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Klaus Iohannis, Romania’s new president-elect, viewed from abroad

IohannisTheEconomist

A victory for Iohannis, a step forward for democracy and minority rights in Romania: Klaus Iohannis viewed from abroad

by  Claudia Moscovici

I have not seen the Romanian public so enthusiastic and optimistic about a political event since the anti-Communist revolution of 1989. On November 16, 2014 the Romanian center-right candidate, Klaus Iohannis, an ethnic German, won the presidential election. His victory over Victor Ponta came as a welcome surprise for many Romanian voters. Ponta was ahead during most of the presidential campaign and had won the first round, on the November 2nd election. Many Romanians view Iohannis’ victory as a step forward for democracy. What are some of the factors that led to Iohannis’ unexpected victory and how is it perceived by the press abroad?

Reuters recently briefly covered the Romanian election with some ambivalence. In an article published on November 16, Matthias Williams claims, “Analysts had said that victory for Ponta might have helped make Romania a more stable nation, with the main levers of power held by one bloc. By contrast, Iohannis’ win could trigger renewed political tensions in one of Europe’s poorest states.” Despite these misgivings, in next sentence the author expresses the other side of the coin, which coincides with what I’ve been reading in the Romanian press: namely, that Romanians had grown increasingly critical of the Ponta regime and were ready for a change: “Thousands of people took to the streets of Bucharest to voice their anger at Ponta’s government on Sunday night and demand his resignation.” Williams brings up one of the main issues at stake, which is the country’s growing disenchantment with political corruption: “Growth rebounded to more than 3 percent in the third quarter of 2014, but corruption and tax evasion are rife, and progress to implement reforms and overhaul a bloated state sector is mixed.” (see http://www.reuters.com/article/2014/11/16/romania-election-idUSL6N0T608D20141116)

Young voters, the educated elite and Romanian citizens abroad (the diaspora) voted, overwhelmingly, in favor of Klaus Iohannis. Romanians would like to build a country with less political corruption, more transparency in the government, a thriving economy and a more democratic voting process in the country and especially for Romanians living abroad. In fact, the difficulties in voting for oversea Romanian citizens, which got international media coverage, drew widespread sympathy for Iohannis, both within and outside Romania. “Overseas voters, “ Williams notes, “played a key role in swinging the vote at the last presidential election in 2009. Romania’s large and growing diaspora is widely seen as anti-Ponta, and many voiced their anger when long queues and bureaucratic hurdles prevented them from voting in the first round. The uproar triggered the foreign minister’s resignation, sparked protests in cities across Romania and may have helped galvanize the anti-Ponta vote.” In Paris and Munich people lined up for hours on end, waiting for the opportunity to vote. In Munich, some people showed the cameras their toothbrushes, to indicate they’d be willing to spend the night there if that’s what it took.

For many Romanians, Klaus Iohannis represents a change for the better. Although much of his political platform remains to be seen, in the eyes of his supporters he stands for political accessibility, honesty and good character. A former physics teacher and current mayor (of Sibiu) of German origin, Iohannis also represents a victory for ethnic Romanians. Ethnic Germans living in Romania were brought into the international limelight a few years ago, when novelist Herta Müller won the Nobel Prize in Literature in 2009. Despite the fact that ethnic Germans have been living in Romania for hundreds of years, they still face some prejudice and obstacles. In fact, As Alison Mutler points out in The Associated Press article of November 17, Victor Ponta tried to play the nationalist card by depicting Iohannis as a cultural outsider. This strategy backfired. Mutler notes, “His win was also the failure of the nationalist card played by Ponta, who mocked his rival’s minority German ethnicity and the fact that he is a Lutheran and not a member of the powerful Orthodox Church.” Iohannis supporters, The Economist reports on November 17th, 2014, “greeted the mayor of Sibiu with cries of ‘Danke Schön’. He will become the first member of an ethnic minority, and the first non-Orthodox Christian, to serve as president in Romania’s post-communist history.” (see http://www.economist.com/blogs/easternapproaches/2014/11/romanias-elections-0?fsrc=scn/tw/te/bl/ed/Transylvaniansurprise)

This unprecedented win represents not only a victory for democracy in Romania, but also a step forward for ethnic minorities. Ethnic Germans, or Rumaniendeutsche, were numerous in the country before the end of WWII, numbering almost eight hundred thousand. Most of them immigrated to Germany (or were evicted from the country) shortly after WWII, when Romania became Communist. By 2011, their numbers fell to less than 40,000. A second wave, over 100,000 ethnic Germans, immigrated to Germany following the anti-Communist revolution of 1989. Although still perceived as “foreigners” by some native Romanians, ethnic Germans have lived in Romania—mostly in the region Transylvania—for centuries. The majority belong to the ‘Saxons’, who are descendants of Germans who settled in Transylvania during the twelfth and thirteenth centuries. Iohannis, who states that his family has lived in Romania for over 700 years, is most likely a descendent of this ethnic group. The second group, the Swabians, are descended from Southern Germans who settled in the Banat region during the eighteenth-century. The third group, the “Lander” Germans, came to Northern Transylvania during the eighteenth century. While ethnic minorities may still face some prejudice in Romania, the country has made great strides over the past ten years in representing ethnic minorities.

“Conditions for minorities in Romania today have been significantly improved through reforms pushed through in the run-up to the country’s accession to the EU. An accession treaty signed in early 2005 resulted in Romania’s full membership in 2007. … Minorities are currently represented in both chambers of parliament.” (for more information on Minorities in Romania, see Minority Rights, (http://www.minorityrights.org/3521/romania/romania-overview.html).

CurteaVecheKlausIohannis

Romanians have a lot of hope for the country under the new government. They hope for a healthier economy and more job opportunities. They would like to see the continuing integration of Romania into the European community, less political corruption, and a more democratic—and easier–process of voting, especially for the diaspora. Iohannis has expressed his commitment to fulfilling these hopes, so the country has reason for optimism. He has also shown his accessibility to the public—and graciousness–during a recent book signing of his autobiography, Pas cu Pas (Step by Step), published by Curtea Veche Publishing, where he spent hours with fans, signing over 3000 autographs. This presidency wouldn’t be the first time a member of a minority group has paved the way for the majority. After all, as Martin Luther King Jr. once said, “Almost always, the creative dedicated minority has made the world better.”

Claudia Moscovici, Literature Salon

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The controversial journal of Mihai Sebastian (1935-1944)

JournalMihaiSebastian

Review by Claudia Moscovici, author of Holocaust Memories: A Survey of Holocaust Memoirs, Histories, Novels and Films (Rowman & Littlefield Publishing Group, 2019)

https://www.amazon.com/gp/product/076187092X/ref=ox_sc_saved_title_3?smid=ATVPDKIKX0DER&psc=1

The journal of the Romanian Jewish essayist, playwright and novelist Mihai Sebastian is still seeped in historical controversy in his native country. In fact, this journal, which the author kept for nearly ten years (from 1935 to 1944), was such a taboo subject that it wasn’t published until 1998 (in French) by Editions Stock. The Ivan R. Dee English edition appeared in 2000, increasing the diary’s international exposure–as well as the controversy that surrounded it. The Journal of Mihai Sebastian is particularly problematic for the Romanian community, both in the country and abroad. It depicts the regimes that allied themselves with the Nazis as well as some of Romania’s most notable writers and philosophers—Emil Cioran, Mircea Eliade and Camil Petrescu–whom the playwright Eugene Ionesco characterized, due to their Fascist political affinities, as part of the “Iron Guard generation”–in a rather negative light. Sebastian’s frank and lucid picture of the Fascist influence in Romania can offend on several levels.

Many Romanians with strong nationalist sentiments still view Ion Antonescu as a national hero that protected the country’s interests in an impossible political context. Furthermore, even Romanians without strong nationalist feelings take great pride in Romania’s leading 20th century intellectuals, particularly Emil Cioran, Mircea Eliade and Camil Petrescu. Some of them do not take kindly to a frank discussion of these authors’ pro-Nazi and anti-Semitic views in so far as bringing this subject up can cast doubt on their merit as writers and on their character.

I don’t think these are good reasons to shy away from reading this journal, however. The fact that Mihai Sebastian was himself a leading intellectual figure in the country and accepted as a friend by these authors gives us a more personal—and unique–glimpse into the cultural and political atmosphere of the times. This journal is interesting from both a historical and a philosophical perspective. It raises questions about Romania’s alliance with the Nazis and simultaneously explores the relation between morality and intellectuality (in the same way as discussions of Heidegger’s role in anti-Semitic and pro-Nazi discourse does). (See Philip Oltermann’s excellent article on this subject, published in The Guardian on March 12, 2014, http://www.theguardian.com/books/2014/mar/13/martin-heidegger-black-notebooks-reveal-nazi-ideology-antisemitism).

Mihai Sebastian was born Iosif Mendel Hechter in 1907 in a Jewish family in Braila. He managed to survive Fascism, the war years and the Holocaust, only to die, absurdly, in a car accident in 1945. Sebastian studied law in Bucharest and mingled with Romania’s leading intellectual figures. His journal discusses his relatively close relationships with Emil Cioran, Mircea Eliade, Camil Petrescu and Eugene Ionesco. Of these authors, only Eugene Ionesco was critical of Fascism. Years later, in 1959, he even published a political drama about totalitarianism, Rhinocéros, in which he described his friends’ strange transformations under the pressure—and lure–of history’s dark forces, Communism, Fascism and Nazism.

Being Jewish in an epoch when Judaism was equivalent to a crime punishable by imprisonment, deportation and even death, Sebastian had ambivalent relations with Cioran, Eliade and Petrescu, all of whom expressed anti-Semitic views and were seduced by a combination of Nazi and nationalist ideology. At one point, Sebastian expresses shock in reading an article by Mircea Eliade in support of the Legionary Movement: “Friday, 17 (December). In yesterday’s Buna Vestire (year I, no. 244, dated Friday, 17 December 1937): “Why I Believe in the Victory of the Legionary Movement,” by Mircea Eliade” 133). Numerous times, Sebastian hopes that personal bonds of friendship can shift his friends’ anti-Semitic views. He tries to persuade Camil Petrescu–to no avail–that his anti-Semitism is irrational:

“Thursday, 25 [June] 1936. When we left Capsa we went a few steps down the street and he repeated what he thought of the latest anti-Semitic attacks… He went on to say: ‘My dear man, the Jews provoke things: they have a dubious attitude and get mixed up in things that don’t concern them. They are too nationalistic.’ ‘You should make up your mind, Camil. Are they nationalists or are they Communists?’ ‘Wow, you’re really something, you know?… What else is communism but the imperialism of Jews?’ (60) Disappointed that Petrescu won’t listen to reason, Sebastian notes, perplexed: “That is Camil Petrescu speaking. Camil Petrescu is one of the finest minds in Romania. Camil Petrescu is one of the most sensitive creatures in Romania” (60).

Facing prejudice from one’s peers is one thing; facing the prospect of imprisonment or even death is quite another. Between 1935 and 1941, the political situation deteriorates significantly for Jews in Romania (and most of Europe as well) . In August of 1941, Sebastian finds himself in grave danger of being sent to labor camp for the simple fact of being Jewish. He’s aware of the probable link between deportation and extermination: “The alarm I felt at first is returning. Are we again facing a mass roundup of Jews? Internment camps? Extermination?” (389) Like most Jews from Old Kingdom Romania, however, Sebastian escapes due to a series of unpredictable shifts in government policies. (See my article on the subject of Ion Antonescu’s regime, http://literaturadeazi.ro/content/review-ion-antonescu).

Despite its trenchant critiques, however, Mihai Sebastian’s journal shouldn’t be judged only as an indictment of the political ideology of some of Romania’s leading intellectuals and of the country at large. Written in a lyrical and contemplative style reminiscent of an author Sebastian greatly admired–Marcel Proust–the journal also captures the author’s great appreciation of classical music, the cultural activities of the times, as well as his intriguing and often tumultuous love affairs, whom he compares to the vicissitudes of passion described by Proust in A la recherché du temps perdu.

As a memoir with political and ethical implications, Mihai Sebastian’s journal reminds us of the fact that political morality and intellectual merit aren’t necessarily linked. Great intellectuals can and do sometimes espouse immoral or chauvinist views. Does it follow that they they be judged only—or even mostly–in terms of those views? Absolutely not. Just like we shouldn’t judge Aristotle’s great contributions to philosophy only in terms of his “sexist” and incomplete views of women or Thomas Jefferson’s notable contributions to government, political theory and even architecture only in terms of having owned slaves and thus supported slavery, we shouldn’t judge Eliade, Cioran and Petrescu only (or mostly) in terms of their anti-Semitism or Fascist tendencies. Those of us who respect these writers need not fear that the truths expressed by Mihai Sebastian’s journal will diminish the intellectual worth of Romania’s leading authors. This book is important because it offers us a deeper understanding of Romania’s controversial, pro-Fascist years, from the perspective of a Jewish writer caught in the middle of cataclysmic events that he had the opportunity, lucidity and talent to describe exceptionally well.

