Don Giovanni – presumably the most successful opera of all times – premiered in Prague on 29 October 1787. Mozart put off writing the overture until after the score of the entire opera had been completed. Obviously, its atmosphere matches that of the opera; however, it does not only include recitations – indeed, these are in minority –, it holds its ground as a stand-alone composition. Mozart himself envisioned an independent performance of the overture: he attached a separate finale to it speci...fically with that in mind. Mozart’s Piano Concerto in D minor, K.466, is one of his most popular, most often performed compositions, which has gained almost mythical status and had a direct impact even on subsequent generations. The great number of composers writing a cadenza to it bears testimony to this fact. Just to name a few of the more famous ones: Hummel, Beethoven, Alkan, Clara Schumann, Brahms, Busoni. Mozart belonged to an era where improvisation was mandatory for any interpreting artist. This tradition is evoked by Róbert Szakcsi Lakatos when the jazz-pianist – who is also no stranger to classical music – presents the composition by inserting his own jazz cadenza in it. Symphony No. 39 in E-flat major, K.543, was one of the three great symphonies composed by Mozart during the summer of 1788. The motive for its inception is impossible to determine; however, this does not imply that Mozart departed from his well-established routine of writing such large-scale compositions strictly on order or in the prospect of some financial gain. His Janus-faced movements combine ceremonious chords, dramatic scale progressions and characteristic dance motives with vocal melodiousness. Building on a single theme and its transformations, the movement of the Allegro finale points to the potential of an opera act without a text and a plot. In his mature years, Mozart is said to have written, to all intents and purposes, only operas – including his instrumental music. The plot can be “deciphered” relatively easily and the character of the “heroes” is almost tangible. Even the mode that develops by the end of the symphony is akin to that offered by the finale of a comic opera.
Parking information
We wish to inform you that in the event that Müpa Budapest's underground garage and outdoor car park are operating at full capacity, it is advisable to plan for increased waiting times when you arrive. In order to avoid this, we recommend that you depart for our events in time, so that you you can find the ideal parking spot quickly and smoothly and arrive for our performance in comfort. The Müpa Budapest underground garage gates will be operated by an automatic number plate recognition system. Parking is free of charge for visitors with tickets to any of our paid performances on that given day. The detailed parking policy of Müpa Budapest is available here.
Safe ticket purchase
Dear Visitors, please note that only tickets purchased from the Müpa website and official ticket offices are guaranteed to be valid. To avoid possible inconvenience, we suggest buying tickets to our performances and concerts via the mupa.hu website, the Interticket national network (jegy.hu) or at our official ticket offices.