Anett Fodor is a pianist, having begun her musical education with this instrument at the age of seven. She studied Piano, Music Pedagogy (in particular the concept developed by Zoltán Kodály), the History of Music and Musical Theory at the Károly Eszterházy College in the picturesque Hungarian city of Eger. Parallel to these musical studies she also studied History and qualified in both subjects.
Ms Fodor went on to spend a further two years at the Budapest University of Economic Sciences, earning an MA in International Relations. Her extensive degree studies in these three fields honed her curiosity for historic detail as much as international musical style and broad cultural awareness. Already fluent in several European languages, Anett Fodor continued her studies in the English language at the Dániel Berzsenyi College in Szombathely, qualifying in 2007.
She lives with her husband and three children in Hungary close to the Hungarian-Austrian-Slovak border.
Anett Fodor encourages music enthusiasts to experience 'Il Boemo – The Czech'
Anett Fodor tells the story of Arthur Nikisch, from his Hungarian roots to international acclaim
Anett Fodor presents two amusing anecdotes which Carl Flesch shared with the readers of Hungarian newspapers
Anett Fodor continues her series of interviews with some of our era's most interesting artists, and today she talks to British pianist Leon McCawley about some of the new challenges to artistic life
Anett Fodor tells the story of Beethoven, Liszt and the Little Broadwood
In defence of operetta and copyright
Anett Fodor writes about the Polish counter tenor and his latest album
From the Academy to His First Success
Anett Fodor sends her final report from the 2019 Bartók Plus Opera Festival
Anett Fodor has some reservations about Albin Fries' new opera 'Nora', which was given its first performance recently at the Bartók Plus Opera Festival
Anett Fodor reports from Miskolc on La bohème, The Golden Dragon, Duke Bluebeard's Castle and a symphonic work by Scriabin
Anett Fodor reports from the opening gala of the 2019 Bartók Plus Opera Festival
An interview with the composer Paul Carr
Anett Fodor discusses the Hungarian composer Bartók's love of both folk music and nature
Anett Fodor is impressed by Daniel Harding and the Swedish Radio Symphony Orchestra's recent recording of Mahler's Fifth Symphony. 'Daniel Harding awakens and keeps the listener's curiosity captive, demanding thorough attention for his compelling interpretation.'
Anett Fodor listens to Hungarian viola player Vidor Nagy. 'The mellifluous sound, the doleful melody, as well as Vidor Nagy's sensitive performance convince the listener that both the artist and instrument are worthy of recognition.'
Leon McCawley plays Schubert. 'His unique touch, articulation, expressive dialogue between hands and outstanding technique are admirably illustrated in virtuoso passages which demonstrate his remarkable sense of style. This recording offers many memorable moments for the listener.'
Louis Lortie's Saint-Saëns thrills Anett Fodor. 'Louis Lortie's wonderfully led singing melodic lines, outstanding technique, musicality and cooperation with the conductor as well as the outstanding orchestral playing demand one's full attention.'
Leslie Tung plays Mozart, Beethoven and Haydn, impressing Annet Fodor. '... a rare and unusual musical find.'
Music by Craig Safan. 'The blending of classical instruments with new electronic techniques combined in melodious, catchy themes, resulting in an unusual orchestration.'
'The Barber of Seville' at an unusual venue in Hungary
Hungarian pianist János Balázs and the Cziffra Festival Chamber Orchestra, heard in Bratislava
Angela Brownridge plays Debussy Préludes. '... her inexhaustible source of timbre, the delicate style and use of both pedals, as well as her excellent piano technique demand listeners' full attention.'
Keyboard music by J S Bach. 'Simone Leitão plays with a sharply honed, flawless technique and her sense of style is highly refined.'
Music by Peter Garland. 'It was the first - but I am sure not the last - time that I had listened to Garland's music and for 34 minutes time stood still while I was listening to it.'