Claudia Moscovici,

Literature Salon

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Literatura de Azi (Today’s Literature): Perpetuating culture in the Internet age

design by Laurentiu Midvichi

design by Laurentiu Midvichi

Literatura de Azi (Today’s Literature): Perpetuating culture in the Internet age

by Claudia Moscovici

The notable Romanian literary critic Daniel Cristea-Enache recently launched Literatura de Azi, a  literary and culture blog that features essays by Romanian critics, fiction writers and artists.  The blog includes sections on literary criticism by Daniel Cristea-Enache himself, Alex Stefanescu, Dan-Liviu Boeriu, Ovidiu Nimigean, Lia Faur and Anca Goja; poetry by Emil Brumaru and Radu Vancu; creative writing by Selian Turlea; artwork selected by the painter Laurentiu Midvichi, music selected by Gabriela Pop, and my own section of book reviews on the Holocaust.   The list of contributors will continue to grow as the blog expands. Literatura de Azi also benefits from an excellent and energetic team of editors: Odilia Rosianu (Editor-in-Chief), Anca Goja and Romina Hamzeu (Managing Editors), Irina Ionita (Editor), Nona Carmen Rapotan (Junior Editor) and Adrian Pop (Web Master). Promoting culture via the Internet is no easy task: first of all because many consider “culture” and “the Internet” to be a contradiction in terms; secondly because it’s easy for whatever is considered “culture” to get lost in the deluge of all kinds of information. In fact, this is a problem the world of publishing faces in general.

Both publishers and authors are becoming increasingly concerned with the question of how to promote books effectively, capture the interest of readers and generate sales. Given the number of books out there, without an outstanding publicity campaign, each given book risks passing unnoticed. The competition for readers is tremendous given that an astronomical number of books are published each year. The United Nations Educational, Scientific and Cultural Organization (UNESCO) cites that roughly 2,200,000 books are published annually. Out of curiosity, I looked up the two countries I write about most which, not coincidentally, are also those where I’ve lived: the U.S. and Romania. In 2010, 328,259 were published in the U.S. and in 2008 14,984 books were published in Romania. Given this large number of books published in the U.S. alone, it’s difficult to believe how difficult and competitive the process of publishing can be (as I explain in an earlier article on the subject):

in English:

in Romanian:

And yet publishing your manuscript is only the beginning of the gargantuan task of rising to the surface in an ocean of information. On the one hand, the mass media and the Internet in particular makes sharing our cultural products easier in some ways, by facilitating access to an audience. For instance, anyone can self-publish and promote a novel nowadays, through blogs, twitter,  youtube and other popular venues on the internet. But this apparent democratization of culture also makes it a lot tougher to stand out from the crowd. Each cultural product–be it a novel, a collection of poems, a song, a film or a painting–competes with tens of millions of others. It’s hard to find or discern anymore what we value and what we don’t in this tidal wave of information that assails us from all directions on a daily basis. So how do quality books, and culture in general, rise to the surface? 

noise

To draw another analogy, it’s as if we heard talented classical musicians playing their instruments at the same time as others howl, scream, talk and yell in various languages. Or, if you prefer to avoid making any value judgments, as if we heard them playing at the same time as other talented musicians practice other songs. Either way you look at it, what reaches our ears will sound like a maddening cacophony, to the point that we can no longer discern the music we prefer from  the surrounding noise we’d like to ignore.

Daniel Cristea-Enache

Daniel Cristea-Enache

In a world of information (and publication) overload, publicizing culture becomes both a necessity and a challenge. This is precisely what Daniel Cristea-Enache explains in an editorial called  “Romania of the Year 2014” (Romania Anului 2014) on Literatura de Azi (Literature of Today): 

in English translation:

“Today, almost a quarter of a century after the anti-communist revolution, it’s clear that the Romanian people and their social sphere have changed. The internet first registered this transformation, then it accelerated it. Readers–especially the younger generations–don’t obtain their information from traditional channels (it’s noteworthy that newspapers have declined even more dramatically than cultural journals) but from the Internet. We can protest this reality; we can be nostalgic; we can pull our hair out; we can laugh with a sense of superiority; we can sigh with regret: but this is the reality we face and it won’t change just because we want it to. It’s not reality that will adapt to us, in an open and pluralist society. We have to adapt to the increasing predominance of the Internet. The immediate question that arises is: if we notice this predominance, do we oppose it or do we make use of it?” (Daniel Cristea-Enache)

in Romanian:

“Astăzi, la aproape un sfert de secol de la Revoluție, e limpede că lumea românească și spațiul ei social s-au schimbat. Internetul întîi a constatat schimbarea, apoi a accelerat-o. Cititorii – mai ales cei tineri – nu își mai iau informația de pe canalele tradiționale (e semnificativ că ziarele au căzut încă mai dramatic decît revistele culturale), ci de pe net. Putem să protestăm împotriva acestei realități, putem să fim nostalgici, putem să ne smulgem părul din cap, putem să rîdem cu superioritate, putem să suspinăm cu jale: aceasta este realitatea și ea nu se schimbă după cum vrem noi. Nu realitatea are a se adapta la noi, într-o societate deschisă și pluralistă. Noi avem a ne adapta la realitatea dominației, tot mai accentuate, a internetului. Întrebarea care se pune imediat este dacă, o dată ce constatăm această dominație, ne împotrivim ei sau o folosim.” (Daniel Cristea-Enache)

Daniel Cristea-Enache goes on to argue that the first strategy is utopic. Literary production can’t avoid the Internet. Nor can it combat singlehandedly its vast and growing influence. He states that perhaps with great effort a single writer can impose upon himself isolation from the contemporary world of mass media; a kind of Rip VanWinkle hibernation. But the whole field of cultural production–literature in itself–certainly can’t follow this strategy. What Daniel Cristea-Enache proposes, and what the entire project of Literatura de Azi epitomizes, is the adaptation of “high culture” to the age of the Internet. This goal abandons the binary opposition between Culture (with all the implicit hierarchies of judgment and value that Pierre Bourdieu and others analyzed) and the Internet (mass media, without standards of value). Cristea-Enache adopts a pragmatic and modern approach to cultural value: namely, that of “transforming the Internet not in the goal of literature but in its cultural instrument, through which literature can reach as many readers as possible.” (“Chestiunea, după mine, este să transformăm internetul nu în scopul literaturii, în ținta ei – ci în instrumentul cultural prin care literatura poate ajunge la cît mai mulți cititori.”)

Being a practical person, Daniel Cristea-Enache practices what he preaches. Literatura de Azi, a blog that has already become in a matter of months a very prominent conduit of literature and culture in Romania (and that has the potential of growth internationally through syndicated columns in several languages) shows that literature, art, film and poetry can, indeed, survive the age of mass media information. But they won’t reach readers and viewers on their own. Holding on to the past or hoping for the best in the present aren’t workable strategies for promoting culture in our times. Promoting culture takes a lot of organization, energy and team work by editors, critics, authors, publishers and readers who still believe in the value of good books and do their best to help them rise to the surface in the sea of information. For more information, see Literatura de Azi‘s website, http://www.literaturadeazi.ro/

Claudia Moscovici

Literature Salon

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“Man’s best friend”: Balancing public safety and animal rights to address the stray dog problem in Romania

copyright image Humane Society International

“Man’s best friend”: Balancing public safety and animal rights to address the stray dog problem in Romania

By Claudia Moscovici

When I left Romania, as a child, in the early 1980’s, the country was at one of its lowest points in history. Conditions during the communist so-called “Epoch of Light” were notoriously miserable. People had to wait in long lines for meager supplies of food, clothing and household goods. There was limited heat and hot water. By the late 1970’s, the Secret Police (Securitate) had installed microphones in virtually every home and apartment. The whole population lived in fear. As a Romanian citizen said to a French journalist following the fall of the Ceausescu regime, “It was a system that didn’t destroy people physically—not many were actually killed; but it was a system that condemned us to a fight for the lowest possible level of physical and spiritual nourishment. Under Ceausescu, some people died violently, but an entire population was dying.”

George_Enescu_Festival

Since the anti-communist revolution of 1989, Romania has flourished. Despite the periodic economic and political crises that have engulfed most of Europe, Romania has become a leader in culture. The country is internationally known for its celebrated film directors (Cristian Mungiu, Calin Peter Netzer, Stere Gulea, Vali Hotea, among many others); its award-winning literature (which includes a Nobel Prize in Literature won in 2009 by Herta Muller); its art; one of the largest and most acclaimed festivals of classical music in Europe (the spectacular George Enescu Music Festival); its breathtaking natural beauty and picturesque towns, not to mention the cosmopolitan nature of its capital city, Bucharest.

copyright Four-Paws.org

Although Bucharest is in many respects a very modernized European big city, it has a relatively large population of stray dogs: something that one also encounters in smaller villages throughout the country. These dogs, often abandoned or kicked out by their owners, wonder around the city streets, congregating in packs and trying to find some scraps of food by begging or searching through the trash.  Although they are usually innocuous, this month one of these dogs attacked two little boys in Bucharest: 4 year old Ionut Anghel and his six year old brother. Ionut died from the dog bites; his brother was seriously wounded.  This tragedy, which no doubt touches all of us and strikes fear in the hearts of parents, became the catalyst for a government-mandated solution of killing all stray dogs—euphemistically called “euthanasia”–which, in my opinion, only amplifies senseless suffering without solving the root of the problem.

copyright VierPfotenRomania, photo by George Nedelcu

copyright VierPfotenRomania, photo by George Nedelcu

The new law, approved by President Basescu, sanctions the killing of stray dogs in Romania

In response to Ionut’s tragic death, the Romanian government approved a law (signed by President Basescu) that sanctions the mass killing of stray dogs throughout the country. As the Humane Society International documents, “a few days later, on September 10, the local governments acted immediately, killing countless street dogs and starting a widespread campaign to reach hundreds of thousands more in the upcoming weeks… The Romanian government has killed over 100,000 stray dogs using public funds. Despite attempts and offers [by both national and international animal welfare groups] to assist the Romanian government on this issue, they proceed with the killing of any dog in sight as a means of street dog control.” (HIS, HumaneAlert, https://e-activist.com/ea action/action?ea.client.id=104&ea.campaign.id=22665) This cruel measure has also been adopted by most mayors of Romania’s towns and cities. In fact Ziarul Argesul states that the mayor of Pitesti, Tudor Pendiuc, is offering citizens a reward of 10 lei for the capture of each stray dog to be “euthanized”, thus transforming the local population in animal control workers, or “hinghieri” (http://ziarulargesul.ro/19402-recompensa-pentru-prinderea-maidanezilor-ne-facem-hingheri.html).

Although killing all stray dogs may seem like the most expedient solution, it is both ineffective and inhumane. Moreover, this action casts Romania in a very negative light internationally, as a country that is dealing in a barbaric manner with a problem that could be solved in a more humane fashion. The mass killing of tens of thousands of helpless dogs sparked protests from animal lovers and animal rights organizations, both in Romania and internationally. One of the most active groups in the country, which organized protests with hundreds of animal lovers against the killing of stray dogs, is Vier Pfoten Romania. The animal shelter (mostly for cats, but also for dogs) Pisici Pentru Adoptie and the group Spune NU eutanasierii câinilor (represented on Facebook by Mihai Pirvu) have also led the protests and adoption efforts in Romania. Furthermore, leading intellectuals have  joined the ranks of those protesting the extermination of stray dogs: most notably, Daniel Cristea-Enache, one of Romania’s best known literary critics.

Among the international organizations protesting the dog killings we can find the Humane Society International (HIS), the Humane Society U.S., Vier Pfoten, Viva (in Warsaw, Poland), the International Fund for Animal Welfare (IFAW) and the World Society for the Protection of Animals (WSPA). Within Romania, this ruthless law towards misfortunate stray dogs divides the country. I believe that some of the tension comes from misunderstandings. The two sides may not be as far apart in their views as they seem. In fact, there are many more points in common that unite us, both within Romania and internationally. After all, we all share the same common goals: namely, protecting the safety of the citizens and finding a solution to the problem of stray dogs in Romania. Currently, there is a big disagreement on how these goals should be achieved. However, I hope to show that much of this disagreement may be the result of misunderstandings, polemical arguments and inflammatory rhetoric on the part of individuals who claim that those who argue on behalf of the animal rights side don’t care about the safety of Romanian children (or of Romanian citizens  in general).

This is not a political or partisan issue

I’d like to address in this article, point by point, some of the arguments I’ve encountered in the Romanian media and from some of my own Facebook friends that are in favor of the mass killing of stray dogs. A few individuals simply denied that this law was passed or that the killings it mandates occur and will continue to occur, claiming it’s just a political propaganda campaign against the current government. Of course, the first part of the argument is absurd, reminiscent of an Orwellian denial of truth, or doublethink, that was common during the communist epoch.  Reputable animal rights agencies, both national and international, have offered proof that this law exists and that stray dogs in Romania are being killed en masse. Moreover, Romanian citizens have seen it with their own eyes. As for the second part of this argument, it is also false.  The international animal rights organizations protesting the dog killings have no stake whatsoever in Romania’s internal politics. In fact, from their perspective (as from mine, for that matter), any political party governing the country would face the same challenge: namely, that of reconciling public safety with animal rights. This is not a partisan or political issue at all.

