Magyar Hírek, 1985 (38. évfolyam, 2-26. szám)

1985-03-15 / 6. szám

PROSPECTS FOR 1985 An interview with István Hetényi, Minister of Finance Introducing the budget you outlined the eco­nomic targets set to us for the current year. “We have done much in 1984 to find the means for the targets of the current year. Allow me to recall that the whole country echoed with the measures we planned or already introduced for the further development of the economic control in the second half of last year, the new forms of enterprise management, the new regulations and so on. We expect that these will further the revitalization of the economy and the improve­ment of efficiency. As introduced and accepted, the budget shows that we will be able to make ends meet, indeed we also stipulated a certain repayment of our debts. Besides that we will naturally raise new loans also for the transfor­mation of the economic structure and new in­vestments, while the old ones ire repaid.” Planning their family budget, people spend money on certain things even though reluctantly. This is part of the reason why less is left for other items we would prefer to buy. Does this happen in respect of the whole of the national economy also? “One does not spend each forint with the same willingness. Speaking about the state budget, expenditure should be divided into two large groups. One consists of money made available to enterprises which is considerably less than the sum of the taxes contributed by them. The other expenditure consists of sums spent on education, culture, public health, social policy. Personally I should like to give more in first group to help certain developments aimed at the transforma­tion of the economic structure. What I should like to spend less on are subsidies given because of the insufficient efficiency of management. The latter must in any case be regarded as temporary, since only healthy enterprises can make a living in a healthy economy. Production subsidies of this kind—and I add also that part of the con­sumer subsidies about which we are not sure that they really reach those we in fact wish to subsidies—will have to be reduced, and we are already examining the possibilities of further cuts.” Consequent to this tendency, do we not have to fear that more enterprises than before will get into insoluble financial difficulties and face winding up? “This is a very real possibility. There are, however, temporary government interventions. So long as an enterprise is able to work out a realistic programme to right its finances, we are, as a rule, ready to give fair direct or indirect assistance. But when an enterprise cannot offer a programme we will not be able to keep it on the sick list for years.” 1985 will be the seventh year of the economic policy that began in 1979. This economic policy put the emphasis on the maintenance of the liquidity of the country, and on the preservation of the standard of living. Will this priority of preferences change in the years io come? In other words will the seven lean years come to an end? “There is a certain continuity in the economy; when for one reason or another I have to choose which one is an important year, I can only say it is the one in which we happen to be, or which is just coming. The seven lean years will come to end when our own performance will tangibly improve, when we can get closer to the objective requirements. If we can do that, the situation will improve, if not it will not, no matter what year it is. We all hope that our economic per­formance will develop better than before and meet the requirements.” MIHÁLY GÁLIK (A slightly abbreviated text of an Interview broad­cast on the 168 hours programme of Hungarian Radio) Adél Orosz — the new director of the ballet of the Budapest Opera House When I think of Adél Orosz, i see her in her outstanding roles in Swan Lake, Giselle, La fille mal gardáé and yet a dozen ballets. It is a peculiar feeling to see her again now not in one of her marvellous performances, but in the room of the director of the ballet com­pany of the Budapest Opera House. She was appointed to this post at the end of the 1984 season. “One starts this career some time, and knows that it will be finished some time”, She remarked when we began talking, then she recalled with a smile that even though she came from a family of people of little dancing aptitude, she began dancing as, a little girl. While her friends were jumping around in the play-ground, She danced. A retired ballet dan­cer of the opera noticed her, and talked her parents into showing her to the ballet school of the Opera. After some toother, her mother took her there, and Ferenc Nádasdi, the ballet­­master, immediately enrolled her in the children’s dancing group. At the time the Bal­let Institute did not yet exist, so the children went to the Opera House each day. “Will it be worth the cost of the tram fares?” — mused her mother anxiously. Adel Orosz with Imre Dózsa Well, it seems it was: Adél Orosz won first prize at the ballet competition of the 1957 Mos­cow World Youth Meeting. This determined her future. She became a soloist of the Budapest Opera House, and she danced the principal parts in succession, first here, at home, then on the ballet stages of the world. Viktor Róna was her partner for many years. “We toured the world together” she says— the name of the Adél Orosz—Viktor Róna pair was well-known everywhere. After a time even our apparently inseparable joint performances — well, did not break up, but rather — passed, Róna accepted assignements abroad, in Norway, Paris. Today he is assitant director of the bal­let of La Scala in Milan. I was tied here to the Opera House, and my family.” Size spoke with joy about her now role, her work as director of the ballet. “This new job” — she says — “requires a whole woman. I danced for thirty years. What spurs me now is to make sure that others suc­ceed. I should like to realize an open form of directing, talking over everything with the company. I would toe glad if the theatre, the common cause, were the most important to all of us, but I also would like to see as many as possible of my dancers going abroad, dancing, getting experience, and return with the exhili­­ration of success, continuing their work here.” I asked her about her short-term plans. There was already a new ballet premiere this season, Antal Fodor’s Vision, and the ballet part of the new production of Tohaikowsky’s Onegin was also new. Prokofiev’s Romeo and Juliette will be produced in the spring with a choreography of László Seres. “I hope it will be beautiful” — says Adél Orosz saying good-bye. MAGDA SOÓS An Orchestra of English Students in Hungary The Barnet Schools’ Wind Orchestra, a 60 member orchestra formed by London pupils toured Hungary recently, lead by Maxwell Pryce, the musical director Allen Jones a conductor, and Jane South, a coach. Yet, I did not discuss the tour of these young people with the English leaders of the orchestra, but with József Baracsi, founder and leader of the London Hungarian Folk Dancing Group who, together with his wife, was the organizer of this commendable venture. I know that this English school orchestra also played at the gala performance in commemora­tion of the jubilee of the London Hungarian Folk-Dance Group, where seven generations of dancers have grown up under your direction since 1952, and which has given successful per­formances in several countries of the continent. Was this event in any way connected with this Hungarian tour? “Oh yes, it was. When they became ac­quainted with Hungarian music and Hungarian folk-dancing to the extent that they even learned the ‘walking-chair’ dance, which was part of our groups' programme, these English youngsters began to ask more and more questions about Hungary. That was what prompted to organize this tour during the school holidays, and of combining this trip with a bit of making music. We began negotiations with the Express Travel Agency, the Federation of Hungarian Musicians, and the Hungarian branch of Jeunesses Musi­­cales. A detailed programme was worked out. Of course, part of the preparations was to cover the costs. The students saved feverishly: they paid 200 a head, in instalments. A coach was hired to take us on the long journey. The first concert in Zamárdi, at the trades union resort for six hundred children was un­forgettable. The audience, the cildren, much ap­preciated the programme, particularly when they also played Erkel’s Hunyadi March, and Béla Vavrinecz’s Swinheard-hatchet Dance. Encore! Encore! they shouted. The next performance in the international Juventus Camp at Balatonföld­­vár was also a great success, just as the open­­air concert given at the Fesztivál Hotel of Föld­vár. I took the role of the compere in Hungarian and German. An exciting excursion to Tihany ended the tour of the Balaton.” Later the orchestra gave a concert at the Mar­­cibár.yi tér Cultural Centre, which was recorded by the Radio, then played twice at the Fisher­men’s Bastion to enthusiastic audiences. But not only these English students met with success. So did their boat trip to Esztergom. And the open-air Palatínus pools on St. Margaret’s Island wandering in the Inner City, and the ex­­hilirating farewell-evening given by the conduc­tor of the orchestra, were also complete successes. MAGDA HERNÁDI 30

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