The Eighth Tribe, 1977 (4. évfolyam, 1-12. szám)
1977-10-01 / 10. szám
October, 1977 THE EIGHTH TRIBE Page 5 Enikő Muha (in foreground) with her and her husband Henrik’s ceramics — these particular works inspired by quotations from Imre Madach’s The Tragedy of Man. Orchestra, with Julia Bartko director of the former and Elemér Horvath of the latter group of musicians. Greetings with “Isten hozott” were extended to the gathering; welcoming remarks by the Reverend Bertalan included mention that this program was dedicated to the Hungarian immigrants from about the time of the “turn of the century” as well as to their offspring “who built churches and organizations” together with other associations in this country. Thus, “Festival 1977 salutes our Hungarian musical heritage with the most beloved melodies of our century.” A concessionaire’s Hungarian mementos. Artist Béla Schmidt of Somerset, N J. next to his portrait of Kati (the latter currently in the state of Washington). Leading selections were: Léhár’s “Merry Widow” and “Palotás” by Bihari. Soprano Marika Dómján (who studied at the Ferenc Liszt Music Academy of Hungary) sang arias from Imre Kálmán’s “Chardas Princess” and “Countess Marica;” tenor Lajos Nagy (who completed his studies at the Actors Academy) gave renditions of melodies from the “Golden Era of the Hungarian operetta”. In addition, several duets by these two vocal artists were given, including one from “Baroness Lilli” by Jenő Huszka, following which Elemér Horvath and the orchestra played Liszt’s “Hungarian Rhapsody No. 2” — and later on, Reményi’s “Repülj fecském” (“Fly, Swallow”). Next, the choir and orchestra presented selections from “36 Amalia and Béla Schmidt, with the latter’s portrait of their son between.