Killing all stray dogs for the harmful acts of very few dogs is inhumane and unjust

The objection to the mass killing of stray dogs is primarily an ethical issue. Out of a very large population of stray dogs, most of which are at worst a nuisance, only very few attack human beings. Anyone who has ever owned a dog will tell you that dogs are, by nature, loving and loyal animals. They’ve been bred for centuries precisely for these positive traits. It’s no wonder that dogs have earned the reputation of being “man’s best friend.” All they need is food, shelter and care to become our loving companions for life. Mean dogs are very rare, and even in those situations, they’re often trained to be aggressive by humans, or reduced to that condition by lack of food and veterinary care. Yet all of these misfortunate and helpless animals—hundreds of thousands of stray dogs throughout the country—will now have to pay with their lives for the harm that only very few of them inflict.

photo by Anton Polyakov

photo by Anton Polyakov

Dogs are “man’s (and woman’s) best friend”

A second argument I’ve heard (or rather, read) from supporters of the law against stray dogs is the charge of the inconsistency–which some have even called “the hypocrisy”–of the animal rights activists who defend the lives of stray dogs. The argument goes something like this: how can we claim to care so much about the fate of stray dogs when we routinely eat other animals, or kill them for their skin, to make pretty leather purses and shoes? What about the lives of the chicken, pigs and cows we sacrifice without a thought? Why the double standards? First of all, many of the animal rights activists, including myself, are vegetarian and some even become vegan, precisely for this reason. But even in the case of those who are not, the argument of cultural habits comes into play: cats and dogs have been, for centuries, our loyal and beloved pets. There’s no tradition of eating dogs or using their skins for products in Romania, as there is in China.  In Romania, like in the U.S. and most countries in Europe, dogs are considered to be “man’s best friend”. Most families have a cat or a dog. If any double standards are involved, it’s on the side of those who sanction the mass killing of stray dogs while still doting on their beloved pets. Why construct a binary dichotomy between our pets–the privileged dogs we treat as members of our families–and the misfortunate dogs wondering the streets, to be exterminated like vermin? After all, both groups are part of the same species. Most of the dogs in the street have the potential, with the right care, nourishment and training, to become loving pets as well. In fact, many of these dogs were once beloved pets that were lost or abandoned by their owners. Shouldn’t we try instead to help the dogs that weren’t lucky enough to find a loving home? Moreover, if numerous animal welfare organizations, both national and international, are willing to help Romania create a more humane solution to the stray dog problem, why not take them up on their offer? Rather than exterminating the stray dogs, let’s come together and give these dogs a chance to live a better life while also securing public safety.

dogrights

Supporting this ethical issue that affects animals doesn’t minimize the importance of other ethical issues, which affect human beings

Another objection I’ve heard raised by those who support the government measures against stray dogs is: Why pay so much attention to this issue of animal rights when there are so many more serious moral and political crises in the world, affecting human beings? No doubt, that’s true. Romania, for instance, still has a large population of orphans who can’t find foster parents to adopt them. So then why worry so much about the adoption of stray dogs? First of all, let me state the obvious: although many of the Romanian orphans live in terrible conditions, thank goodness, there’s no government law being passed to exterminate them. We haven’t heard of such laws since the Nazis. More generally, it’s true that the world is, unfortunately, filled with violations of human rights, suffering and poverty. In fact, if each of us tried to do something about these problems, the world would be a much better place. But the fact that there are worthwhile humanitarian causes pertaining to improving human lives is not a valid reason not to care about animal welfare as well. Nobody is arguing that anyone should abandon their humanitarian causes for the sake of improving animal welfare. There’s room for both on this Earth. In fact, arguably, the test of a civilization’s advancement is not just its culture or technology, but also its moral standards:  namely, how it treats fellow human beings and the animals who depend on us, particularly those that live in dire conditions. Gandhi’s saying still holds true today: “The greatness of a nation and its moral progress can be judged by the way its animals are treated”.

Human safety is a priority

To address what is perhaps the most valid concern: some of those in favor of the mass killings of stray dogs indicate that those who defend the right to life of stray dogs place animal rights above human safety. Fortunately, that is not the case.  I don’t know of any reputable animal rights organization that makes such a claim. In fact, on this issue we can come together. We can all agree that public safety, and above all the safety of our children, are a top priority for any society. But killing all stray dogs is not the best way to go about securing public safety; the safety of our children. At this point, the ethical argument gives way to a more pragmatic perspective.  Killing stray dogs en masse is not only immoral, but it also won’t solve the problem.

The pragmatic perspective: Killing stray dogs does more harm than good

The negative consequences of killing tens of thousands of helpless stray dogs are so much worse than working together on a more humanitarian solution aimed to help stray dogs and ensure public safety. We’ve seen that the mandate of killing stray dogs has divided the country and caused protests and inner turmoil. It has also encouraged a few cruel individuals to maim, torture and kill stray dogs in the streets. Some, ProTV stiri documents, even put poison in dog food to kill stray dogs. As the government sanctions mass killing of dogs, malicious individuals follow suit by taking the law into their own hands. Moreover, this inhumane treatment of dogs has generated a lot of negative attention to Romania from the leading animal rights organizations in Europe and the United States. Of course, the Romanian government is autonomous. Every nation decides its own laws and actions. But international collaboration on this issue doesn’t contradict the fact that, ultimately, it’s the Romanian government and people who will decide their national policies towards stray dogs or any other internal matter. The international animal welfare organizations only wish to help and collaborate with the Romanian government to solve this problem in a more humane manner. They have a lot of experience with what methods work best, since Romania isn’t the only country with a large population of stray dogs. This problem also exists in parts of Mexico, Peru and many other countries in the world.

Working together to find humane ways to combine public safety with animal welfare

In her article on the subject called “Romanian tragedy: culling street dogs isn’t the solution,” Kate Atema, the president of the International Fund for Animal Welfare (IFAW) states: “We have worked in hundreds of communities across six continents, and never have we seen killing dogs to be an effective solution to this problem. In fact, not only does culling fail to address the underlying causes of dogs being on the street in the first place (which may include lost, abandoned or loosely owned dogs, not to mention breeding), but the “solution” of killing dogs inevitably creates even more conflict within the community, preventing more effective, long-term solutions from taking root.” (http://www.ifaw.org/united-states/news/romanian-tragedy-culling-street-dogs-isn’t-solution).

Ms. Atema suggests that the most effective approaches to the problem of stray dogs take into account the needs of each local community and balance issues related to public safety with the protection of the lives of the animals. “Often,” she continues, “this includes a mix of approaches including education, sterilization, registration and/or short-term sheltering; each community’s resources and perspectives are unique, and so then are their solutions…”

[http://www.petitieonline.com/signatures/chiar_crezi_c_eutanasierea_ciinilor_este_soluia/start/90]

[http://www.petitieonline.com/signatures/chiar_crezi_c_eutanasierea_ciinilor_este_soluia/start/90]

Sterilization, animal shelters and adoption

Generally speaking, animal welfare organizations suggest that the capture and sterilization of stray dogs, placing them in animal shelters, and eventually working towards the adoption of the dogs from the shelters, would be the most humane and most effective way of dealing with the stray dog problem. When I expressed this opinion as well, one of my Facebook friends objected: “Don’t sterilized dogs bite too?” First of all, according to Rebecca Basu from the Humane Society International, “research shows that sterilization eliminates breeding behavior, which is a big cause of bites and dog aggression. In other words, sterilized dogs are less likely to bite humans.” Second, as mentioned, the goal would be to place the sterilized dogs in shelters. If any remain in the streets a few of them may still bite, but at least they won’t multiply geometrically, as unsterilized animals tend to do. Even if each stray dog currently out there in the streets is captured and killed in accordance with the current law, there will still be stray dogs out there. Dogs are lost or abandoned by their owners every day. As attention to this problem diminishes once the press coverage decreases, unsterilized stray dogs will continue to reproduce before they’re caught by animal control. Their population can multiply geometrically even if this inhumane measure is in effect. Killing stray dogs on the street today doesn’t get to the root of the problem in the long term as effectively as a combination of sterilization and adoption (from dog shelters) would.

Working together to solve this problem

I don’t see the stray dog problem in Romania as something that should pit human beings against one another, nor as something that should be politicized. The inflammatory arguments can lead to hatred and hysteria. I’ve had one disordered individual write me stating that he wishes that my child would be hurt because of my defense of stray dogs.  Such hateful and irrational attitudes don’t even deserve a response. But their underlying cause, or fallacy, does: Seeing this problem as “man versus dog” can only lead to increasing the tension among individuals and to the polarization of their points of view. On a deeper level, we’re much more united on this issue than the current heated debates indicate. There is nothing “radical” about the animal welfare perspective.  It is a reasonable point of view, governed by compassion and common sense. Nobody is suggesting that a dog’s life is more important than a human life. Nobody wants to see their children—or anyone’s child—maimed or killed by a stray dog. Everyone is for public safety. Nobody wants to see large packs of hungry and misfortunate stray dogs haunting the streets. It’s not good for humans and it’s not good for the animals either.  If we come together on this issue, and actually listen to each other’s perspectives, city by city, town by town, working with, rather than against, the Romanian government alongside the most reputable animal welfare agencies in the world, together we can find a way to balance human safety with the welfare of stray dogs.

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Filed under adoption of stray dogs, adoption of stray dogs in Romania, “Man’s best friend”: Balancing public safety and animal rights to address the stray dog problem in Romania, Claudia Moscovici, extermination of stray dogs in Romania, HSI, Humane Society, Humane Society International, IFAW, International Fund for Animal Welfare, killing of stray dogs in Romania, Mass killings of stray dogs in Romania, shelter for stray dogs in Romania, shelters for stray dogs, stray dogs in Romania, Vier Pfoten, Vier Pfoten Romania, World Society for the Protection of Animals, WSPA

The George Enescu Festival: Hitting A High Note in Romanian Culture

George_Enescu_Festival

The George Enescu Festival: Hitting A High Note in Romanian Culture

by Claudia Moscovici

The George Enescu Festival in Bucharest is not only a highlight in Romanian culture, but also one of the most exciting and biggest classical music festivals in Europe. Named after the prestigious Romanian composer and violinist George Enescu  (1881-1955), who is best known for his Romanian Rhapsodies, the festival focuses on Enescu’s work and offers the best in classical music, internationally.

Enescu1

Every two years, for several weeks during the month of September, Bucharest becomes the classical music capital of Europe. George Enescu and his friend and collaborator George Georgescu organized the first festival in 1958. Although the festival was banned for a period of time during Ceausescu’s dictatorship, it has been reestablished and grown since the Romanian revolution of 1989. It is organized by its Artistic Director Ioan Holender, Artexim, ArClub–The Center for Cultural Projects of the Municipality of Bucharest and the Foundation Art Production. 

Festivalul-George-Enescu

In 2013, the festival will take place between September 1st and 28th, featuring concerts  of classical and contemporary music as well as opera and ballet. The festival’s motto, “Magic exists” (“Magia Exista”), emphasizes the beauty of classical music; its capacity to mesmerize all generations across cultural boundaries; its unifying force regardless of our political and ideological differences; its endurance throughout centuries, in a magic that still captivates us. Few products of the human mind, talent and creation have such a lasting power and positive effect on our cultures and psyches.

This year the festival will reach an even wider public through its publicity campaign on the American channel CNN (see ad below) that will air on May 19th, as well as the broadcast of some of its concerts live in cinemas across Romania, in cooperation with Grand Cinema Digiplex.

