The collaboration between Ági Szalóki, János Ávéd, and István Tóth is inspired by a respect for tradition and a love of freedom. Their program includes contemporary arrangements of church folk songs, Advent and Christmas carols, works by Sebestyén Tinódi Lantos, Bálint Balassi, Maurice Duruflé, and unknown 13th–18th-century English, Italian, and Hungarian composers, as well as thoughts, biblical passages, and poems related to the songs and the upcoming festive season. The cornerstone of the contemporary interpretation of the pieces is provided by Ági Szalóki, whose singing speaks several musical styles at a native level. The collective improvisations of István Tóth and János Ávéd blossom from beautiful melodies and move away from the traditional representation of the era into a more contemporary jazz context. Departure and return are seemingly two opposing processes, but they are also a necessary part of the basic experience of being a musician; we could even say that they are the journey itself.

László Dés, Miklós Lukács, Márton Fenyvesi, and András Dés formed their free jazz band in early 2019. Their idea is to push the boundaries of jazz, a genre that already allows for great musical freedom, to the absolute limit. Relying solely on their instrumental skills, their ears, and their sensitivity, they play without any prior rehearsals or coordination, with the joy of complete freedom. This requires great external and internal focus, as the music takes shape during the performance. The themes, structure, and form are all born in the moment, which is a tremendous experience for both the musicians and the audience, as the music that is created can never be reproduced in that form again. This shared experience is like a great magic, the magic of improvisation – four outstanding musicians finding each other through their instruments, concert after concert.  

It has become a tradition at Opus to end the year with a concert by the Dresch Quartet, which has been playing in its current lineup for six years, and its founder, the highly acclaimed Mihály Dresch, has been a key figure in etnojazz and in Hungarian music in general since the 1980s. His quartet consistently and confidently treads its own unique path with an individual fusion of Hungarian folk music and African-American jazz, jointly developed by Dresch and the band members. Commitment to the musical concept, respect and humility towards the sources, outstanding musicians, new and evergreen compositions, standards in the Dresch manner – all these combined create the musical experience that strikes the audience again and again with its freshness.  

Áron Tálas, who is, even by European standards, an outstanding pianist in the generation of young Hungarian musicians, is a rare exception: though he writes and playes music deeply embedded in tradition, the quality of his music admitted him into the catalogue of BMC Records, which comprises mainly modern productions. His trio has already released two albums on the label: on both Little Beggar (2018) and New Questions, Old Answers (2023), tracks with groove, melodies, and full of emotion represent the cream of the world of traditional jazz piano trios. At this concert, in addition to performing their favorite songs from the two albums, the trio will also offer a glimpse into the bandleader's new compositions.  

After the successful release of their album Calaveras y Boom Boom Chupitos on BMC Records in January 2025, the European ensemble Bonbon Flamme now returns to the Budapest Music Center for an exceptional, never-before-seen concert. For this third repertoire, titled “simplement possible” – recorded in the concert hall over the preceding days – Fulco Ottervanger, Luís Lopes, Étienne Ziemniak, and Valentin Ceccaldi invite us to drift into the wondrous realm of simplicity. A naïve, raw, and generous approach – where lullabies entwine with the feverish energy of a jazz tempest; where diamond-like sounds glimmer in a cloudy, scribbled sky. A way of moving forward without detours, straight to the heart and body – guided by the elusive totem of childhood’s creative force, and by that still-blurred threshold between dreams and reality. As simply as possible.  

Károly Binder is a musician of high calibre, who puts his talents at the service of the synthesis of new trends, different musical cultures, compositional techniques and improvisational systems, not forgetting his own musical roots. He is an autonomous composer whose piano playing and compositions cannot be classified by style or genre. With unrelenting consistency, Binder has pursued the path he set for himself since the late 1970s, a path on which he had no Hungarian predecessors. In his musical development, alongside the immense oeuvre of Béla Bartók, we can clearly trace the influence of the folk music of the Carpathian Basin and the melodic world of the Volga-Kama region, and even the American repetitive school hallmarked by Steve Reich. This time, the Binder Trio's program is based on two pillars: pieces from the For Children series, the centre of the band's latest five-disc release, as well as compositions by the bandleader, in which Bartók's legacy and contemporary jazz engage in dialogue.

