King Matthias wandering

Original title: Mátyás király vándorúton
Opera for children in two acts
Libretto: Zsófia Tallér

I. Act – approximately 35 min
II. Act – approximately 45 min


  • MÁTYÁS KIRÁLY, king – high baritone
  • TIBRILLI, jester – tenor
  • HORDÓ, fat monk – baritone
  • KÓRÓ, skinny monk – contra-tenor or mezzo-soprano breeches role
  • BANDZSA, short knight – bass
  • FINDZSA, tall knight – tenor
  • BÍRÓ URAM, judge – bass
  • BÍRÓ FELESÉGE, judg’es wife – soprano
  • FŐMINISZTER, minister – tenor
  • FŐMINISZTERNÉ, minister’s wife – mezzo-soprano
  • SZÉP CIGÁNYASSZONY, pretty gypsy lady – alto
  • BÚS KATONA, PACZOLAY GYÖRGY, sad soldier – high tenor
  • KAR, NÉP, KATONÁK, choir, people, soldiers – Puppeteers
  • KÉT HAJDÚ, JANCSI GYEREK, ÁRUSOK, 2 mercenary soldiers, Little John, merchants – Soloist form the group of puppeteers
  • KOCSMÁROS, innkeeper – non-singing role


Arrangement (Chamber orchestra):

  • 1 Flute
  • 1 Oboe
  • 1 Clarinet in B flat
  • 1 Bassoon
  • 2 Horns in F
  • 1 Percussionist (Triangulum, Toms, Tambourin)
  • Strings (2, 2, 3, 2, 1)





Opera in two acts

Libretto: Zsófia Tallér based on the novel of Szilárd Rubin and on the drama of Gábor Németh and Péter Gothár

Old Picture of Mother

Chamber cantata for soprano solo , viola, cello and piano. At the request and presentation of opera singer Éva Bátori.

The 7 movements are based on poems by Dezső Kosztolányi and by Zsófia’s mother Judit Tallér. Her mother was a harpist, but she also wrote poetry in her early years. She died in 1994, at the age of 49. Zsófia was also 49 years old when she composed this piece to commemorate her mother.

O Notte

Chamber cantata for soprano, recorder, clarinet, vibraphone, violin and viola da gamba dedicated to Júlia Vajda opera singer.

Italian lyrics by Michalengelo


I. O notte, o dolce tempo…  (2 min 20 sec)
II. …Tu mozzi e tronchi… (2 min 10 sec)
III. … O ombra del morir… (1 min 50 sec)
III. Vivo al peccato… (1 min)
V. .. Serva mie libertá… (1 min 30 sec)


Leander and Linseed

Original title: Leándersz és Lenszirom

“for my sons Marci and Zsiga”


Opera for children in two acts

Libretto by Barnabás Szöllősi based on the play of Andor Szilágyi

Performed by the Hungarian State Opera for 3 seasons with estimated 15 000 viewers.

original performance directed by: Sándor Zsótér

Released on DVD in 2016 under the name of Útravaló 2016 (Leánder és Lenszirom)

Duration: Act 1 approx. 40 minutes and Act 2 approx. 50 min.


LEÁNDER (Leander) , goblin – bass-baritone
LENSZIROM (Linseed), princess – lyric soprano
BOGYÓ, servant of Leánder – baritone
CSIBECSŐR, servant of Linseed – soprano

BÖLÖMBÉR KERÁL, king – bass (bass-baritone)
BÖLÖMBÉR KERÁLNÉ, queen – mezzo-soprano
MAR-SZÚR HERCEG, prince, lord of the wasps – tenor (spinto)
TÖNDÉR NEGÉD, queen of decency and charm – soprano
VAKNADÁLY, lord of the lake – contra-tenor
CSÍJJEGŐS BŐREGÉR, blood bat 1 – alto
CSUJJOGÓS BŐREGÉR, blood bat 2 – tenor
HORLOLÁBOK (1 and 2), 2 guards – male choir members
MÉZELŐK,VÉRBÖGÖLÖK army of wasps – children’s choir


Arrangement (Symphonic orchestra):

1. Flauto
2. Flauto / Flauto Piccolo
1. Oboa
2. Oboa / Corno Inglese
1. Clarinetto in Sib
2. Clarinetto in Sib / Clarinetto basso in Sib
4 Corni in Fa
2 Trombe in Do
3 Tromboni
4 Percussionisti (Triangle, Bass Drum, Snare Drum,Tam-tam, Tenor Drum, Cymbals, Suspended Cymbals,
Roto-toms, Castagnets, Shaker,Tamburine,Wind Chimes,Wood Blocks, Crotales,Tubular Bells, Glockenspiel,
Xilophone, Marimba)
Violini I
Violini II
Contrabassi a cinque corde

Pert Em Heru

Oratario for 4 solois, mixed choir and symphonic orchestra.

Commissioned by the Béla Bartók International Choir Competition, Debrecen.