For more information about the highlights of the festival this year, please find below the George Enescu Festival program, found on their website,

  • MARI ORCHESTRE ALE LUMII

  • RECITALURI ŞI CONCERTE CAMERALE

  • CONCERTELE DE LA MIEZUL NOPŢII

  • SPECTACOLE DE OPERA ŞI BALET

  • SERIA WAGNER

  • MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂI

  • CONCERTE ÎN ŢARĂ

  • ALTE EVENIMENTE

Barenboim

DUMINICĂ, 01.09

19:30

MARI ORCHESTRE ALE LUMIISTOC EPUIZAT

STAATSKAPELLE BERLIN

Sala Mare a Palatului
Dirijor : DANIEL BARENBOIM
Solist : RADU LUPU – pian

Program :
G. Enescu – Rapsodia română nr. 2 în Re Major op. 11
L. van Beethoven – Concertul nr. 4 pentru pian şi orchestra în Sol Major op. 58
Sir E. Elgar – Simfonia nr. 2 în Mi bemol Major op. 63

Cameron Carpenter

DUMINICĂ, 01.09

22:30

CONCERTELE DE LA MIEZUL NOPŢIICUMPĂRĂ BILET 

CAMERON CARPENTER

Ateneul Român
Recital CAMERON CARPENTER – orgă

Program :
“The Theatre of the Organ”

Martin Yates (2)

DUMINICĂ, 01.09

CONCERTE ÎN ŢARĂ

TIMIŞOARA

FILARMONICA “BANATUL” DIN TIMIŞOARA
Dirijor : MARTIN YATES
Solist : MATEI VARGA – pian

Program :
Tiberiu Olah – Armonii IV, Omagiu lui Enescu, concert pentru 23 de instrumente
Michael Hersch – Concert pentru pian şi orchestră (primă audiţie europeană)
T. Huillet – “Ombres – tribute to Debussy”
Rolf Martinsson – Concert pentru orchestră, op. 81

Ansamblul Archaeus

LUNI, 02.09

17:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂICUMPĂRĂ BILET 

Ansamblul “ARCHAEUS”

Ateneul Român
Dirijor : LIVIU DĂNCEANU

Program :
George Balint – Muzică pentru Archaeus
Michael Denhoff – 
Strophen op. 107 (nr. 1, Geträumtes – für Martella)
Ştefan Niculescu – 
Triplum II
Michael Denhoff – 
Strophen op. 107 (nr. 11B, Geläut für Günter Bialas)
Dan Buciu – 
Schițe pentru un autoportret
Michael Denhoff – 
Strophen op. 107 (nr. 43A-a, Trostgesang für Heidemarie Merkl-Baroski)
Horia Surianu –
 Reverie Byzantine en Canon
Michael Denhoff – 
Strophen op. 107 (49A – Saltarello)
Javier Darias – 
Ucanca
Aurel Stroe – 
Humoreske mit zwei durchblicken zum leeren

Radu Lupu 1

LUNI, 02.09

19:30

MARI ORCHESTRE ALE LUMIISTOC EPUIZAT

STAATSKAPELLE BERLIN

Sala Mare a Palatului

STAATSKAPELLE BERLIN

Dirijor : DANIEL BARENBOIM

Program :
W.M. Mozart – Concertul pentru două piane în Mi bemol Major K365

Solişti :

DANIEL BARENBOIM
RADU LUPU

G. Verdi – “Quattro pezzi sacri” (Ave Maria; Stabat Mater; Laudi alla Vergine Maria; Te Deum)
Cu participarea CORULUI FILARMONICII “GEORGE ENESCU”
Dirijorul Corului : ION IOSIF PRUNNER

MARŢI, 03.09

14:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂI

NEW GENERATION (I)

Universitatea Naţională de Muzică Bucureşti – Studioul de Operă şi Multimedia

NEW GENERATION (I) – Concert interactiv al tinerei generaţii de compozitori români

Interpretează : Ansamblul IconArts

Dirijor : GABRIEL BEBEŞELEA

Matei Varga

MARŢI, 03.09

17:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂICUMPĂRĂ BILET 

FILARMONICA “BANATUL” DIN TIMISOARA

Ateneul Român
Dirijor : MARTIN YATES
Solist : MATEI VARGA – pian

Program :
Tiberiu Olah – Armonii IV, Omagiu lui Enescu, concert pentru 23 de instrumente
Michael Hersch – Concert pentru pian şi orchestră (primă audiţie europeană)
T. Huillet – “Ombres – tribute to Debussy”
Rolf Martinsson – Concert pentru orchestră, op. 81

Yuja Wang

MARŢI, 03.09

19:30

MARI ORCHESTRE ALE LUMIISTOC EPUIZAT

PITTSBURGH SYMPHONY ORCHESTRA

Dirijor : MANFRED HONECK
Solist : YUJA WANG – pian

Program :
P.I. Ceaikovski – Concertul nr. 1 pentru pian şi orchestră în si bemol minor op. 23
D. Şostakovici – Simfonia nr. 5 în re minor op. 47

MIERCURI, 04.09

14:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂI

NEW GENERATION (II)

Universitatea Naţională de Muzică Bucureşti – Studioul de Operă şi Multimedia

NEW GENERATION (II) – Concert interactiv al tinerei generaţii de compozitori români

Interpretează : Ansamblul IconArts
Dirijor : GABRIEL BEBEŞELEA

Sergei Dogadin

MIERCURI, 04.09

17:00

MARI ORCHESTRE ALE LUMIICUMPĂRĂ BILET 

NATIONAL PHILHARMONIC OF RUSSIA

Sala Mare a Palatului
Dirijor : VLADIMIR SPIVAKOV

Solist :  SERGEY DOGADIN – vioară

Program :
G. Enescu – Suita nr. 3 pentru orchestră op. 27 “Săteasca”
E. Chausson – Poemul pentru vioară şi orchestră op. 25
C. Saint-Saëns – Introducere şi Rondo Capriccioso op. 28
S. Rahmaninov – Simfonia nr. 1 în re minor op. 13

Radu Lupu 1

MIERCURI, 04.09

19:30

RECITALURI ŞI CONCERTE CAMERALESTOC EPUIZAT

RADU LUPU

Ateneul Român
Recital RADU LUPU – pian

Program :
Fr. Schubert – Sonata pentru pian în La Major D 959
Fr. Schubert – Sonata pentru pian în Si bemol Major D 960

Jorg Widmann

MIERCURI, 04.09

CONCERTE ÎN ŢARĂ

CLUJ

FILARMONICA DE STAT “TRANSILVANIA” CLUJ
Dirijor : JÖRG WIDMANN

Program :
Ulpiu Vlad – Simfonia I “Lumina drumurilor”
J. Widmann – Concertul pentru trompetă şi orchestră mică în Si bemol Major “Ad absurdum” (dedicată lui Sergei Nakariakov)
Solist : SERGEI NAKARIAKOV – trompetă
J. Widmann – Misa, pentru orchestră mare
Solişti : TEODORO ANZELLOTTI – acordeon cu claviatură
WILHELM BRUCK – chitară

JOI, 05.09

14:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂI

NEW GENERATION (III)

Universitatea Naţională de Muzică Bucureşti – Studioul de Operă şi Multimedia

NEW GENERATION (III) – Concert interactiv al tinerei generaţii de compozitori români

Interpretează : Ansamblul IconArts
Dirijor : GABRIEL BEBEŞELEA

Leo Hussain

JOI, 05.09

17:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂICUMPĂRĂ BILET 

FILARMONICA DE STAT “MOLDOVA” IAŞI

Ateneul Român
Dirijor : LEO HUSSAIN
Solist : MARINO FORMENTI – pian

Program :
Cornel Țăranu – Simfonia “Memorial”
Sir Peter Maxwell Davies – Concertul pentru pian şi orchestră op. 188
Harrison Birtwistle – Earth Dances

Vilde Frang 2

JOI, 05.09

19:30

MARI ORCHESTRE ALE LUMIICUMPĂRĂ BILET 

ORCHESTRE DE PARIS

Dirijor : PAAVO JÄRVI

Program :
H. Berlioz – Uvertura la “Le Corsaire” H 101
B. Britten – Concertul pentru vioară şi orchestră în re minor op. 15
Solistă : VILDE FRANG – vioară
C. Saint-Saëns – Simfonia nr. 3 cu orgă în do minor op. 78
Solist : THIERRY ESCAICH – orgă

Arcadia Quartet

VINERI, 06.09

13:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂICUMPĂRĂ BILET 

“ARCADIA” STRING QUARTET

Universitatea Naţională de Muzică Bucureşti

Program :
Adrian Pop – Opt bagatele pentru cvartet de coarde
Ulpiu Vlad – Pe acest pământ însorit II
Martin Torp – Cantico delle creature
Dan Variu – Cvartet de coarde (primă audiţie)
Sabin Păutza – Cvartetul de coarde nr. 4 “Ludus Modalis”

Jorg Widmann

VINERI, 06.09

17:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂICUMPĂRĂ BILET 

FILARMONICA DE STAT “TRANSILVANIA” CLUJ

Ateneul Român
Dirijor : JÖRG WIDMANN
Program :
Ulpiu Vlad – Simfonia I “Lumina drumurilor”
J. Widmann – Concertul pentru trompetă şi orchestră mică în Si bemol Major “Ad absurdum” (dedicată lui Sergei Nakariakov)
Solist : SERGEI NAKARIAKOV – trompetă
J. Widmann – Misa, pentru orchestră mare
Solişti : TEODORO ANZELLOTTI – acordeon cu claviatură
                    WILHELM BRUCK – chitară

Peter Seiffert

VINERI, 06.09

19:00

SPECTACOLE DE OPERA ŞI BALETCUMPĂRĂ BILET 

ORCHESTRA ŞI CORUL OPEREI NAŢIONALE BUCUREŞTI

Opera Națională Bucureşti
“OTELLO” de Giuseppe Verdi

Dirijor : KERI-LYNN WILSON

Regizor : VERA NEMIROVA

Scenograf : VIORICA PETROVICI

Maestru de cor : STELIAN OLARIU

Asistent regie : IRINA MACOVEI 

Distribuţia :
Otello – PETER SEIFFERT
Desdemona – NICOLETA ARDELEAN
Iago – ŞTEFAN IGNAT
Cassio – CRISTIAN MOGOŞAN
Roderigo –ANDREI LAZĂR
Ludovico – MARIUS BOLOŞ
Montano – IUSTINIAN ZETEA
Un herald – IONUŢ GAVRILĂ
Emilia – MARIA JINGA

Paavo Jarvi

VINERI, 06.09

19:30

MARI ORCHESTRE ALE LUMIICUMPĂRĂ BILET 

ORCHESTRE DE PARIS

Dirijor : PAAVO JÄRVI

Program :
G. Enescu – Simfonia nr. 1 în Mi bemol Major op. 13
S. Prokofiev – Simfonia nr. 5 în Si bemol Major op. 100

Europa Galante

VINERI, 06.09

22:30

CONCERTELE DE LA MIEZUL NOPŢIISTOC EPUIZAT

EUROPA GALANTE

Ateneul Român
Dirijor şi solist : FABIO BIONDI

Program :
A. Vivaldi – Simfonia pentru orchestră de coarde şi b.c. în Sol Major “Il Coro delle Muse” RV149
A. Vivaldi – Concertul pentru vioară, orchestră de coarde şi b.c. în la minor RV357
A. Vivaldi – Concertul pentru vioară, orchestră de coarde şi b.c. în mi minor RV279
A. Vivaldi – Concertul pentru vioară, orchestră de coarde şi b.c. în Si bemol Major RV383a
A. Vivaldi – Uvertura la opera “Ercole su’l Termodonte” RV710
A. Vivaldi – Concertul pentru vioară, orchestră de coarde şi b.c. în Fa Major RV284
A. Vivaldi – Concertul pentru vioară, orchestră de coarde şi b.c. în Re Major RV204
A. Vivaldi – Concertul pentru vioară, orchestră de coarde şi b.c. în Fa Major RV291

VINERI, 06.09

CONCERTE ÎN ŢARĂ

CRAIOVA

FILARMONICA “OLTENIA” DIN CRAIOVA

Dirijor: THEO WOLTERS (OLANDA)

Solişti:

LIVIU PRUNARU – vioară
CECILIU OVIDIU IŞFAN – violă

Program:
Gioacchino Rossini: Uvertura operei „La Cenerentola” („Cenuşăreasa”)
Wolfgang Amadeus Mozart: Simfonia concertantă în Mi bemol major pentru vioară, violă şi orchestră, K. 364
Antonín Dvořák: Simfonia a VIII-a în Sol major, op. 88

European Contemporary Orchestra

SÂMBATĂ, 07.09

11:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂICUMPĂRĂ BILET 

EUROPEAN CONTEMPORARY ORCHESTRA

Sala mică a Palatului

Program :
A. Iorgulescu – Kaleidoscope (p.a.)
M. Padding – 
Hop – Creation ECO 2012
T. Hearne – 
First World – Creation ECO 2012
Fr. Narboni – 
Embarquement pour l’outre-là – Creation ECO 2012
P-A Charpy –
 Brûlures – Creation ECO 2012 
Liviu Dănceanu – 
Hexaih op. 147 (p.a.)

