Franz Liszt Award, Gundel Art Award and Junior Prima Music Award winning conductor Domonkos Héja has been appointed General Music Director of the Hungarian Radio Art Groups. This interview presents some of his thoughts on sound harmony, history, the role of the conductor and, of course, his plans in his new position.
Why do you like working with the Hungarian Radio Art Groups?
The Hungarian Radio Symphony Orchestra is Hungary’s finest orchestra as far as its sound harmony is concerned. The Orchestra boasts a sound tradition that is unparalleled in its home country. In addition, the Orchestra has a very complex and homogeneous sound harmony, which is determined, among other things, by the fact that even at the auditions the Orchestra looks for those candidates who best fit such acoustics. The Choir of the Hungarian National Radio is one of the best choirs in Europe. I heard this opinion from my parents and from others back in my childhood, and later I was also able to experience this personally. Rehearsals and concerts with the Art Groups are always spent in a good mood, and the invested work and the results produced are always in a healthy and wonderful equilibrium.
What experiences do you associate with the Hungarian Radio Art Groups?
The most important experience, which has actually determined my whole life, was the third round of the Hungarian State Television’s International Conducting Competition in May 1998. Conducting the most difficult piece in the final was an absolutely fantastic experience, and this composition was no other but Respighi’s Roman Festivals. It is an incredibly difficult musical piece; yet, after barely an hour of rehearsal, the Orchestra played it fantastically well that evening. After a hiatus of nearly two decades, I and the Orchestra started the year 2025 together: I had the privilege to conduct the New Year’s Overture at Franz Liszt Academy of Music on 1st January. The concert also featured three very young, talented soloists at the beginning of their careers, and they were readily supported by the Orchestra. This was a very important experience and an artist cannot wish for a better start of their career.
Did you also feel that you were supported by the Orchestra to the same extent?
The relationship between a conductor and an orchestra is completely different from that between a soloist and an orchestra. It was actually a radio orchestra musician who told me ten years ago that “the conductor always faces the orchestra”, and I have had this as a take-away with me ever since. It is literally true, but it depends on a lot of things whether the musicians respect or dislike their conductor. I find it fantastic that the Hungarian Radio Symphony Orchestra has always been an unquestionable musical entity with a very strong commitment.
You highlighted community building as one of your goals during your work with the Hungarian Radio Art Groups.
I think it is important that the Art Groups should have a good relationship with their audience because the way to the future and to the next generations is certainly with the audience. One of my plans is to invite people who are open to classical music to take part in family concerts. When parents or grandparents visit concerts with children and experience the musical magic of a concert together, this certainly creates a real and living connection between the orchestra and its audience that lasts for a long time. Also, I think it is important to create opportunities for the audiences to get to know the Art Groups and to provide suitable occasions for personal encounters.