(…) French composers also enjoyed a prominent position at the festival, strengthened partly through the Berlioz Jubilee and partly the resonances of FranciaArt. In my opinion, the performance of Romeo and Juliet by the National Philharmonic Orchestra and the National Choir was a premiere event not just of the festival but of international concert life. Hopefully news of it – via supreme French soloists: Sylvie Sullé, Guy Flechter, Jean-Philippe Courtis – will reach Berlioz's homeland. Zoltán Kocsis, under whose baton the orchestra brought the fairy music of the Fourth Movement (Queen Mab) music to life at a dizzying tempo and with immaculate beauty, deserves the glory befitting the great conductors. (…)
So certainly the festival was a success. Finally, the practise seen at the opera house, where we always hear a broadcast request for mobile telephones to be switched off really should be implemented everywhere, and we should adopt European norms with regard to late comers. It is outrageous that a conductor – be it Maazel, Kocsis, Medveczky or others – has to wait while a whole row stands up to allow people to shuffle to their places, rather than a closed door being shown to them until the first applause or break.

Mária Kerényi
(Magyar Nemzet)