By Joana Patacas, on June 21, 2024
For Débora Halász , music is much more than a series of precisely executed notes. It is a universal language that allows her to communicate the deepest human emotions, and she does so with a technique so refined that it seems to be a natural extension of her own being.
" The young pianist Débora Halász, daughter of Hungarian immigrants born in São Paulo, seems to be of the same caliber as the Ranki and Kocsis. When listening to this first volume by Villa-Lobos, it is certain that the talent and maturity are complete. ” - Repertoire (France
This talented pianist, who is also a composer and arranger, has risen to prominence on the international scene, winning critical acclaim for her prodigious technique and superb virtuosity. Throughout his career, he has dedicated himself to promoting composers such as Villa-Lobos and Carlos Seixas , as well as promoting Brazilian classical music. His extensive discography also includes works by composers such as Alberto Ginastera, Dimitri Schostakowich, Sofia Gubaidulina, Hans Werner Henze, Claude Debussy, JS Bach, Mario Castelnuovo-Tedesco and Radamaés Gnattali.
" There is technically demanding writing here – but Seixas was apparently a considerable virtuoso... Débora Halász seems largely unfazed by these difficulties and undaunted in imposing very fast tempos (…). This is a promising start to a very worthwhile project, and I look forward to the next volumes. " - Musicweb International
Since the beginning of his musical journey, marked by his debut at the age of 15 with the Orquestra Sinfónica do Estado de São Paulo and the acclaimed interpretation of Rachmaninoff's 3rd Piano Concerto at just 19 years old, which earned him the Critics' Prize (APCA), Halász has continued to accumulate significant recognition, including the prestigious Latin Grammy awarded to him in 2015.
" Débora Halász reveals herself to be remarkable for her ease and musicality, wonderfully understanding this music that is sometimes refined, lyrical, sensual, sometimes telluric, entrancing. " - Diapason (France)
Throughout her musical training, Débora had the opportunity to study with renowned teachers, such as Magdalena Tagliaferro, Beatriz Balzi and Myrian Dauelsberg in Brazil, and with Pavel Gililov at the prestigious Musikhochschule in Cologne, Germany. It was this solid musical foundation that allowed him to develop impeccable technique and a deep understanding of the different styles and periods of classical music.
"What I like most about Débora Halász's way of playing is her sensitivity. A style that can be compared to that of András Schiff, very intelligent and sensitive, but still technically superior." - EGT (Switzerland)
In addition to her solo career, Débora also stands out in her musical partnership with her husband, guitarist Franz Halász, forming the acclaimed " Duo Halász ". Together, they explore the possibilities of dialogue between piano and guitar, creating original arrangements and unique interpretations. His most recent project is the quintet ESCUALO5 , offers an authentic and original experience of Astor Piazzolla's music, combining virtuosity, improvisation and rhythmic precision.
In this interview with ProART, conducted by Joana Patacas (JP), we will have the opportunity to learn more about Débora Halász 's artistic trajectory in an inspiring conversation with one of the most talented and versatile pianists of her generation.
How and at what age did you discover your passion for art?
Débora: As a child, when I was three or four years old, I loved listening to my older sister's piano lessons. At the age of six, I started taking instrument lessons.
Who were your main family references or idols that inspired you?
Débora: My grandmother, who was Hungarian, played the piano very well and taught me several works when I was a child. And my parents had a lot of old records by great pianists and violinists that I listened to when I was little. Brailowsky was one I still remember. Afterwards, I think what inspired me most was Vladimir Horowitz who I adored, I also admired Vladimir Ashkenazy, Martha Argerich and Maurizio Pollini.
He began his musical training very early. Tell us what that journey was like.
Débora: I was a student at Magdalena Tagliaferro's school, in Brazil. At 15, she wanted me to go to study with her in Paris, but my parents didn't allow it. The school was excellent in every way, with a strong focus on technical development and movement flexibility, as well as sound control and stylistic understanding. Afterwards, I was a student of Beatriz Balzi, an Argentine pianist who studied with Vincenzo Scaramuzza, Martha Argerich's teacher. With her, I explored greater diversity in attacks and precision of movements, and I had much deeper contact with the currents of contemporary music at the end of the 20th century. My last teacher in Brazil was Myrian Dauelsberg, who provided me with training that transcended music. These were very intense times that allowed me to completely expand my horizons.
He also took part in his training at the Musikhochschule in Cologne. Was staying in Germany a natural decision?
Débora: In a way, yes. After a year at college, I was already teaching and felt quite integrated. Two years later, I met my current husband, which made the decision to stay much easier.
What were the biggest challenges you faced?
Débora : Playing Sergei Rachmaninoff's 3rd Concerto at the age of 19 was a big challenge and required a lot of work. Another challenging moment was when I decided to participate in the International Franz Liszt Competition, in the Netherlands, and learned the entire repertoire in just three months. There were four hours of program, entirely dedicated to Liszt, including the Sonata, the Fantasy on a theme from Don Giovanni and the 1st Concerto.
What was your first major achievement or recognition in the artistic world?
Débora: My first big prize came at the age of 15, when I won a competition to play with the São Paulo Symphony Orchestra. That was my debut with an orchestra. Then, later, when I received the critics' award as best performer of the year, in recognition of my performance.
You won the Latin Grammy in 2015. What impact did this award have on your career?
Deborah: It was a great joy to me, and still is. Before me, only Nelson Freire had received this award among the great Brazilian pianists. Sharing this honor with him was, without a doubt, a significant recognition in my career.
Is there any performance, work or project that you feel particularly proud of?
