Zoltán Nyári



Clara Rempe


+49 30 214 594 -233

CR Vera Eder


Opera houses can only wish for such a tenor in such an extremely demanding role:Zoltán Nyári sings with apparently inexhaustible power reserves and with enormous stamina right up until the finale. On top of that, the Hungarian singer’s timbre is glorious, richly coloured, and melodious, his high notes are bombproof and he possesses high text articulation. And he can also excessively convey deep emotions. A triumph that was rightly celebrated. Kurier.at

The Hungarian tenor Zoltán Nyári shapes his parts with finely detailed realism and embodies each of his roles both vocally and theatrically as one complete entity.

Zoltán Nyári began his musical training at a young age with violin lessons, later switching to acting. He studied Drama for Theatre at the University of Drama and Film in his native Budapest, graduating in 1993. He subsequently took professional singing lessons with teachers such as Magda Nádor and has since concentrated first and foremost on his singing career. Zoltán Nyári became a member of the Operetta Theater Budapest in 1996, which has over the years taken him on tours to Germany, the Netherlands, Japan and the USA, among others.

Having appeared in numerous musicals and in over 400 operetta performances, his focus now lies in opera repertoire. His parts include Lenskij (Onegin), Prince (Rusalka), Hoffmann (Les contes d’Hoffmann), Cavaradossi (Tosca), Rodolfo (La Bohème) and Alfredo (La Traviata). In 2005 he was awarded the Jászai Mari Prize for his achievements and became a member of the Magyar Állami Operaház. In 2009 Zoltán Nyári won first prize in the Mezzo Television Opera Competition in Szeged (Best Male Actor and Audience Award) and could be seen in the operas Le dernier jour d’un condamné (D. Alagna) in Debrecen and Emmeline (T. Picker) in New York as part of the competition. The New York Times wrote of his performance in Emmeline, “Zoltan Nyari brought a bright, penetrating sound to the role of Matthew Gurney, Emmeline’s grown son.”

The tenor is a regular guest at the Semperoper in Dresden, performing roles such as Don José in Carmen and Prince in Antonin Dvórak’s opera Rusalka. Zoltán Nyári also made his debut at the Frankfurt Opera in the role of Prince in the 2013/14 season. In 2011 he debuted in the role of Paul in E. W. Korngold’s opera Die tote Stadt at the Budapest Spring Festival, a role for which he was celebrated in 2015 by both the press and audiences in Johannes Erath’s new production at the Graz Opera. Recently he sang Erik in Wagner‘s Der fliegende Holländer and Froh in Das Rheingold at the Palace of Arts Budapest for the first time. In 2016 he performed the role of Edgar Aubry in Marschner‘s The Vampire at the Komische Oper Berlin following his recent debut in Kálmán‘s opera Die Herzogin von Chicago and Die Zirkusprinzessin.

Zoltán Nyári will begin the 2016/17 season with his debut as Tristan in Wagner’s Tristan und Isolde at the Graz Opera. Furthermore he will perform Kodály‘s Psalmus Hungaricus Op. 13 together with the Vienna Radio Symphony Orchestra and Jakub Hrůša at the Musikverein Wien.

2016/17 season

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From the beginning, Zoltán Nyári and Gun-Brit Barkmin powerfully shaped the inner strife of the two lovers and, on the whole, overcame the vocal challenges impressively. The more insane Tristan became, the more Zoltán Nyári seemed to be in his element. He painted a fading picture, penetrating and ethereal at the same time. Also, he knew how to touch emotionally as well as captivate.
BACHTRACK.COM, 26/09/2016, Isabella Steppan

Zoltán Nyári’s Tristan was not dark and sturdy. His light, penetrating tone had charisma in the high notes.
KRONEN ZEITUNG, 26/09/2016, Martin Grasser

The highlights of the evening were these feverish fantasy scenes, intensively delivered by the tenor in expressive style. As in his first appearance in Graz, as Paul in Korngold’s Die tote Stadt, he was solid, powerful and often metallic.
MERKER ONLINE, 25/09/2016

Making his role debut, Hungarian Zoltán Nyári brought a solid tenor to Tristan. His performances (following Korngold’s Die Tote Stadt in 2015) are a real asset to Oper Graz.
KLEINE ZEITUNG, 24/09/2016, Michael Zschida

Nyari has everything that the part demands of the tenor at his disposal: secure and dramatic singing coupled with an immensely charismatic voice, with Heldentenor power in some sections, then once again rich in melody and feeling.
OPERNGLAS, March 2015, Th. Rauchenwald

Zoltán Nyári is Paul, a secure yet modest and therefore credible tenor, whose acting ability is also apparent. The way he still manages to find the almost internalised notes at the end for “Glück, das mir verblieb” is admirable.
WIENER ZEITUNG, 20/01/2015, Reinhard Kriechbaum

Zoltán Nyári proved himself to be a veritable godsend, who presented Paul as a masterful, articulated, virile Heldentenor with a bronzed tone: a feat of both vocal and acting prowess.
DIE PRESSE, 20/01/2015, Harald Haslmayr

Opera houses can only wish for such a tenor in such an extremely demanding role: Zoltán Nyári sings with apparently inexhaustible power reserves and with enormous stamina right up until the finale. On top of that, the Hungarian singer’s timbre is glorious, richly coloured, melt-in-the-mouth, his high notes are bombproof and he possesses a high level of text articulation. And he can also convey deep emotions excessively. A triumph that was rightly celebrated.
KURIER, 19/01/2015, Helmut Chr. Mayer

The Hungarian tenor Zoltán Nyári, acting as a stand-in, celebrates a triumph onstage. He sings the role of lovelorn Paul, mourning his wife with brightness and power, impressive charisma, poignant expression and high diction.
KLEINEZEITUNG.DE, 18/01/2015, Ernst Naredi-Rainer

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