Tammuz

SÂMBATĂ, 07.09

17:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂICUMPĂRĂ BILET 

“TAMMUZ” Quartet

Ateneul Român
Invitat : OLIVER TRIENDL – pian

Program :
R. Fuchs – Cvartetul cu pian nr. 2 în si minor op. 75
G. Enescu – Cvartetul cu pian nr. 2 în re minor op. 30
G. Fauré – Cvartetul cu pian nr. 2 în sol minor op. 45

Bertrand De Billy

SÂMBATĂ, 07.09

19:30

MARI ORCHESTRE ALE LUMIICUMPĂRĂ BILET 

CORUL şi ORCHESTRA FILARMONICII “GEORGE ENESCU”

Sala Mare a Palatului
Dirijor : BERTRAND DE BILLY
Dirijorul corului : IOSIF ION PRUNNER

Program :
A. Schönberg – Gurre-Lieder

Distribuţia :
Tove – VIOLETA URMANA
Waldemar – NIKOLAI SCHUKOFF
Klaus – JOHN DASZAK
Waldtaube – JANINA BAECHLE
Peasant – THOMAS JOHANNES MAYER
Narator – MARCEL IUREŞ

Claudio Cavina

SÂMBATĂ, 07.09

22:30

CONCERTELE DE LA MIEZUL NOPŢIICUMPĂRĂ BILET 

Ansamblul “LA VENEXIANA”

Ateneul Român
Dirijor : CLAUDIO CAVINA

Corul de cameră “PRELUDIU” al Centrului Naţional de Artă “Tinerimea Română”
Dirijorul corului : VOICU ENĂCHESCU

Program :
Claudio MONTEVERDI: L’ORFEO (1607)

Distribuţia :
La Musica/Euridice: Roberta MAMELI
Orfeo: Furio ZANASI
Messaggera: Josè Maria LO MONACO
Proserpina/Ninfa: Monica PICCININI
Plutone: Raffaele COSTANTINI
Speranza: Josè Maria LO MONACO 
Caronte: Salvo VITALE
Apollo/Pastore: Luca Cervoni 
Pastore II – Spirito I: Alessio TOSI
Pastore III: Raffaele PE’
Pastore IV – Spirito II: Mauro BORGIONI

Minguet Quartet

DUMINICĂ, 08.09

11:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂICUMPĂRĂ BILET 

“MINGUET” Quartet

Sala mică a Palatului

Program :
Gabriel Iranyi – Cvartet de coarde nr. 4 (2012) “…Innenräume, Verwebungen…”
Peter Ruzicka – Cvartetul de coarde cu soprană solo nr. 6 “Erinnerung und vergessen” (2008)
Solistă : SARAH MARIA SUN – soprană
Wolfgang Rihm – Patru studii pentru cvartet cu clarinet (2003)
Solist : JÖRG WIDMANN – clarinet

Pierre Yves Artaud

DUMINICĂ, 08.09

14:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂICUMPĂRĂ BILET 

Ansamblul TRAIECT

Dirijor : Sorin Lerescu

Solist : Pierre-Yves Artaud – flaut
Program :
Tiberiu Olah – “Invocaţii” pentru 5 executanţi
Ede Terényi – “Traiectorie albă” pentru ansamblu
Laura Ana Mânzat – “Rondo neconvenţional” pentru ansamblu (p.a.a.)
Anatol Vieru – “Feuerwerk”  pentru flaut, vibrafon şi vioară
Elena Apostol – “Fairytale” pentru ansamblu
Sorin Lerescu – “Proportions II” pentru flaut şi ansamblu instrumental

Tiberiu Soare

DUMINICĂ, 08.09

17:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂICUMPĂRĂ BILET 

Ansamblul “PROFIL”

Ateneul Român
Dirijor : TIBERIU SOARE

Program :
Adrian Enescu – Audio Games
Viorel Munteanu – lucrare în primă audiție
Mihai Măniceanu – lucrare în primă audiție
Adrian Iorgulescu – lucrare în primă audiție
Octavian Nemescu – lucrare în primă audiţie
Tristan Murail – L’Esprit des dunes

Lawrence Foster

DUMINICĂ, 08.09

19:30

MARI ORCHESTRE ALE LUMIICUMPĂRĂ BILET 

ORCHESTRA ROMÂNĂ DE TINERET

Sala Mare a Palatului
Dirijor : LAWRENCE FOSTER

Program :
D. Dediu – Frenesia pentru orchestră op. 84 (2000)
J. Brahms – Dublul concert pentru vioară, violoncel şi orchestră în la minor op. 102
Solişti : PINCHAS ZUKERMAN – vioară
AMANDA FORSYTH – violoncel
M. Ravel – Rapsodie espagnole
M. Ravel – Pavane pour une infante défunte
M. Ravel – Alborada del Gracioso
M. Ravel – Bolero

George Petrou

DUMINICĂ, 08.09

22:30

CONCERTELE DE LA MIEZUL NOPŢIICUMPĂRĂ BILET 

Orchestra “ARMONIA ATENEA”

Ateneul Român
Dirijor : GEORGE PETROU

Program :
G.F. Händel – Alessandro HWV21 (Dramă muzicală în trei acte)
Libret : Paolo Rolli

Distribuţia :
Alessandro – MAX EMANUEL CENČIĆ
Rosanne – JULIA LEZHNEVA
Lisaura – LAURA AIKIN
Clito – PAVEL KUDINOV
Tassile – XAVIER SABATA
Leonato – JUAN SANCHO
Cleone – VASILY KHOROSHEV

John Malkovich

LUNI, 09.09

17:00

RECITALURI ŞI CONCERTE CAMERALESTOC EPUIZAT

WIENER AKADEMIE

Ateneul Român
Dirijor : MARTIN HASELBÖCK

Program :
“THE INFERNAL COMEDY” – O crimă melodramatică
Scenariul şi regia : Michael Sturminger
Muzica : A. Vivaldi, J. Haydn, W.A. Mozart, L. van Beethoven etc.

Narator : JOHN MALKOVICH

Solişti :
LAURA AIKIN – soprană
BERNARDA BOBRO – soprană
ALEKSANDRA ZAMOJSKA – soprană

LUNI, 09.09

19:00

SPECTACOLE DE OPERA ŞI BALETCUMPĂRĂ BILET 

CORUL şi ORCHESTRA OPEREI NAŢIONALE BUCUREŞTI

Opera Naţională Bucureşti
“OTELLO” de Giuseppe Verdi

Dirijor : KERI-LYNN WILSON

Regizor : VERA NEMIROVA

Scenograf : VIORICA PETROVICI

Maestru de cor : STELIAN OLARIU

Asistent regie : IRINA MACOVEI 

Distribuţia :
Otello – PETER SEIFFERT
Desdemona – NICOLETA ARDELEAN
Iago – ŞTEFAN IGNAT
Cassio – CRISTIAN MOGOŞAN
Roderigo –ANDREI LAZĂR
Ludovico – MARIUS BOLOŞ
Montano – IUSTINIAN ZETEA
Un herald – IONUŢ GAVRILĂ
Emilia – MARIA JINGA

Tifu Anna

LUNI, 09.09

19:30

MARI ORCHESTRE ALE LUMIICUMPĂRĂ BILET 

ORCHESTRA SINFONICA NAZIONALE DELLA RAI

Sala Mare a Palatului
Dirijor : Juraj Valčuha
Solistă : ANNA TIFU – laureată a Concursului Internaţional “George Enescu” – ediţia 2007

Program :
G. Enescu – Suita nr. 1 în Do Major op. 9
Philip Glass – 
Concertul nr. 1 pentru vioară şi orchestră (1987)
I. Stravinski –
 Suita pentru orchestră “Ritualul primăverii”

LUNI, 09.09

CONCERTE ÎN ŢARĂ

BRAŞOV

TRIO PINCHAS ZUKERMAN, AMANDA FORSYTH, ANGELA CHENG

Program :
W.A. Mozart – Sonata pentru vioară şi pian în Sol Major K 301
R. Schumann – Adagio şi Allegro pentru violoncel şi pian în La bemol Major op. 70
Z. Kodály – Duo pentru vioară şi violoncel op. 7
F. Mendelssohn – Trio pentru pian în re minor op. 49

Cvartetul Voces

MARŢI, 10.09

17:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂICUMPĂRĂ BILET 

CVARTETUL VOCES

Ateneul Român

Program :
J. S. Bach – Arta Fugii BWV 1080

Juraj Valcuha

MARŢI, 10.09

19:30

MARI ORCHESTRE ALE LUMIICUMPĂRĂ BILET 

ORCHESTRA SINFONICA NAZIONALE DELLA RAI

Dirijor : JURAJ VALCUHA

Program :
O. Respighi – Poemul simfonic “Fontane di Roma”
Cl. Debussy – “Marea”, trei schiţe simfonice pentru orchestră
M. Ravel – “Daphnis şi Chloe” – fragmente din baletul in trei părţi imaginat de M. Fokin

Rudolf Buchbinder

MIERCURI, 11.09

17:00

RECITALURI ŞI CONCERTE CAMERALESTOC EPUIZAT

ORCHESTRA FILARMONICII “GEORGE ENESCU”

Ateneul Român
Dirijor şi solist : RUDOLF  BUCHBINDER

Program :
L. van Beethoven – Concertul nr. 1 pentru pian şi orchestră în Do Major op. 15
L. van Beethoven – Concertul nr. 2 pentru pian şi orchestră în Si bemol Major op. 19
L. van Beethoven – Concertul nr. 3 pentru pian şi orchestră în do minor op. 37

Antonio Pappano

MIERCURI, 11.09

19:30

MARI ORCHESTRE ALE LUMIICUMPĂRĂ BILET 

ORCHESTRA şi CORUL DELL’ACCADEMIA NAZIONALE DI SANTA CECILIA

Sala Mare a Palatului
Dirijor : ANTONIO PAPPANO

Program :
M. Ravel – “Une barque sur l’océan” (partea a 3-a din suita “Miroirs”) op. 43a
G. Enescu – Poemul simfonic “Vox Maris” op. 31
Solist : MARIUS VLAD BUDOIU – tenor
A. Dvořák – Simfonia nr. 9 în mi minor op. 95 “Din lumea nouă”

Rudolf Buchbinder1

JOI, 12.09

17:00

RECITALURI ŞI CONCERTE CAMERALESTOC EPUIZAT

ORCHESTRA FILARMONICII “GEORGE ENESCU”

Ateneul Român
Dirijor şi solist : RUDOLF  BUCHBINDER

Program :
L. van Beethoven – Concertul nr. 4 pentru pian şi orchestră în Sol Major op. 58
L. van Beethoven – Concertul nr. 5 pentru pian şi orchestră în Mi bemol Major op. 73 “Imperialul”

Liudmyla Monastyrska

JOI, 12.09

19:30

MARI ORCHESTRE ALE LUMIICUMPĂRĂ BILET 

ORCHESTRA şi CORUL DELL’ACCADEMIA NAZIONALE DI SANTA CECILIA

Sala Mare a Palatului
Dirijor : ANTONIO PAPPANO

Program :
G. Verdi – Requiem

Solişti :
LIUDMYLA MONASTYRSKA – soprană
EKATERINA SEMENCHUK – mezzo-soprană
JOHAN BOTHA – tenor
RENÉ PAPE – bas

Gheorghe Costin

JOI, 12.09

CONCERTE ÎN ŢARĂ

TIMIŞOARA

ORCHESTRA FILARMONICII “BANATUL” TIMIŞOARA
Dirijor : GHEORGHE COSTIN 
Solişti : MANUELA IANA-MIHĂILESCU şi DRAGOŞ MIHĂILESCU 

Program:
G. Enescu – Suita a II-a în Do Major op. 20
Fr. Poulenc – Concertul în re minor pentru două piane şi orchestră FP 61
B. Bartók –  Suita “Mandarinul miraculos” op. 19

Claire Marie Le Guay

VINERI, 13.09

17:00

RECITALURI ŞI CONCERTE CAMERALECUMPĂRĂ BILET 

ORCHESTRE NATIONAL D’ÎLE-DE-FRANCE

Ateneul Român
Dirijor : ENRIQUE MAZZOLA
Solist : CLAIRE-MARIE LE GUAY – pian

Program :
J. Ibert – Bacchanale
A. Honegger – Concertino pentru pian şi orchestră H 55
M. Ravel – Concertul pentru mâna stângă în Re Major op. 82
D. Milhaud – Le Bœuf sur le toit op. 58
M. Ravel – Suita nr. 2 pentru orchestră op. 57b “Daphnis et Chloé”

Vladimir Jurowski 1

VINERI, 13.09

19:30

MARI ORCHESTRE ALE LUMIISTOC EPUIZAT

LONDON PHILHARMONIC ORCHESTRA

Sala Mare a Palatului
Dirijor : VLADIMIR JUROWSKI
Solist : ANIKA VAVIC – pian

Program :
N. Rimski-Korsakov – Uvertura Marele Paşte rusesc op. 36
S. Prokofiev – Concertul pentru pian şi orchestră nr. 3 în Do Major op. 26
A. Bruckner – Simfonia nr. 1 în do minor WAB 101

Christian Zacharias

VINERI, 13.09

22:30

CONCERTELE DE LA MIEZUL NOPŢIISTOC EPUIZAT

ORCHESTRE de CHAMBRE de LAUSANNE

Ateneul Român
Dirijor şi solist : CHRISTIAN ZACHARIAS

Program :
W.A. Mozart – Simfonia concertantă pentru vioară, violă şi orchestră în Mi bemol Major K 364
W.A. Mozart – Simfonia nr. 40 în sol minor K 550

Altenberg Trio Wien

SÂMBATĂ, 14.09

11:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂICUMPĂRĂ BILET 

ALTENBERG TRIO WIEN

Sala mică a Palatului

Program :
D. Şostakovici – Trio nr. 1 în do minor op. 8 (1923)
G. Enescu – Trio în la minor (1916)
M. Ravel – Trio în la minor (1914)

Alissa Margulis

SÂMBATĂ, 14.09

17:00

RECITALURI ŞI CONCERTE CAMERALESTOC EPUIZAT

ORCHESTRE NATIONAL D’ÎLE-DE-FRANCE

Ateneul Român
Dirijor : CRISTIAN LUPEŞ
Solist : ALISSA MARGULIS – vioară

Program :
A. Webern – Fuga (Ricercata) la 6 voci (după J.S. Bach – Ofranda Muzicală BWV 1079/5)
B. Bartók – Concertul nr. 2 pentru vioară şi orchestră SZ112, BB 117
G. Enescu – Simfonia nr. 2 în La Major op. 17

Leonidas Kavakos

SÂMBATĂ, 14.09

19:30

MARI ORCHESTRE ALE LUMIICUMPĂRĂ BILET 

LONDON PHILHARMONIC ORCHESTRA

Sala Mare a Palatului
Dirijor : VLADIMIR JUROWSKI
CORUL ACADMIC RADIO
Dirijor : DAN MIHAI GOIA
Solist : LEONIDAS KAVAKOS – vioară

