Opera

It was common knowledge that Iacint Manoil was a lady-killer. He was so ugly that they were impressed. And so direct in his stupidity that he came over as honest. Like a millstone. He was an actor. Only those very beautiful or as ugly as sin can make a career in this profession.

Almost no one in Vintileasa saw on TV the scene when the revolutionaries broke into the famous Studio 4 in the afternoon of 22 December 1989. The villagers were busy doing other, more important things. Some were killing their Christmas pigs. Others were stealing wood. Most

'Make your stores - they're cutting it off,' calls the bobby, pushing the entrance door ajar. And every member of the household hurries to grab a pail, a mug or any of the tinier pots and pans, dashing forward to the tap (the house is endowed with a tap -

That summer, teacher Caranfil had gone to spend his holidays at Neamţul Monastery and on the day when the events he related to me had occurred to him, he had taken a trip with a company of friends in the surroundings of the monastery, beyond Procov hermitage. When he had

Captain Drăgoi used to enjoy much consideration among officers. He had gone through the whole set of hard tests. From a non-commissioned officer he had been promoted second-lieutenant in the regiment of a colonel with many daughters who had been withering, a prey to hidden

Modernism has brought to paroxysm the need of personal mythologies, immanent to Western civilization. No wonder that some of the heroes and saints of the avant-garde came from those peripheral European territories still uncharted from a spiritual point of view. By the beginning

Alfredo Casella: Enescu is delicate and sensitive, communicative too, like all Latins. Despite his spontaneous and amazingly rich inventiveness, his creation illustrates a process of will, which no artist can overlook. I have seen such a perfect accord between intention

The history of world music has witnessed many spectacular overturns in the hierarchy of values, when names of purely local interest whose death was not even announced in an obituary (Johann Sebastian Bach) became world famous personalities a century later. Quite often, internationally

The Chimera, a sculpture carved in oak wood between 1915 and 1917-18, currently exhibited at the Philadelphia Museum of Art, has so far attracted but limited exegesis. Petru Comarnescu, in a conference held in Craiova in 1957, made reference to the body streamlined as to

In a holographic note drawn up in Romanian in the third person, Brâncuşi speaks about himself as about someone else and makes an important remark in connection with his relationship with materials. Turned down in 1910, he exhibited fully carved stone and marble for the

You have turned the antic into the modern, Rousseau le Douannier once told Brâncuşi. Those words complete very accurately the characterization suggested by Dan Hāulicā: He produced the century's purest classicism out of the exotic. [1] The Romanian sculptor

It comes as no surprise that a genuinely encyclopedic spirit of Nicolae Iorga's caliber, conversant with history, literature, religion, church, army, commerce, education, trades, guilds, arts, etc. , etc. , should be passionate about music. His existence was markedly