In 2026, the Béla Bartók International Choir Competition celebrates its 30th edition, marking decades as one of the world’s most prestigious professional choral events. To mark this jubilee, we spoke with Zoltán Kocsis-Holper, Choirmaster of the Kodály Choir and Chief of the competition’s Artistic Committee, about tradition, modernization, and the state of contemporary choral music.
The Béla Bartók International Choir Competition has reached a major milestone. How has its spirit evolved since its founding?
Following the years of silence caused by the pandemic, the 2024 relaunch of the Bartók Competition wasn’t about abandoning our roots, but rather about a sensitive adaptation to modern conditions. The core philosophy established by our founding conductor—positioning the competition as a global leader in focusing specifically on contemporary choral music—has remained a stable “marble pillar” over the decades. Support for living composers and present-day choral culture was a cause close to György Gulyás’s heart, and it is a mission I fully embrace as a conductor. Regarding changes, we have replaced the previous, more rigid categories with a more comprehensive structure and introduced various difficulty sections. We must recognize that the opportunities available to the amateur choral movement have shifted. This new structure allows those who may not be vying for the Grand Prix to still come to Debrecen to recharge professionally and hear world-class ensembles.
What is the secret to keeping such a competition successful and attractive in the long run?
I don’t believe there is a foolproof “magic recipe,” as we’ve seen competitions with great histories disappear. A credible identity and distinct character are essential, as is staying current with global trends. Anyone who comes here knows they are participating in one of the six most challenging competitions in the world, which carries significant prestige as a member of the European Grand Prix for Choral Singing (EGP) association. Beyond that, hospitality is a deciding factor. The city of Debrecen and the Kodály Philharmonia provide a solid professional background, but it is the friendly, welcoming atmosphere that truly makes the experience memorable. During our last edition, there was a palpable sense of community energy generated by the shared programs and the “city checkpoint” challenges. This blend of diversity and professionalism is what brings choirs back to Debrecen time and again.
The Bartók Competition considers contemporary a cappella music its hallmark. How difficult is it to encourage participants to take on these challenges?
I like to use the mixed metaphor that contemporary choral music is currently experiencing a renaissance. We have a wealth of excellent composers, and ensembles are increasingly open to new sounds. One of the competition’s most vital missions is to premiere Hungarian works that foreign conductors can then take home and integrate into their own repertoires. For composers, it remains a point of prestige to be commissioned by the Bartók Competition. It is our responsibility to present these works to an international audience and promote them so they continue to live on stages across the globe long after the final notes of the competition. This year, we are again dedicating a special evening to world premieres: works by Máté Balogh, Márton Levente Horváth, Katalin Szalai, and Péter Zombola will be performed by the Lautitia Children’s Choir and the Kodály Choir. We will even feature an oratorio by Miklós Csemiczky, involving members of the Kodály Philharmonic.
This year saw a record number of applications. How were the participants selected, and what was the criteria for the jury?
It was a difficult task because nearly every applicant represented an extremely high standard based on their submitted video materials. The members of the Artistic Committee—József Nemes, Ágnes Török, and myself—scored the entries independently, and fortunately, there was a great deal of consensus. Ultimately, twelve choirs will compete, representing countries from South Africa and Latvia to Puerto Rico. For the jury, we invited internationally recognized authorities. Georg Grün from Germany will preside, joined by Tristan Caliston Ignacio from the Philippines—as it is tradition for the previous Grand Prix winner to be represented—as well as Filippos Tsalahouris from Greece, and Hungarian conductors Zsuzsanna Gráf and Csaba Somos.
How does the jury work? What is the “extra factor” that tips the scales between two equally professional choirs?
While category competitions have objective metrics—such as intonation, fidelity to the score, and vocal blend—the Grand Prix competition places much greater emphasis on overall artistic impression and impact. At that level, nuances and individual preferences come to the fore. I’ve had experiences where one choir was technically flawless, while another sang with such elemental expressive power and stage presence that it gave the audience goosebumps. In the Grand Prix, the winner is usually the one who, beyond technical perfection, can elevate the expressive power of the performance into a higher artistic dimension.
Are you optimistic about the future after this jubilee edition?
I see that communal singing, when presented in a modern way with the right opportunities, remains popular among young people; just look at the many excellent university and national youth choirs worldwide. As long as there is a new generation of singers and composers writing exciting, performable music, the competition has a future. If we preserve our decades-old professional foundations while responding flexibly to a changing world and providing a true community experience, the Bartók Competition will remain an essential landmark on the global choral map ten years from now.