Program :
J. Brahms – Concertul pentru vioară şi orchestră în Re Major op. 77
G. Enescu – Simfonia nr. 3 cu cor în Do Major op. 21

Christian Zacharias

SÂMBATĂ, 14.09

22:30

CONCERTELE DE LA MIEZUL NOPŢIISTOC EPUIZAT

ORCHESTRE de CHAMBRE de LAUSANNE

Ateneul Român
Solist şi dirijor : CHRISTIAN ZACHARIAS

Program :
W.A. Mozart – Serenada nr. 9 în Re Major K 320 “Posthorn” (primele patru părţi)
W.A. Mozart – Concertul nr. 23 pentru pian şi orchestră în La Major K 488
W.A. Mozart – Fantezia nr. 3 pentru pian în re minor K 397
W.A. Mozart – Rondo pentru pian în Re Major K 485
W.A. Mozart – Serenada nr. 9 în Re Major K 320 “Posthorn” (primele trei părţi)

Ilan Volkov

DUMINICĂ, 15.09

11:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂICUMPĂRĂ BILET 

Ansamblul HYPERION INTERNATIONAL

Sala “Mihail Jora” a Societăţii Române de Radiodifuziune

Dirijor : Ilan VOLKOV
Program :
Maya Dunietz –  crea.
Liviu Ralea – « Periastron » pentru ansamblu şi sunete asistate de computer ( p.a.a.)
Horaţiu Rădulescu – Small Infinities Togetherness (1983) pentru global sources şi ansamblu (p.a.r.) – versiune scrisă şi dedicată Ansamblului Hyperion
Costin Cazaban – Calam pentru ansamblu şi sunete asistate de computer (p.a.r.)
Ilan Volkov/ Iancu Dumitrescu/ Andrei Kivu / Maya Dunietz/ Eran Sachs/ Yoni Silver / Haggai Fershtman/ Adam Sheflan – Intuitive Music – « pianissimo new project
Ana-Maria Avram – Spacetime-simetry (p.a.a.)
Iancu Dumitrescu – Early, before all times (II) (p.a.a.)
Ilan Volkov/ Iancu Dumitrescu/ Andrei Kivu / Maya Dunietz/ Eran Sachs/ Yoni Silver / Haggai Fershtman/ Adam Sheflan/  –  Intuitive Music 10 – Fortissimo New Project

DUMINICĂ, 15.09

13:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂI

NUOVA MUSICA CONSONANTE

Sala “Mihail Jora” a Societăţii Române de Radiodifuziune

NUOVA MUSICA CONSONANTE-LIVING MUSIC FOUDATION (USA), VOX NOVUS (USA), CENTER OF COMPUTER RESEARCH IN MUSIC AND ACOUSTICS, STANFORD UNIVERSITY (USA), EUROPEAN CONFERENCE OF PROMOTERS OF NEW MUSIC (ECPNM)

Interpretează :

GEORGETA STOLERIU – soprană

VLAD DIMULESCU – pian

CORINA BOLOLOI – vioară

FAUSTA DIMULESCU – pian

ŞERBAN NICHIFOR – violoncel

DANIEL MIHAI  – violonist

Program :

“Pioneers Songs” de Ned Hill, interpretata cu concursul autorului, un prestigios reprezentant al Culturii Americane.

“REZONANŢE ENESCIENE”
G. Enescu – Sonata nr. 1 pentru pian în fa diez minor op. 24
C-tin Silvestri – Piesă de concert nr. 3 pentru pian op. 25
R. Voisey – “Lament and Sorrow” pentru violoncel şi mediu electroacustic (p.a.)
V. Petculescu – “Reverberaţii” pentru violoncel solo
D. DaSilva – “Stabat” pentru violoncel solo (p.a.)
C. Chafe (USA) – “Free Motion” pentru violoncel şi mediu electroacustic
P. Constantinescu – “Cântec de adormit Mitzura”, lied pe versuri de Tudor Arghezi
S. McClellan (USA)– “Acolo”, lied pe versuri de Iulia Deleanu (p.a.)
M. Jora – “Ghicitoarea”, lied pe versuri de Tudor Arghezi
G. Enescu – “Eu ma duc, codrul ramane”, lied pe versuri populare
M. Marbe – “Ecoul unui omagiu” pentru vioară şi pian
G. Enescu – Balada pentru vioară şi pian
L. Alexandra – “Quasi Cadenza” pentru vioară solo
V. Cosma – “Concerto de Berlin” pentru vioară şi pian (p.a.)
M. Ciobanu – “Jurnal 99” pentru vioară şi mediu electroacustic

Otomo Naoto

DUMINICĂ, 15.09

17:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂICUMPĂRĂ BILET 

HARMONIUS CHAMBER ORCHESTRA – OSAKA

Ateneul Român
Dirijor : OTOMO NAOTO
Program :
A. Jolivet – Concertul pentru flaut şi orchestră de coarde (1950)
Solist : IONUŢ BOGDAN ŞTEFĂNESCU – flaut
Yasushi Akutagawa – Triptic pentru orchestră de coarde
G. Enescu – Octuor în Do Major op. 7

Rundfunk Sinfonieorchester Berlin

DUMINICĂ, 15.09

19:30

SERIA WAGNERCUMPĂRĂ BILET 

RUNDFUNK – SINFONIEORCHESTER BERLIN

Sala Mare a Palatului
Dirijor : MAREK JANOWSKI

Program :
R. Wagner – Rheingold

Distribuţia :
Wotan – EGILS SILINS
Donner – VALENTIN VASILIU
Froh – MARIUS VLAD BUDOIU
Loge – CHRISTIAN ELSNER
Alberich – ŞTEFAN IGNAT
Mime – ARNOLD BEZUYEN
Fasolt – GÜNTHER GROISSBÖCK
Fafner – SORIN COLIBAN
Fricka – ELISABETH KULMAN
Freia – ALEXANDRA REINPRECHT
Woglinde – JULIA BORCHERT

Giulio Prandi

DUMINICĂ, 15.09

22:30

CONCERTELE DE LA MIEZUL NOPŢIICUMPĂRĂ BILET 

GHISLIERI CHOIR & CONSORT

Ateneul Român

“DEATH AND RESURRECTION” – între Baroc şi Clasicism
Un proiect al Fundației Royaumont (Franța) şi al Colegiului Ghislieri (Italia)
Dirijor : GIULIO PRANDI
Solişti : ROBERTA INVERNIZZI – soprană
SALVO VITALE – bas

Program :
W.A. Mozart – Regina Coeli în Do Major KV 108 (1771)
D. Perez – Mattutino de’ morti  (1774)

Marek Janowski

LUNI, 16.09

18:00

SERIA WAGNERCUMPĂRĂ BILET 

RUNDFUNK – SINFONIEORCHESTER BERLIN

Sala Mare a Palatului
Dirijor : MAREK JANOWSKI

Program :
R. Wagner – Walküre

Distribuţia :
Sigmund – TORSTEN KERL
Hunding – GÜNTHER GROISSBÖCK
Wotan – EGILS SILINS
Sieglinde – MELANIE DIENER
Brünnhilde – PETRA  LANG
Fricka – ELISABETH KULMAN

Vortice Dracula1

LUNI, 16.09

19:00

SPECTACOLE DE OPERA ŞI BALETSTOC EPUIZAT

VORTICE DANCE COMPANY

Opera Națională Bucureşti

Program :

“DRACULA”

Coproducţie : Vortice Dance Company, Opera din Macedonia
Regia şi coregrafia : Cláudia Martins, Rafael Carriço
Scenografia, videografia, sonoplastia : Rafael Carriço
Figurine : Jorge Liborio

Solişti : Cláudia Martins, Rafael Carriço, Maria Diogo, Rafaela Reis, Ângela Bacellar, Luz Bacellar,
Joana Puntel, Fábio Simões, Renato Vieira, Anna Kurlikova, Rita Pinheiro, Tiago Coelho

Regia tehnică : Nuno Martins
Designer de lumini, efecte audio-visuale : Luis Paz
Muzica : Wojciech Kilar, Philip Glass, S. Rahmaninov, Lou Reed

Corul Madrigal

LUNI, 16.09

19:30

ALTE EVENIMENTE

Madrigal

CORUL NAȚIONAL DE CAMERĂ “MADRIGAL”
Ateneul Român

Program:
Hieronimus Tragoudistis din Cipru – Canonul cel Mare (Cântarea a noua) sec. XVI
Guillaume de Machault – Kyrie – La Messe de Notre Dame (1364)
Moment bizantin 1
Josquin des Prez – Gloria – Missa Pange lingua (cca. 1514)
Moment bizantin 2
Giovani Pierluigi da Palestrina – Credo – Missa Papae Marcelli (1567)
Moment bizantin 3
William Byrd – Sanctus – Missa a quatro voci (1592-1593)
Hans Leo Hassler (1564-1612) – Benedictus – Missa Dixit Maria
Moment bizantin 4
Tomas Luis de Victoria (1548-1611) – Agnus Dei – Missa “O magnum misterium” (1572)
Moment bizantin 5
Dan Dediu – Exultate – lucrare în stil neogregorian/bizantin (p.a.)

Truls  MØrk

MARŢI, 17.09

17:00

RECITALURI ŞI CONCERTE CAMERALESTOC EPUIZAT

LUCERNE SYMPHONY ORCHESTRA

Ateneul Român
Dirijor : JAMES GAFFIGAN 
Solist : TRULS  MØRK – violoncel

Program :
A. Dvořák – Concertul pentru violoncel şi orchestră în si minor op. 104 (B 191)
A. Dvořák – Simfonia nr. 6 în Re Major op. 60 (B 112)

Semyon Bychkov

MARŢI, 17.09

19:30

MARI ORCHESTRE ALE LUMIICUMPĂRĂ BILET 

DIE MÜNCHENER PHILHARMONIKER

Sala Mare a Palatului
Dirijor : SEMYON BYCHKOV
Solist : GAUTIER CAPUÇON – violoncel

Program :
G. Enescu – Simfonia concertantă pentru violoncel şi orchestră în la minor op. 8
G. Mahler – Simfonia nr. 1 în Re Major

Fazil Say

MIERCURI, 18.09

17:00

RECITALURI ŞI CONCERTE CAMERALESTOC EPUIZAT

LUCERNE SYMPHONY ORCHESTRA

Ateneul Român
Dirijor : JAMES GAFFIGAN
Solist : FAZIL SAY – pian

Program :
G. Enescu – Issis (orchestraţie de Pascal Bentoiu – după schițele compozitorului)
Cu participarea Corului de cameră “PRELUDIU” al Centrului Naţional de Artă “Tinerimea Română”
Dirijor : VOICU ENĂCHESCUW.A. Mozart – Concertul nr. 21 pentru pian şi orchestră în Do Major K.467
J. Haydn – Simfonia nr. 104 în Re Major H.1/104 “Londra”

Katia şi Marielle LabÈque

MIERCURI, 18.09

19:30

MARI ORCHESTRE ALE LUMIICUMPĂRĂ BILET 

DIE MÜNCHENER PHILHARMONIKER

Sala Mare a Palatului
Dirijor : SEMYON BYCHKOV
Solist : KATIA şi MARIELLE LABÈQUE – pian

Program :
M. Ravel – Suita pentru pian “Le Tombeau de Couperin” (1918)
F. Poulenc – Concertul pentru două piane în re minor FP 61
C. Franck – Simfonia în re minor

Rundfunk Sinfonieorchester Berlin

JOI, 19.09

17:00

SERIA WAGNERCUMPĂRĂ BILET 

RUNDFUNK – SINFONIEORCHESTER BERLIN

Sala Mare a Palatului
Dirijor : MAREK JANOWSKI

Program :
R. Wagner – Siegfried

Distribuţia :
Siegfried – STEFAN VINKE
Mime – ARNOLD BEZUYEN
Wotan (Wanderer) – EGILS SILINS
Alberich – ŞTEFAN IGNAT
Fafner – SORIN COLIBAN
Erda – MARIA RADNER
Brünnhilde – CATHERINE FOSTER

Soliloquy – About Wonderland

JOI, 19.09

19:00

SPECTACOLE DE OPERA ŞI BALETSTOC EPUIZAT

VORTICE DANCE COMPANY

Opera Națională Bucureşti

“SOLILOQUY – ABOUT WONDERLAND”

Regia şi coregrafia : Cláudia Martins and Rafael Carriço
Scenografia, videografia şi sonoplastia : Rafael Carriço
Costume : Cláudia Martins
Regia tehnică : Nuno Martins
Designer de lumini şi efecte audio-visuale : Luis Paz

Muzica : Phillip Glass, Maurice Fulton, Kronos Quartet, Daft Punk,
Nino Rota, Eric Satie, Oswaldo Ferrés, Camille Saint-Saëns, Arvo Pärt,
Billie Holiday, Claude Debussy, Charlie Chaplin

Solişti : Cláudia Martins, Rafael Carriço, Maria Diogo, Rafaela Reis,
Joana Puntel, Fábio Simões, Renata Vieira, Anna Kurlikova, Rita Pereira,
Luz Bacellar, Angela Bacellar