Débora: I feel proud of all my recordings, especially the works of Heitor Villa-Lobos. I believe I managed to leave an important reference about the genius of this composer. I also have a special affection for the album "Alma Brasileira", with works by Radamés Gnattali, which was nominated for the Latin Grammy for best classical music album. Furthermore, the recording and performance of Sofia Gubaidulina's Sonata, which I played live in the presence of the composer in Munich, was a very engaging and rewarding project.
Was the series of albums dedicated to Villa-Lobos a way of staying connected to Brazilian culture?
Débora: I will always be linked to Brazilian culture. This is an influence that can never be discarded. My motivation for dedicating a series of albums to Villa-Lobos was to create a phonographic record that did justice to the quality of his pianistic works. Unfortunately, it is still largely neglected in the pianistic world. Villa-Lobos composed many works that fascinate the public and offer the performer countless possibilities to explore their fantasy and virtuosity.
He also “rescued” the work of Carlos Seixas, a Portuguese composer from the 18th century. What motivated him? The discovery of the carnation?
Débora: This work came about at a time when I wanted to delve deeper into the baroque repertoire and ended up falling in love with the sound of historical harpsichords. Harpsichords are extremely developed instruments and playing the Baroque repertoire on these original instruments revealed to me how flexible and dynamic this music can be, very contrary to the monotonous and almost robotic perspective of many pianists. Furthermore, I am interested in discovering and presenting works and composers that are not so explored. Carlos Seixas's sonatas are wonderful and comparable to those of Domenico Scarlatti, although the latter's have already been recorded hundreds of times. I'm not attracted to the idea of repeating what has already been done countless times. I don't quite understand what motivates an artist to always play the same repertoire.
In 1993, she formed “Duo Halász” with her husband Franz Halász. What has this experience been like?
Débora: I would say that sometimes it is wonderful and other times it is quite challenging. The piano and the guitar are two instruments with great harmonic and melodic potential, capable of complementing each other in surprising ways. However, there is a clear inequality in the power of both, which requires extreme control and restraint of the pianistic volume to achieve the desired balance. Naturally, this is not what a pianist enjoys doing most – holding back! Fortunately, Franz is a guitarist with considerable volume and we were always able to find the right balance. The scarcity of repertoire for this combination also boosted my creativity as an arranger and, later, as a composer, which I consider a crucial aspect for me. Above all, there is the pleasure of sharing the stage with someone we love.
She was a teacher at the Musikhochschule Nürnberg and currently teaches at the Hochschule für Musik und Theater in Munich. What is your vision of teaching music?
Débora: I understand that all musical knowledge, such as the understanding of different styles, phrasing, the construction of rubatos, the preparation of dynamics, the use of accents and different attacks, among many other details that make up a mature interpretation, are transmitted by tradition . Of course, you learn a lot by listening to other great performers, operas, orchestras and exploring other musical currents and arts. However, I don't believe that a musician can evolve without a mentor. Music is not an art for self-taught students, as it is essential to learn to listen. I work with my students to educate their hearing, learn to listen critically and develop their own creative personality. There is a big difference between knowing how to read a score and creating a serious and interesting interpretation. My role is to guide them along this path, helping them understand and transform musical language into their own voice that expresses their stories, emotions and thoughts.
How do you define music?
Débora: Music consists of intervals of organized sounds that, through this organization, become a language. And, like all language, it has power. I imagine that music, like the other expressive arts, is the language of our inner self. Not everything we are can be expressed and communicated through verbal language. But, without a doubt, the human voice is the starting point of musical expression, making music an art much more accessible and closer to all human beings than other artistic manifestations. For me, performing or creating a musical work is like telling a story that can move people, make the heart smile or cry, suffer or disconnect. Through music, it is possible to penetrate and get to know another reality of existence, as if it were a parallel universe of our senses. There are cells and neurons in our body that vibrate with different intensity during a sound exchange. The person who experiences this deep immersion in the musical universe can hardly free themselves from the magic that music exerts. Therefore, for many musicians, music is not just a profession, but a passion, something capable of justifying their existence.
What are your hobbies or leisure activities?
Débora : My day always starts with a walk with my dog. Luckily, we live in a place with a lot of nature and, at all times of the year, we can enjoy wonderful landscapes. It does me a lot of good and brings me inspiration and energy. My husband and I also have a sailboat and we always sail for several weeks in the summer. It's a passion and, as we do it intensely, it's like it makes up for the other months of just working. I also really like painting and I'm a cinema aficionado.
What do you hope to achieve in the coming years?
Débora: In recent years, I started composing and I want to intensify this new activity. In 2023, I recorded my first solo album with only my own works, which fills me with pride. This work will be published during this year. Furthermore, I am dedicated to composing more chamber music works for different formations and my goal is to deepen my knowledge of other instruments and study orchestration in a more serious way. As a pianist, we are constantly involved with absolutely genius composers, which is wonderful, but at the same time it can be intimidating for our own creative drive. Freeing myself from this self-censorship is an ongoing but slow process.
What would you like to share with your audience?
Débora : I would like you to listen to my recordings because I record with passion, as if I were playing for a large audience, with great commitment, thinking about all the people I will never meet in person, but who will interact with me through this unique and wonderful experience that it's the music.
Do you have any advice for young musicians just starting their careers?
Débora: Never stop dreaming, but also never stop aspiring to grow your skills and artistic understanding. Don't settle for little. Anyone who thinks that what they are playing is already good enough still has a lot of work to do.
* Joana Patacas - Communication and Content Consultancy
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