Libretto by Zsófia Tallér based on the original German translation of Prof. G. Kolpaktchy

Duration: 45 min

Pert Em Heru – meaning: Coming Forth by Day. This is how the ancient Egyptians called the beginning of the soul’s journey after death. The Egyptian Book of the Dead contains the prayers, monologues, testimonies for the sublime and fearful moment of leaving earthly life, and they are bound to the soul becoming a god. The lines can be read into short chapters, divided into “magic formulas”, so-called Ra-U-s. Most of the many hundred-page Book of the Dead is 5,000 years old, but there are also lines between ten and fifteen thousand years old. They speak to us from a startling distance – at the same time they are shockingly experiential, they talk about familiar feelings, fears, anxieties, trusts, faith.
In contrast to the Christian Requiem texts, this collection does not focus on the grief of the survivors, the prayer for divine grace, punishment, forgiveness, the Almighty, his atonement or glorification, but the experiences of the soul who is the protagonist of the events. who had just “crossed the sacred threshold.” All this is done by in the first person, so in the form of experience, avoiding all lyricism, it practically reports on your journey. The power of the text is not given by the poetry of word usage, but by the always poignant nature of confession; a diary-like account of, moment by moment, what he feels, what the dead “live through”.

This fascinating memory of the death mythology of ancient people is able to appeal to modern man because the language of description is direct, pathos-free, practical. The soul, “stepping out into the radiant light,” reacts in a very authentic, human way: it is almost confused in fear, it simultaneously feels abandoned, euphoric, paralyzed, overwhelming strength, weakness, divine grace, demonic destruction. He feels like an infinitely vulnerable, weak being and omnipotent god at the same time. The text is an unstoppably flood of man’s experience of death, interrupted only in some places by a prayer or anthem.
The soul, having endured the trials waiting for him in the afterlife, and proved sufficiently sinless in the hall of the goddess Maat, avoids the second, final death and can truly step out into the full light of the day. He himself will be a god, “he is free to walk in the circles of the dead.” Now he is his own master, he decides whether to fly from planet to planet, or rather to quietly relax from the hardships of his life, or just return to Earth.

Due to the difficulties of translating the hieroglyphic text and the disappearance of the culture, a full understanding of the Book of the Dead, which is stitched with symbols and references and conveys extremely complex religious knowledge, is not considered possible today. Choosing from the ranks of this fantastic journey was not driven by a desire for scientific authenticity, nor by a religious vocation, but by the possibility of a musical situation inherent in the drama of the ancient text. The volume first came to my attention in the excellent translation of András Bánfalvi, who based on the work of Prof. Kolpaktchy, who translated the original Egyptian text into German. I also searched for this first German translation, and then delving into the German text, I decided to peel the poetic-translator’s creativity from the Hungarian translation, and made the most faithful but raw version of the original text possible. Treating the lines with complete freedom, I wrote the libretto, an aria composed of even the words of several independent magical formulas. This was also possible because the book does not proceed linearly in the presentation of experiences, presenting almost the same cavalcade of feelings over and over again, differently. In his preface, Bánfalvi calls him a “polyphonic fugue,” who accurately recognized the book’s relationship to music. I kept the experience of the text flowing like a stream, and I don’t pause in my forty-minute piece either. Without stopping, but perceptibly, I arranged the web of the items into three large parts, three “RA-U”.
Whether the accounts of the Death Book are true, whether eternal life after death is indeed open to us, or the visions of returnees from clinical death, and the experiences in the Death Book that are strangely consistent with it, are merely due to the fact that after the death of the body the dying of the soul is longer and more visionary – I end my piece with this open question.
My mother twenty and my father twenty-five years ago stepped out into the bright light or rather say coming forth by day. “Pert Em Heru” was born to them. I respectfully thank the work of everyone who undertakes to preforme my oratorio.

Zsófia Tallér


List of instruments used:

  • Piccolo
  • 2 Flutes
  • 2 Oboes
  • 2 Clarinets in Sib
  • Bass Clarinet in Sib 
  • 2 Bassoons
  • Contrabassoon
  • 5 Horns in F
  • 3 Trumpets in C
  • 2 Trombones
  • 2 Bass Trombones
  • Tuba
  • Timpani
  • Precussion 3 players (Bass drum, Taiko Drum, Snare Drum, Crasch Cymbal, Suspanded Cymbal, Triangle, Crotales, 
  • Roto-toms, Tam Tam, Glockenspiel, Xylophone, Tubular Bells)
  • Piano
  • Celesta
  • Harp
  • Mixed Choir
  • 4 Soloists: Soprano, Mezzo-Soprano, Tenor, Bass
  • Strings


First performed by:

Kodály Philharmonia Debrecen

Koály Choir Debrecen


Ildikó Katalin Cserna – soprano

Marianna Bódi – mezzosoprano

Zoltán Meggyesi – tenor

Géza Gábor – bass

Conductor: Máté Szabó Sipos

The Horse of the Prince

Original title:

A Herceg lova

Opera in two acts

Libretto by Zsuzsa Rakovszky based on the short story of Tolstoy

Dramaturgists: Zsuzsa Radnóti, László Marton

Heavenly troubles – earthly pleasures

Original title:

Égi gondok – Földi örömök

songs for soprano with piano accompaniment


First preformed by Csilla Boross at the 18th MiniFestival (Festival of contemporary music)



Original title:


Cantata for mezzo-soprano, baritone solo and orchestra, poems by János Pilinszky

Performed by MAV Symphony Orchestra, in Liszt Academy Concert Centre in 1994

Márta Lukin mezzosoprano

Sándor Egri baritone

Conductor: Zsolt HAMAR 

Karácsony, fekete glória

Cantata for bariton és and string orchestra

Based on the poems of László Nagy László


First perfromance was conducted by György Selmeczi