Antal Zalai

JOI, 19.09

CONCERTE ÎN ŢARĂ

ORADEA

FILARMONICA DE STAT ORADEA
Dirijor : ROMEO RÎMBU
Solist : ANTAL ZALAI – vioară (laureat al Concursului Internaţional “G. Enescu” 2011)

Program :
G. Enescu – B. Bartók

Jordi Savall

VINERI, 20.09

17:00

RECITALURI ŞI CONCERTE CAMERALESTOC EPUIZAT

HESPERION XXI – LA CAPELLA REIAL DE CATALUNYA

Ateneul Român
Dirijor : JORDI SAVALL

Program :
La Dinastia Borgia

Concept artistic al proiectului : Jordi Savall & Montserrat Figueras 
Dramaturgia şi surse istorice : Josep Piera & Manuel Forcano 
Colaboratori : Josep Piera, Joan F. Mira, Vicent Ros 

Solişti : Adriana Fernandez, Pascal Bertin, José Hernández-Pastor,
Lluís Vilamajó, Francesc Garrigosa, Furio Zanasi, Daniele Carnovich,
Josep Piera, Francisco Rojas, Daniele Carnovich

Maxim Quartet

VINERI, 20.09

19:00

ALTE EVENIMENTE

Ploieşti – MAXIM Quartet – Turneu naţional CLASSIC REMIX

Horia Maxim – pian

Mihaela Anica – flaut

Fernando Mihalache – acordeon

Săndel Smărăndescu – contrabas

PLOIEŞTI
Sala Filarmonicii “Paul Constantinescu”

Program:
Transcripţii şi aranjamente după lucrări de  F. Schubert, P. I. Ceaikovski, A. Glazunov, I. Stravinski, F. Liszt, Dan Dediu

James Judd

VINERI, 20.09

19:30

MARI ORCHESTRE ALE LUMIICUMPĂRĂ BILET 

ORCHESTRA NAŢIONALĂ RADIO

Sala Mare a Palatului

CORUL ACADEMIC RADIO
CORUL DE COPII RADIO

Dirijor : JAMES JUDD
Dirijorul Corului : DAN MIHAI GOIA
Dirijorul Corului de copii : VOICU POPESCU

Program :
B. Britten – War Requiem op. 66

Solişti :
MICHAELA KAUNE – soprană
KIM BEGLEY – tenor
ADRIAN ERÖD – bariton

New Image

VINERI, 20.09

22:30

CONCERTELE DE LA MIEZUL NOPŢIISTOC EPUIZAT

SAINT MARTIN IN THE FIELDS

Dirijor : Sir. NEVILLE MARRINER

Solist : ANTONIO MENESES – violoncel
Program :
Sir E. Elgar – Introducere şi Allegro pentru orchestră de coarde op. 47

Sir E. Elgar – Concertul pentru violoncel şi orchestră în mi minor op. 85

Sir E. Elgar – Enigma Variation op. 36

VINERI, 20.09

CONCERTE ÎN ŢARĂ

SIBIU

HESPERION XXI
LA CAPELLA REIAL DE CATALUNYA 

Dirijor : JORDI SAVALL

Program :
La Dinastia Borgia

Concept artistic al proiectului : Jordi Savall & Montserrat Figueras 
Dramaturgia şi surse istorice : Josep Piera & Manuel Forcano
Colaboratori : Josep PieraJoan F. MiraVicent Ros 

Solişti : Adriana Fernandez, Pascal Bertin, José Hernández-Pastor,
Lluís Vilamajó, Francesc Garrigosa, Furio Zanasi, Daniele Carnovich,
Josep Piera, Francisco Rojas, Daniele Carnovich

Leonel Morales

VINERI, 20.09

CONCERTE ÎN ŢARĂ

BACĂU – Sala “ATENEU”

FILARMONICA “M. JORA” BACĂU
Dirijor : OVIDIU BĂLAN
Solist : LEONEL MORALES – pian

Program :
S. Rachmaninov – Concertul nr. 3 pentru pian şi orchestră în re minor op. 30
I. Stravinski – Ritualul primăverii

Laurent Albrecht Breuninger

SÂMBATĂ, 21.09

11:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂICUMPĂRĂ BILET 

LAURENT ALBRECHT BREUNINGER & THOMAS DUIS

Sala mică a Palatului

Recital :
LAURENT ALBRECHT BREUNINGER – vioară
THOMAS DUIS – pian

Program :
Cl. Debussy – Sonata pentru vioară şi pian în sol minor L 140
L. Vierne – Sonata pentru vioară şi pian în sol minor op. 23
G. Enescu – Sonata nr. 3 pentru vioară şi pian în la minor “în caracter popular românesc” op. 25
M. Ravel – Rapsodia pentru vioară şi pian op. 76 “Tzigane”

Jean Claude Pennetier

SÂMBATĂ, 21.09

17:00

RECITALURI ŞI CONCERTE CAMERALESTOC EPUIZAT

Recital JEAN-CLAUDE PENNETIER – pian

Recital JEAN-CLAUDE PENNETIER – pian
Ateneul Român

Program :
G. Fauré – Nocturna nr. 12 în mi minor op. 107
G. Fauré – Barcarola nr. 11 în sol minor op. 105
F. Busoni – Sonatina nr. 2 BV 259
G. Enescu – Sonata nr. 1 pentru pian în fa diez minor op. 24,1
Cl. Debussy – La cathédrale engloutie
G. Enescu – Suita nr. 3 pentru pian op. 18 “Carillon nocturne”
Cl. Debussy – 12 studii pentru pian (Caietul 2)
(7. Pour les degrés chromatiques; 8. Pour les agreements; 9. Pour les notes répétées; 10. Pour les arpèges composes; 11. Pour les sonorités opposées; 12. Pour les accords)

Maxim Quartet

SÂMBATĂ, 21.09

19:00

ALTE EVENIMENTE

Craiova – MAXIM Quartet – Turneu naţional CLASSIC REMIX

Horia Maxim – pian
Mihaela Anica – flaut
Fernando Mihalache – acordeon
Săndel Smărăndescu – contrabas

CRAIOVA

Sala Filarmonicii “Oltenia”

Program:
Transcripţii şi aranjamente după lucrări de  F. Schubert, P. I. Ceaikovski, A. Glazunov, I. Stravinski, F. Liszt, Dan Dediu

Mariss Jansons

SÂMBATĂ, 21.09

19:30

MARI ORCHESTRE ALE LUMIISTOC EPUIZAT

ROYAL CONCERTGEBOUW ORCHESTRA AMSTERDAM

Sala Mare a Palatului
Dirijor : MARISS JANSONS
Solist : EMANUEL AX – pian

Program :
L. van Beethoven – Concertul nr. 3 pentru pian şi orchestră în do minor op. 37
R. Strauss – O viaţă de erou op. 40

Sir Neville Marriner

SÂMBATĂ, 21.09

22:30

CONCERTELE DE LA MIEZUL NOPŢIISTOC EPUIZAT

SAINT MARTIN IN THE FIELDS

Ateneul Român
Dirijor : Sir NEVILLE MARRINER
Solist : BORIS BROVTSYN – vioară

Program :
F. Mendelssohn – Uvertura “Ruy Blas”
F. Mendelssohn – Concertul pentru vioară şi orchestră în mi minor op. 64
F. Mendelssohn – Visul unei nopți de vară (integral)

Lisa Batiashvili

DUMINICĂ, 22.09

11:00

MARI ORCHESTRE ALE LUMIISTOC EPUIZAT

ROYAL CONCERTGEBOUW ORCHESTRA AMSTERDAM

Sala Mare a Palatului
Dirijor : MARISS JANSONS
Solist : LISA BATIASHVILI – vioară

Program :
G. Enescu – Rapsodia nr. 1 în La Major op. 11,1
S. Prokofiev – Concertul nr. 1 pentru vioară şi orchestră în Re Major op. 19
S. Prokofiev – 3 selecţiuni din Suita “Romeo & Julieta”
I. Stravinsky – Suita “Pasărea de foc” (1919)

Rundfunk Sinfonieorchester Berlin

DUMINICĂ, 22.09

17:00

SERIA WAGNERCUMPĂRĂ BILET 

RUNDFUNK – SINFONIEORCHESTER BERLIN

Sala Mare a Palatului
Dirijor : MAREK JANOWSKI

Program :
R. Wagner – Amurgul zeilor

Distribuţia :
Siegfried – STEFAN VINKE
Gunther – VALENTIN VASILIU
Alberich – ŞTEFAN IGNAT
Hagen – ERIC HALFVARSON
Brünnhilde – PETRA LANG
Gutrune – ALEXANDRA REINPRECHT
Waltraute – ELISABETH KULMAN
Norn 2 – ELISABETH KULMAN

Maxim Venegerov

DUMINICĂ, 22.09

CONCERTE ÎN ŢARĂ

BRAŞOV

“VIRTUOZII” din BUCUREŞTI
Dirijor : MAXIM VENGEROV

Program :
J.S. Bach – Concertul pentru două viori şi orchestră în re minor BWV 1043
Solişti : MAXIM VENGEROV – vioară
VLAD STĂNCULEASA – vioară
W.A. Mozart – Concertul nr. 5 pentru vioară şi orchestră în La Major K 219 “Turkish”
Solist : MAXIM VENGEROV – vioară
W.A. Mozart – Simfonia nr. 40 în sol minor K 550

Evgeny Kissin

LUNI, 23.09

17:00

RECITALURI ŞI CONCERTE CAMERALESTOC EPUIZAT

EVGENY KISSIN

Program:

Fr. Schubert – Sonata nr. 17 în Re Major D 850 op. 53

Al. Scriabin – Sonata nr. 2 în sol diez minor op. 19

Al. Scriabin – Studii op. 8, nr. 2 în fa diez minor, nr. 4 în Si Major, nr. 5 în Mi Major, nr. 8 în La bemol Major, nr. 9 în sol diez minor, nr. 11 în Si bemol minor, nr. 12 în re diez minor

Sakari Oramo

LUNI, 23.09

19:30

MARI ORCHESTRE ALE LUMIICUMPĂRĂ BILET 

ROYAL STOCKHOLM PHILHARMONIC ORCHESTRA

Sala Mare a Palatului
Dirijor : SAKARI ORAMO
Solist : STEPHEN HOUGH – pian

Program :
A. Hillborg – Exquisite Corpse
J. Brahms – Concertul nr. 1 pentru pian şi orchestră în re minor op. 15
C. Nielsen – Simfonia nr. 2 op. 16 (FS 29) “The Four Temperaments”

Vlad Stanculeasa

MARŢI, 24.09

17:00

RECITALURI ŞI CONCERTE CAMERALESTOC EPUIZAT

“VIRTUOZII” din BUCUREŞTI

Ateneul Român
Dirijor şi solist : MAXIM VENGEROV

Program :
J.S. Bach – Concertul pentru două viori şi orchestră în re minor BWV 1043
Solişti : MAXIM VENGEROV – vioară
           VLAD STĂNCULEASA – vioară
W.A. Mozart – Concertul nr. 3 pentru vioară şi orchestră în Sol Major K 216
W.A. Mozart – Concertul nr. 5 pentru vioară şi orchestră în La Major K 219 “Turkish”
W.A. Mozart – Simfonia nr. 41 în Do Major K 551 “Jupiter”

Gigi Caciuleanu

MARŢI, 24.09

19:00

SPECTACOLE DE OPERA ŞI BALET

La Follia In William Shakespeare de Gigi Căciuleanu – PREMIERA

Spectacol de teatru coregrafic prezentat în cadrul “Întâlnirilor JTI”

Teatrul Bulandra – Sala “Liviu Ciulei”
Cu participarea extraordinară a actorilor Victor Rebengiuc, Coca Bloos
Decor, Costume, Imagine – Octavian Neculai
Muzica – Paul Ilea
Designer de lumini – Alexandru Darie
Asistent Coregraf – Lelia Marcu Vladu
Asistent Décor – Vladimir Iuganu
Asistent Costume – Sorina Iuganu
Actori : Cornel Scripcaru, Adrian Ciobanu, Ioana Macaria, Marius Chivu, Camelia Maxim, Daniela Nane, Anca Androne, Rodica Lazar, Antoaneta Cojocaru, Ioana Anton
DansActori : Ramona Barbulescu, Rasmina CalbAjos, Ioana Macarie, Diana Spiridon, Ioana Marchidan, Vanda Ştefănescu, Arcadie Rusu, Cristian Nanculescu, Adrian Nou, IstvAn TegLAs Alexandru Calin, Lari Giorgescu, Ştefan Lupu
Spectacol prezentat în cadrul Programului “Bulandra per Musica” şi produs de Teatrul Bulandra şiFundaţia Art Production

Julian Rachlin

MARŢI, 24.09

19:30

MARI ORCHESTRE ALE LUMIICUMPĂRĂ BILET 

ROYAL STOCKHOLM PHILHARMONIC ORCHESTRA

Sala Mare a Palatului
Dirijor : SAKARI ORAMO
Solist : JULIAN RACHLIN – vioară

Program :
G. Enescu – Suita nr. 2 pentru orchestră în Do Major op. 20
I. Stravinski – Concertul pentru vioară şi orchestră în Re Major
J. Sibelius – Simfonia nr. 1 în mi minor op. 39