The Jamaican-born, New York-raised pianist Wynton Kelly (1931–1971) rose to global fame playing with Wes Montgomery and as a member of the Miles Davis Quintet, all while creating timeless recordings with his own trio. His first recordings as a leader, made in 1951, featured the stunning bassist Oscar Pettiford and drummer Lee Abrams. Blue Note released this session under the title New Faces, New Sounds, which was later retitled the more appropriate Piano Interpretations. Kelly was influenced by the rhythm and blues school and technically brilliant performers like Teddy Wilson: his playing is cheerful, quick, attractive, and even crafty – perhaps because he was not yet twenty years old at the time. He excels in his harmonization on the blues numbers and in the quick, rolling runs on the faster pieces. This material is a rewarding opportunity for the always precise and clearly articulating pianist, Gábor Cseke, and the rhythm section.

Daniel Mester travelled around the world to find his own musical universe, which accommodates the melodies of Anatolia, Indonesian scales and imaginary Hungarian folk songs. He began his musical studies as a classical clarinetist, and later started to learn jazz saxophone playing. He graduated at the Conservatorium van Amsterdam, and he not only had the opportunity to perform in many parts of the world (South Korea, Indonesia, Turkey, Brazil, Morocco), but also to learn about musical heritages outside of Western musical traditions. He composed a couple of filmscores, and studying Turkish classical and folk music is another current inspiration for him, the impact of which is echoing in his compositions. His long-cherished dream of founding his own trio came true with the pandemic. He invited two talents of the young Hungarian jazz generation, guitarist Péter Cseh and drummer Tamás Hidász into this musical adventure. This evening, they will also be joined by the virtuosic master of the cimbalom, Kálmán Balogh. www.mesterdaniel.com

In 2026, Santa Diver, one of the most unique bands on the Hungarian jazz scene, will celebrate its 20th anniversary. The band consists of jazz violinist Luca Kézdy, multi-instrumentalist and composer Dávid Szesztay, and drummer Dávid Szegő, who has also been active as a composer in recent years. The three instruments and personalities represent a truly unique musical world, found at the intersection of jazz, world music, and modern creative. Their sound is defined by the unusual lineup (violin, bass guitar, drums), Luca Kézdy's unique violin playing with its wide emotional spectrum, colorful and melodic bass lines, and experimental, sometimes extreme, delicate yet energetic drumming. Besides Hungarian festivals and clubs, the trio has also performed at numerous festivals abroad: Chelsea Music Festival, NYC (US), Cairo Jazz Festival (EG), Südtirol Jazzfestival (IT), Sparks & Visions Jazz Festival (DE), Amersfoort World Jazz Festival (NL), Voll Damm Festival Jazz Vic (ES), Gaume Jazz Festival (BE).  Their 20th anniversary will be marked with a new album release and a series of concerts, beginning at the Opus stage. In addition to their latest compositions, they will of course also perform a selection of their most memorable songs from the past 20 years. The album is planned for release in the fall of 2026.

Cimbalom player Miklós Lukács is undoubtedly one of the most exceptional figures in Hungarian and international music: his classical music training has enabled him to delve deeply into both jazz and contemporary music. His virtuoso playing and constant experimentation have led him to discovering previously unknown sounds on his instrument. Alongside his own bands and solo career, he regularly works on new projects with excellent colleagues, creating thoughtful programmes where written compositions and improvisations born in the moment harmoniously complement each other, while the cimbalom unfolds its unparalleled range of sound. This time, he collaborates with widely recognized saxophonist János Ávéd and percussionist András Dés.

matter 100 was a commission by the Bimhuis, Amsterdam. In matter 100, Kaja moves towards song and sound; song on the level of form and sound as a navigator and idea generator. She is interested in using basic harmonic structures, coloured and expanded through microtonality, and working with amplification and audio effects to shape the sound of the group. Dean Young’s poetry, sometimes sang, other times narrated, moves between experimentation and surrealism. The choice of the individuals generated inspiration and direction in writing music; Kaja invited musicians across generations and musical backgrounds to open the possibilities, provide freshness, and challenge her composing. All the members of this international group have a pronounced sound of their own and a rich musical history, regardless of the age and country of origin. In the days of the concert, the band also records an album to be released on BMC Records.

