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Aida, March 17, 1920. I waited for it. With the justifiable, feverish impatience you feel before an ideal dream comes true!, wrote the Rampa magazine on March 18, 1920, hailing the opening of the first lyrical season. People liked the cheap, but very beautiful stage design,

Of all the great 20th century conductors, Egizio Massini was the only one who distinguished himself equally in three different fields (opera, symphonic music, and fanfare). Even if he made tours abroad conducting all threes types of music, opera was the genre that distinguished

– Gaetano Donizetti: Lucrezia Borgia (integral opera); orchestra of the Rome Opera. Soloists: Montserrat Caballe, Alfredo Krauss, Shirley Verett, Enzo Flagelli. – Giuseppe Verdi: Rigoletto (integral opera)Soloists: Peters, Merril, Bjoerling, Tozzi.  Recording with the

On 20 November 1921 an enthusiastic letter written by the poet Cincinat Pavelescu is published in Rampa, a letter which we see fit to transcribe in full: Dear Mr. Editor in Chief, My life's absorbing activities of incessant work at the head of a newspaper without any

After almost a century of symphonic music in Romania (as early as in 1846-1848, the first symphonic concerts changed the artistic life of Bucharest), after three quarters of a century since the establishment of the first philharmonic in Bucharest (1868), a magician appeared

In an obituary published in the Tages Anzeiger of Zurich, Mario Gerteis draws a suggestive portrait of Celibidache in his youth. A nervous fiery ball, halfway between histrionics and insight, between passion and obsession. His dark locks hanging over his face in disorder,

Among all 20th-century great Romanian conductors, indubitably the most extravagant, original, paradoxical maestro of the baton remained Sergiu Celibidache. Perhaps only Herbert von Karajan enjoyed the status of absolute star during his life time as the Romanian conductor

It is no secret to anyone that in Romania every person who has a good voice and musical talent has sung at least once, in his or her youth, in a choir. People say about Banat, the western region on the boundary with Hungary and Yugoslavia that it is the land of choirs, because

I can almost hear Gellu Naum saying: I fell on the pavement on account of the old tree roots which have heaved it. There was a smell of putrid leaves. And of putrid earth. I could not lift myself up. From somewhere, came a cur of a dog. 'You want grass,' I asked.

1. You open one door and there appears another, then another, and another, up to the last one – which does not even exist – and thus you find yourself at the first door – which does not even exist – and you make a round, once more, unto familiar places, as what you

(1. 08. 1915-29. 09. 2001) Gellu Naum (1915-2001) was the only writer pertaining to the historical Romanian surrealist avant-garde who survived, rather untouched but also more or less unheard, the vicissitudes of a half a century of Communist rule. He started publishing

Those writers obsessed by the form, which they do not hesitate to convert into a norm, are too well familiar with the pain that accompanies the process of completing a page in a duly controlled, stylish, manner. Ultimately, one writes on waters, since all messages are, from