation, a soprano able to fulfill each musical and vocal expectation of the conductor and the composer.
Kolonits such as Vásáry approached the piece from the spritual side, they saw in it not the most wonderful opera of Verdi, but really a mass, a sacred piece. Therefore from the first up to the last sound she was singing with a fantastic empathy, even transifiguration, even for a second she did not leave the atmosphere of the piece; was living in it, breathing its air, soundlessly singing even there, where there is no note for her in the score. Technically reached the highest level of all soprano soloists I’ve ever heard, equally perfect in the aetherical pianos as in striking fortes. (…) Out of her artistry one must name at least crystal clear tone and legato of Recordare, unusual inspiration in Agnus Dei and difficult high B flat a cappella in Libera me which was a never-heard secure, beautiful and full of light piano. Who once heard the following, neverending high C on the background of impressive chorus tableau, will most surely never forget it. Magical soprano of Klára Kolonits is a treasure and miracle of Hungarian music and I hope I will be able to listen to it many, many times. “

3rd November 2014, momus.hu, ppp

“There are singers, such as Klára Kolonits, who from the beginning until the end are visibly inspired, regardless if singing or not in the given moment, lives with the piece just as the conductor. Libera me was very genuine, we could really pray and hope together with the singer.”

26th October 2014, mezeinezo.blog.hu, Zsuzsanna Makk

“Klára Kolonits’ beautifully ethereal solo in Offertorium proved, that it would be a pity to stay home. (…) Libera me was as powerful and inspired as the whole piece, and in its final moment the soaring vocalise of Kolonits crowned in a proper way the beautiful production.”

29th October 2011, revizoronline.hu, János Malina

“As we might have guessed, Klára Kolonits took the prime in the soloist quartet as is also determined by the part itself – out of four equally important singers, after all the soprano’s part is the most difficult but also the most spectacular. Apparently Kolonits wasn’t bothered by the fast tempos and sang equally brilliantly, with her bravura technique, as any other time.”

12th November 2017momus.huppp

Chamber music, for me, is a personal theatre, where there is no singing partner, no ostentatious decorations or costumes, and the singer – only with his song and his soul – creates such a complex world or entire human fate within a couple of minutes, which otherwise, in the opera, gets constructed in two or three hours and on a thirty-foot stage. When I’m less busy in the theatre, I spend most of my time learning songs. Due to the intimate nature of the genre, in opposition to the opera, it does not need a lot of volume but rather you need to play with timbres and text, in certain meaning it gives the singer a lot more freedom than the opera.

repertoire

J. Haydn

W. A. Mozart

L. van Beethoven

G. Rossini (La regata veneziana)

G. Donizetti

F. Schubert

V. Bellini

Fanny Mendelssohn

Felix Mendelssohn

F. Chopin

R. Schumann (Frauenliebe und Leben, Dichterliebe, Liederkreis)

C. Alkan (Anciennes mélodies de la synagogue)

F. Liszt (Tre sonetti di Petrarca)

R. Wagner (Wesendonck Lieder)

C. Wieck-Schumann

J. Brahms

M. Mussorgski (Песни и пляски смерти, Детская)

P. Tchaikovsky

A. Dvořák (Biblické písně)

E. Grieg:

G. Fauré

L. Janáček (Řikadla pro komorní sbor a 10 nástrojů)

E. Chausson

J. Hubay

H. Wolf

G. Mahler (Kindertotenlieder)

C. Debussy (Ariettes oubliées)

R. Strauss (Mädchenblumen, Vier letzte Lieder)

A. Schönberg (Brettllieder)

A. Zemlinsky (Waldgespräch, Maiblumen blühten überall)

C. Ives

S. Rachmaninov

M. Ravel (Shéhérazade 5 Mélodies populaires grecques)

E. Dohnányi (Im Lebenslenz)

B. Bartók

Z. Kodály

E. Korngold (Drei Lieder, Shakespeare Songs)

A. Berg (7 frühe Lieder)

G. Gershwin

G. von Zieritz (Japanische Lieder)

F. Farkas (Gyümölcskosár)

D. Schostakovich (Сатиры)

O. Messaien (Chants de Terre et de Ciel)

B. Britten

J. Hubay

G. Kurtág (József Attila töredékek)

J. Decsényi (Régi magyar szövegek)

G. Kancheli (Exil)

G. Selmeczi (Halott város)

J. Widmann

Experiment on a Fugue

L. Gyöngyösi

D. Dinyés (Vita, Libertà, libertà, Új Énekek, Canti senza parole, P.o.E. – Poetry or Epic, easy songs over not an easy subject)


reviews

“I found myself in an internal, homey world. The character of the pieces was transmitted very well and Klára Kolonits made us believe that technically this is a children’s play for her: listening to the colours of her voice and subtle pianos was an unforgettable experience. Some of Schubert pieces became practically folk songs in Austria: and both performers made them sound such naturally, purely and honestly as if they were popular music indeed. Dániel Dinyés was a perfect partner: he stayed in harmony with the singer and didn’t fall into second row. Klára Kolonits underlined the emotional expression of the music with subtle gestures as well.”

Schubert: Liederabend | 13th December 2015, kultifilter.hu

“Strikingly subtle instrumentation and exceptional timbre of Klára Kolonits’ beautiful voice deepened the uniqueness of the piece. She sang wonderfully; she understands, feels the modern music as well.”

Dinyés: Canti senza parole | 11th November 2010, Ildikó Lehotka

“Klára Kolonits sang with her usual suggestiveness, rich variety of musical assets and impeccable diction.”

Gyöngyösi: Two Csokonai songs | March 2009, Muzsika, János Malina