The music of Dsilton consists of energetic arrangements in microtonal tunings with modulating rhythms. At Dsiltons current program, cycles of Georg Vogel & David Dornig are interlocked. Concerning the techniques of composition and the frames for improvisation all pieces share together complex grooves and the extended tonality of 31-tone tuning. The repertoire shows a range from enharmonically entangled improvisation forms, 31-tone serial compositions to arrangements of processed field recordings. This enharmonic microtonal journey is played on special instruments: newly built 31-tone keyboards called Clavitone, drumset and a new eight string electric guitar with 31 frets per octave. With the friendly support of Ernst von Siemens Music Foundation.

Springing off a sound reminiscent of acoustic piano trios of the 50s and 60s, Oùat explores the memory and perspectives of hand crafted, collective music making. Jazz in its most open operative meaning, in which improvisation is a real necessity, stimulates the trio to confront and investigate our times of sounds and movements. Oùat's music is transmitted through consistent listening and risk taking. An inviting work that gesticulates the most obvious as well as surprising in coming together. Being one of many groups made possible due to the venue Au Topsi Pohl (2019-2022) in Berlin, Oùat started off with performing the music of Ellington, Hasaan Ibn Ali, Elmo Hope, Per Henrik Wallin and Sun Ra. A chatty trilogy instantaneously finding the sonorous meanings of what, where and when, Oùat continues to praise the sound and momentum of collective concentrated creativity, making as much as possible out of an idea, a shared place and time. In the days of the concert, they are recording a new album for BMC Records.    

Following his trio, which has been performing since 2019, guitarist Péter Cseh has formed a new band, which will make its debut on the Day of Hungarian Culture. True to its name, the HIDAK (Bridges) Trio strives to connect different points: the members of the band with each other, the performer with the listener, and tradition with innovation. The band's sound covers a wide range, and almost anything can serve as inspiration for its members, so their repertoire includes the rich harmonies of modern jazz, the rhythmic rattle familiar from minimalist music, and slowly flowing streams of sound. All three members contribute to the program as composers, so roles within the band can be exchanged – thanks to the bridges that have been built.  

The Kristóf Bacsó Triad's music blends elements of jazz and contemporary music with an Eastern European feeling; in addition to carefully composed sections, improvisations also play an important role. Their latest album features the bandleader’s songs, whose magic lies in the multitude of unique melodies, sensitive harmonization, and individual forms, as well as the high level of (ensemble) playing. However, their greatest virtue is perhaps the accessibility that they are able to preserve and even bring to the fore despite all musical sophistication. Let It Go not only expresses deeply human feelings and experiences through its central theme – grasped and missed opportunities, taking responsibility for decisions or letting them go, the limits and unlimitedness of freedom in music –, but also gives space to personal statements such as Soulbird, an homage to Mátyás Szandai. 

Serendipity is not only the closest meanings of Nasip Kısmet, but also the best way to describe this international band’s authentic, multi-genre music: an ancient folk melody turns into a psychedelic outburst by a sudden chord progression, then eases into a mild jazz-fusion breeze by a touch of masterful musicianship. Nasip Kısmet was founded in Budapest in 2019 by Turkish musician Arif Erdem Ocak, who is also the founder and guitarist of the famous Turkish band Seksendört. The band consists of high-caliber jazz musicians from the Hungarian jazz scene, such as Daniel Mester (saxophone & clarinet), David Szegő (drums) and Marton Eged (bass guitar); and Turkish folk/rock musicians, siblings Arif Erdem (guitar & vocals) and Derya Ocak (vocals). Nasip Kısmet plays Turkish psychedelic-folk/jazz/fusion genres and continues to grow its audience throughout Europe.

Tri-City Jazz Collective is an experimental formation including jazz musicians from three big cities, Vienna, Berlin and Budapest, dedicated to a unique way of blending modern original compositions and jazz standards, spiced with a pinch of groove music. Their repertoire ranges on a wide scale of genres from swing through straight-eighth tunes to modern ballads. The quintet initiated by jazz guitarist, singer-songwriter Dávid Lamm features the internationally renowned vibraphonist-marimbist, composer, and jazz educator David Friedman, bassist Stefan Pista Bartus, drummer Valentin Duit, and guest artist Zeek, one of the best MCs and slam poets of the Hungarian music scene.

