If I wanted to summarize music making very shortly, I would say it is about connection and expression, both on many levels. A good musician needs to connect with her instrument, the piece she plays, her audience and also her partners on stage. She needs to resonate with fellow musicians and the audience in order to produce real expression with her playing, and create a truly colourful, inventive, personal, playful, and at the same time refined, soulful, dramatic and abundant performance.

It would be very easy to write a whole book on the psychology of chamber music playing. We all know too well, how vulnerable things tend to get once they become personal; at the same time, this is the only way we can tap into a deeper emotional world. This is the reason that chamber music playing is so close to my heart and why I find it enormously important to build long term chamber music partnerships – because they allow me to become a much more articulate, responsive and versatile artist,  allowing me to share the true essence of chamber music with my audiences.

„…especially refined and concentrated, attentive musicality, resulting in true chamber music playing...”


„...sonorous, rich and soaring sound…”

            Csengery Kristóf

 Some of the most wonderful chamber music festivals I participated in throughout the past years were the Grachten Festival in Amsterdam, the Midis-Minimes in Belgium, the Kuhmo Festival in Finland, the Oxford Chamber Music Festival, the Budapest Spring Festival, the Café Budapest Festival, the Elisso Virsaladze Festival in Georgia and the Musique en Charolais-Brionnais in France. It was a tremendous experience to share the stage with the finest musicians of our time on these occasions and on some of my favourite stages such as the Mozart Saal of the Konzerthaus in Vienna, or the Solti Hall of the Franz Liszt Academy of Music in Budapest.  

Let me also briefly introduce my long standing chamber music formations:


Our collaboration with pianist Katalin Csillagh started about a decade ago, playing together at the IKZE - Contemporary Music Festival of Young Composers in Budapest. It immediately struck both of us how easily we were able to collaborate. We have since performed countless concerts, with a repertoire ranging from experimental, new compositions to the baroque. Alongside our recitals we have also performed together Erwin Schulhoff’s Double Concerto as soloists, receiving positive reviews in major newspapers, including the Süddeutsche Zeitung. We made a live recording for New York’s Radio WQXR in 2012. Our debut CD ‘Glowing Sonorities’, featuring romantic sonatas of Schubert, Reinecke and Franck was released by the Hungaroton label.

....Our collaboration with pianist Katalin Csillagh started about a decade ago...

... In 2011, through our work with musicologist-guitarist Massimo Agostinelli, we discovered a large original oeuvre of Antonio Nava (1775-1826, Italian composer) which had never been published or recorded ...                                

 Over the past fifteen years, I have been working very closely with one of the foremost Hungarian guitarists. Through our collaboration, I have played a vast amount of original compositions and transcriptions for the formation and gained a thorough overview of the flute and guitar repertoire. Katalin and I always aim to create original projects, concert programmes and recordings which differ from the mainstream flute-guitar scenery.

In 2011, we discovered through our work with musicologist-guitarist Massimo Agostinelli, a large original oeuvre of Antonio Nava (1775-1826, Italian composer), which had never been published or recorded. Thorough research around this discovery allowed us to gain a comprehensive understanding of the flute-guitar music of this particular era and inspired us to explore more possibilities of repertoire from the time. The recent years we launched the 'Classical Flute and Guitar' project and  have turned our attention towards the Viennese classical keyboard works in particular, as an extensive and valuable resource for potential transcriptions for our duo.

At the time that I met Gergely Madaras, he was still a flutist studying at the Béla Bartók Conservatory in Budapest, just like I did. This was over seventeen years ago. Since that he has become an excellent conductor and also my husband, so these days it is hard to find time to perform together. But for the first ten years of our careers, we performed over 250 concerts together in fifteen different countries and over three continents as a flute duo and won the International Friedrich Kuhalu Flute Duo Competition, the most significant competition of its kind.  

...This was over seventeen years ago. Since that, he has become an excellent conductor and also my husband...

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