Composition database

Passion

Bella Máté

Passió

Passion

Opera-oratorio

2026

Opera

3 T., 3 Bar., B.Bar., S. soli - mixed choir - vl. solo, vlc. solo - pf., arpa - strings: vl. 1, vl. 2, vla., vlc., cb.

120 min

I. jelenet: Jézus halála / Scene I: Death of Jesus
II. jelenet: A keresztre feszítés / Scene II: Crucifixion
III. jelenet: A keresztút / Scene III: Via Crucis
IV. jelenet: Jézus Pilátus előtt / Scene IV: Jesus before Pilate
V. jelenet: Jézus Kajafás előtt / Scene V: Jesus before Caiaphas
VI. jelenet: A Gecsemáné-kert / Scene VI: Gethsemane
VII. jelenet: Az utolsó vacsora / Scene VII: Last supper

ALMÁSI-TÓTH, András

Hungarian

21 March 2027, Hungarian State Opera House, Budapest; Pál Botond, Zsolt Haja, Károly Szemerdéy, Gergely Ujvári, Artúr Szelecki, Gergely Halász, Attila Dobák, Lilla Horti (voice), Hungarian State Opera Chorus and Orchestra, Ádám Cser (cond.)

MS

Libretto written and premiere directed by András Almási-Tóth

"Passion is an unconventional, nearly two-hour contemporary opera-oratorio based on the four Gospels, approaching the story of Jesus from a radically new perspective. The libretto, written by András Almási-Tóth, shifts the focus away from the physical brutality of the Passion narrative and instead explores the human and spiritual process through which Jesus consciously accepts and fulfils his destiny. One of the work’s most distinctive dramaturgical features is its reverse narrative structure: the story unfolds backward, from the death of Jesus to the Last Supper. This treatment of time opens up a new perspective and places the dramatic climax not in the crucifixion itself, but in the moment when Jesus chooses to set out on his path. The structure comprising seven scenes, three intermezzi, and baroque-inspired ritornellos reflects both on tradition and deliberately dismantles its conventions. The chorus plays a central role throughout the piece, constantly shifting its function: at times it represents the voice of the people, at others an angelic choir, and at moments the inner psyche of Jesus himself. This multi-layered use of the chorus creates a powerful sense of theatrical and musical tension. In its musical language, Passio employs post-minimalist and neo-baroque techniques, consciously drawing on the traditions of baroque opera and oratorio while embracing the melodic thinking and timbral sensibilities of 21st-century vocal music. Through the interweaving of modernity and classical musical heritage, the work functions as a genuine bridge between past and present, early music and contemporary composition. The instrumentation is deliberately restrained: solo violin and cello, string orchestra, harp, and piano form the ensemble. This not only enhances performability but also fosters intimacy and a transparent sound world, which is particularly effective." (Máté Bella)