The poems in the lyrics contribute to the innovative world of Ötödik Évszak (Fifth Season), as do the use of both Hungarian and French, the immersion in the values of folk music that are not commonly known, the creative understanding of folk culture and the joy of chamber music. Their music playfully combines an urban environment and respect for tradition, and runs the gamut of emotions: their compositions alternate between dynamic, virtuosic, melancholic and life-affirming. The core of their songs is the folk music of the Carpathian Basin, which is expanding into the world of improvisation. Sometimes featuring guest musicians, the band sees traditional folk music as a legacy of European culture, in which the creation as an intellectual heritage is also a community's contemporary imprint. Formed in 2018, the band has enjoyed great professional success, in 2020, they represented Hungary on the stage of the Womex Regional Showcase. The members are prominent representatives of the Hungarian music scene, who have already demonstrated their love of music in numerous productions (Buda Folk Band, Lajkó Félix, Dresch String Quartet, Hungarian State Folk Ensemble, Ifjú Szívek String Quartet or Ephemere).  

David Helbock, a leading figure in Austrian jazz, delights audiences worldwide with his projects at festivals on all continents. His virtuosity and creativity have earned him numerous awards, including several prizes at the world's largest Jazz Piano Solo Competition in Montreux (CH), as well as the “Outstanding Artist Award” from the Austrian federal government. In his latest project, Helbock has been able to win the versatile electric bassist and cellist Julia Hofer from Vienna as his duo partner. Hofer has so far mainly made a name for herself in the pop world, whether through tours with the No Angels or appearances in German TV shows like those hosted by Stefan Raab. In addition to her impressive online presence on YouTube, she is now dedicating herself more intensively to jazz together with David Helbock. In autumn 2025, the duo released a new album on the internationally renowned label ACT Music. Faces of Night was immediately selected by The Times (UK) as one of the best jazz albums of 2025. The album promises a fascinating mix of quiet, dreamy original compositions and groovy jazz pieces that bear the unmistakable style of Helbock and Hofer, and it is also complemented by exciting guest musicians. With inventive effects, rhythmic percussion elements in the grand piano, and the dynamic switch between cello and electric bass, this evening promises an extraordinary sound experience and a musical journey full of emotions and innovations. This concert is a very rare opportunity to experience the duo live with all three guests from the album. Singer Veronika Harcsa is a steady guest at BMC. Lorenz Raab is the Solotrumpeter at Volksoper Vienna but also one of Austria’s best jazz trumpet players, while Mahan Mirarab brings a lot of new interesting colors to the duo with his special double neck Persian guitar.  

With their outside-of-genres, song-centric compositions, Subtones has become a favourite concert band on the Hungarian jazz-pop scene in just a few years. In order to connect even more directly with the Hungarian audience, their award-winning album Lángolj features only Hungarian-language songs with lyrics written by Mátyás Szepesi and Péter Závada. Subtones, founded in 2019 by trumpeter Gábor Subicz, is one of Hungary's most exciting supergroups. The arrival of vocalists Vera Jónás and Flóra Kiss has pushed the band towards vocal forms. "Right from the beginning, when this line-up was born, it became clear to me that I wasn't driven by a desire to communicate. With Subtones, I want to make music that I enjoy listening to. People often ask whether Subtones plays jazz or something else. For me, jazz is a mindset: you have to leave as many possibilities open as possible, while excluding playing music just out of habit. I love it when I don't know what other people are going to play, and those are my favourite moments when we kick the chair out from under us. There are so many different elements to our music, we play on quite a variety of stages, from TV studios to jazz clubs to festivals, and I feel that our music is relevant everywhere. With Hungarian lyrics we want to get closer to the audience. I feel that in a local context, English lyrics are a bit of a hiding, a mask. In our own mother tongue, the effect is much more instinctive, the song flies directly into the listener's ears", says Gábor Subicz, band leader and mastermind behind Subtones.  

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A fresh, elemental energy surges from this album, whose introduction itself is legendary: "We have something special down here in Birdland this evening," announces Pee Wee Marquette into the microphone. And it truly was something very special. This very announcement was famously sampled by US3 on their track "Cantaloop". Art Blakey was at least as fantastic a bandleader as he was a drummer, although his stick work was groundbreaking in its own right, with his storm-raising solos built on enormous crescendos. Pianist Horace Silver was still a member of the Blakey Quintet here, though they would later co-found the legendary Jazz Messengers. The sonic ideal strongly associated with Blue Note was primarily born through Blakey and his band, becoming the basic formula for jazz worldwide for decades, and remains just as fresh today as it was in 1953.