Louis Langree

MIERCURI, 25.09

17:00

RECITALURI ŞI CONCERTE CAMERALESTOC EPUIZAT

CAMERATA SALZBURG

Ateneul Român
Dirijor : LOUIS LANGRÉE
Solist : HILARY HAHN – vioară

Program :
G. Enescu – Intermezzi op. 12
W.A. Mozart – Concertul nr. 3 pentru vioară şi orchestră în Sol Major K 216
Vaughan Williams – The Lark Ascending (1920)
W.A. Mozart – Simfonia nr. 41 în Do Major K 551 “Jupiter”

Vadim Repin

MIERCURI, 25.09

19:30

MARI ORCHESTRE ALE LUMIISTOC EPUIZAT

RUSSIAN NATIONAL ORCHESTRA

Sala Mare a Palatului
Dirijor : MIHAIL PLETNEV
Solist : VADIM REPIN – vioară

Program :
S. Prokofiev – Concertul nr. 2 pentru vioară şi orchestră în sol minor op. 63
P.I. Ceiakovski – Vals-Scherzo în Do Major op. 34
A. Glazunov – Anotimpurile op. 67

Evgeny Kissin

JOI, 26.09

17:00

RECITALURI ŞI CONCERTE CAMERALESTOC EPUIZAT

Trio EVGENY KISSIN, SILVIA MARCOVICI & ALEXANDER KNIAZEV

Ateneul Român

Program :
Fr. Schubert – 4 improptus: op. 142  nr. 1 în fa minor, op. 142 nr. 3 în Si bemol Major, op. 90 nr. 3 în Sol bemol Major, op. 90 nr. 4 în La bemol Major
Fr. Schubert – Trio în Mi bemol Major op. 100

Tiberiu Soare

JOI, 26.09

19:00

SPECTACOLE DE OPERA ŞI BALETCUMPĂRĂ BILET 

CORUL şi ORCHESTRA OPEREI NAŢIONALE BUCUREŞTI

Opera Națională Bucureşti
“OEDIPE”
 de George Enescu
Libretul : Edmond Fleg

Dirijor : ADRIAN MORAR
Regizor : ANDA TĂBĂCARU-HOGEA
Scenograf : VIORICA PETROVICI
Coregraf : RĂZVAN MAZILU 
Maestru de cor : STELIAN OLARIU

Distribuţia :
Oedipe – ŞTEFAN IGNAT
Tiresias – HORIA SANDU
Creon – VICENŢIU ŢĂRANU
Păstorul – LIVIU INDRICĂU 
Marele Preot – MARIUS BOLOŞ
Phorbas – SORIN DRĂNICEANU
Străjerul – MIHNEA LAMATIC
Teseu – ŞERBAN VASILE
Laios – HECTOR LOPEZ
Iocasta – OANA ANDRA
Sfinxul – ANDRADA IOANA ROŞU
Antigona – SIMONA NEAGU
Meropa – ANTONELA BÂRNAT

Maxim Quartet

JOI, 26.09

19:00

ALTE EVENIMENTE

Piteşti – MAXIM Quartet – Turneu naţional CLASSIC REMIX

Horia Maxim – pian
Mihaela Anica – flaut
Fernando Mihalache – acordeon
Săndel Smărăndescu – contrabas

Casa de Cultură a Sindicatelor

Program:
Transcripţii şi aranjamente după lucrări de  F. Schubert, P. I. Ceaikovski, A. Glazunov, I. Stravinski, F. Liszt, Dan Dediu

Boris Berezovsky

JOI, 26.09

19:30

MARI ORCHESTRE ALE LUMIISTOC EPUIZAT

RUSSIAN NATIONAL ORCHESTRA

Sala Mare a Palatului
CORUL FILARMONICII “GEORGE ENESCU”
Dirijor : HORIA ANDREESCU
Dirijorul corului : ION IOSIF PRUNNER 

Program :
Fr. Liszt – Concertul nr. 1 pentru pian şi orchestră în Mi bemol Major S.124
Solist : BORIS BEREZOVSKY – pian
G. Mahler – Simfonia nr. 2 “Resurrection Symphony”
Solişti : ANITA HARTIG – soprană
BERNARDA FINK – mezzo-soprană

Borjan Canev

JOI, 26.09

CONCERTE ÎN ŢARĂ

ARAD

FILARMONICA DE STAT ARAD
Dirijor : BORJAN CANEV
Solist : ANTAL ZALAI – vioară (laureat al Concursului Internaţional “G. Enescu” 2011)

Program :
G. Enescu – B. Bartók

Marin Cazacu

VINERI, 27.09

17:00

RECITALURI ŞI CONCERTE CAMERALESTOC EPUIZAT

VIOLONCELLISSIMO

Ateneul Român
Dirijor : MARIN CAZACU
Solişti : MARIN CAZACU – violoncel
            SIMINA IVAN – soprană

T. Albinoni – Adagio
S. Mercadante – Parola prima din Oratoriul “Ultimele şapte cuvinte” pentru soprană şi orchestră de violoncele
H. Lobos – Bachianas Brasileiras nr. 1 pentru violoncele
H. Lobos – Bachianas Brasileiras nr. 5 pentru soprană şi violoncele
J. Schrammel – Marş
A. Dvořák – Doloroso
C-tin Dimitrescu – Dans ţărănesc
J. Offenbach – Barcarola
J. Offenbach – Can Can
A. Piazzolla – Oblivion
A.Viloldo  – Tango “El Choclo”
A. Piazzolla – Libertango
Mozart / Mifune – Alla Turca Jazz

Andrew Litton

VINERI, 27.09

19:30

MARI ORCHESTRE ALE LUMIISTOC EPUIZAT

ROYAL PHILHARMONIC ORCHESTRA

Sala Mare a Palatului
Dirijor : ANDREW LITTON
Solist : ALEXANDRA DARIESCU – pian

Program :

J. Brahms – Uvertura Academică în do minor op. 80
E. Grieg – Concertul pentru pian şi orchestră în la minor op. 16
P.I. Ceaikovski – Simfonia nr. 6 în si minor op. 74 “Patetica”

Viktoria Mullova

VINERI, 27.09

22:30

CONCERTELE DE LA MIEZUL NOPŢIISTOC EPUIZAT

ACCADEMIA BIZANTINA

Ateneul Român

Dirijor şi clavecin : OTTAVIO DANTONE

Solistă: VIKTORIA MULLOVA – vioară

Program :
J.S. Bach – Concertul pentru vioară şi orchestră în la minor BWV 1041
J.S. Bach – Concertul pentru vioară, clavecin şi orchestră (transcripţie BWV 1060)
J.S. Bach – Concertul pentru vioară şi orchestră în Re Major (transcripţie BWV 1053)
J.S. Bach – Concertul pentru vioară şi orchestră în Mi Major BWV 1042

The Schubert Ensemble

SÂMBATĂ, 28.09

11:00

MUZICA SEC. XXI – WORKSHOP // ENESCU ŞI CONTEMPORANII SĂICUMPĂRĂ BILET 

THE SCHUBERT ENSEMBLE

Sala mică a Palatului

Program :
Frank Bridge – Fantezie pentru cvartet cu pian în fa diez minor H. 94
G. Fauré – Cvartetul cu pian nr. 1 în do minor op. 15
G. Enescu – Cvartetul cu pian nr. 1 în Re Major op. 16 (1909)

Murray Perahia

SÂMBATĂ, 28.09

17:00

RECITALURI ŞI CONCERTE CAMERALESTOC EPUIZAT

MURRAY PERAHIA

Ateneul Român
Recital MURRAY PERAHIA – pian

Program :
J. S. Bach  – Suita franceză nr. 4 în Mi bemol Major BWV 815
L. van Beethoven – Sonata nr. 23 în fa minor op. 57 “Appasionata”
R. Schumann – Faschingsschwank aus Wien op. 26
F. Chopin – TBA
F. Chopin – Scherzo nr. 2 în Si bemol Major op. 31

Dmitry  Sitkovetsky

SÂMBATĂ, 28.09

19:30

MARI ORCHESTRE ALE LUMIICUMPĂRĂ BILET 

ROYAL PHILHARMONIC ORCHESTRA

Sala Mare a Palatului
CORUL ACADEMIC RADIO
CORUL DE COPII RADIO

Dirijor : CRISTIAN MANDEAL
Dirijorul Corului : DAN MIHAI GOIA
Dirijorul corului de copii : VOICU POPESCU 

Program :
G. Enescu – Capriccio pentru vioară şi orchestră (orchestraţie de Cornel Ţăranu după schiţele compozitorului)
Solist : DMITRY  SITKOVETSKY – vioară
G. Mahler – Simfonia nr. 3
Solist : JENNIFER JOHNSTON – mezzo-soprană

Comments Off on The George Enescu Festival: Hitting A High Note in Romanian Culture

Filed under ballet, Claudia Moscovici, CNN George Enescu Festival, Enescu Festival, Festivalul George Enescu, literature salon, literaturesalon, music, The Center for Cultural Projects of the Municipality of Bucharest, The George Enescu Festival: Hitting A High Note in Romanian Culture, Velvet Totalitarianism

Interview about my novels The Seducer and Velvet Totalitarianism with Ziare.com (in English)

photo credit Romani Celebri

photo credit Romani Celebri

I’ve translated below parts of my interview with Diana Robu, which was originally published in Romanian in Ziare.com (Newspapers.com).

1. Tell us a little bit about when and under what circumstances you left Romania.

1. I left Romania in 1981, at the age of 11. I haven’t returned until 2011, for the launch of my first novel Velvet Totalitarianism in Romanian translation, Intre Doua Lumi (Editura Curtea Veche). My father defected from the country two years before my mother and I legally immigrated to the U.S. He was a world-class mathematician and his boss was Zoia Ceausescu. She had let it be known that he wouldn’t be able to travel abroad to mathematical conferences anymore (because Nicolae Ceausescu was tightening the Iron Curtain). So he decided to take his chances, as several mathematicians had before him, and defect to the U.S. in the hopes that we would rejoin him soon. I filter aspects of our struggles to unite our family in my first novel, Intre Doua Lumi, as well as describing aspects of the adaptation to the U.S. (even though I fictionalize everything, of course, since I wrote a novel not a memoir).

2. What was your reaction when you returned to Romania, so many years later?

2. When I returned to Romania for my book launch decades later, in 2011, I was shocked and impressed to see how much the country has changed in its physical aspects, in its modernization, and in the standard of living. Of course, I only caught a privileged glimpse of Bucharest, from the perspective of an author on a book tour. So I didn’t get an inside glimpse, nor a global view of the country. It was a very brief and limited, but also very positive experience.

einstein2

3. Tell us about your professional life and impression of the American academia.

3. In the academia, I taught in several departments–philosophy, art and comparative literature–since I love all of these fields. I emphasized love of art, love of literature, and clarity of expression. Personally, I subscribe to Albert Einstein‘s wise saying: “If you can’t explain something clearly, then you don’t understand it well enough.”

4. What would you advise Romanians who might be interested in moving to the U.S.?

4. I’d advise any Romanian who is thinking about immigrating to the U.S. to visit the country for a considerable period first and find out about professional opportunities and day to day life. Just as it was easy for me to idealize Romania when I was a tourist there in 2011, it’s easy for anyone visiting the U.S. as a tourist to do the same. You never know how you’ll feel in a country until you actually live there, and find a place to work and a place to live. There are some professions, like medicine, where the degrees from one country don’t automatically get accepted in another. Many doctors from Romania have had to start from square one (medical school) or do something else related to medicine. It’s always more prudent to know exactly what you’re getting into before you make any drastic move.

Cover of Romanticism and Postromanticism

5. Do you wish to visit Romania again?

5. Yes, I hope to return to Romania for the book launches of my art criticism book, Romanticism and Postromanticism, translated by the writer Dumitru Radu Popa, and for the launch of my second novel, The Seducer, which hasn’t been translated yet. During this period I hope to get to see more of the country outside of Bucharest, such as Drobeta Turnu Severin and Timisoara, where some of my family lives.

Cover Intre Doua Lumi

6. Is your first novel, Velvet Totalitarianism, autobiographical? If so, in what ways?

6. Velvet Totalitarianism, translated into Romanian by Mihnea Gafita under the title of Intre Doua Lumi, does incorporate some of our family’s struggles with the Romanian Securitate and the challenges of immigrating to the U.S. However, I fictionalized the entire plot, included a fictional spy thriller element (the Radu/Ioana plot line) and changed everything structurally to make the story work as a novel. Reality was only a point of departure (and research). But the novel is, after all, fiction.

Cover of The Seducer

7. You write books in several different domains. What leads you to do so? 

7. Since I was young, I loved several fields: art, literature and philosophy. The arts are, in fact, conceptually very closely related. They’re separated only by institutions and how they’re taught. But it’s natural to look at them, and appreciate them, together, which is exactly what I do. I write about the international art I appreciate on my art blog http://fineartebooks.wordpress.com. In 2002, I founded an international art movement, called postromanticism, devoted to celebrating verisimilitude, sensuality, and beauty in art. It was intended as an alternative, not a replacement, to more abstract and conceptual traditions in art. I believe in pluralism, not dogmatism, in the art world, particularly since matters of taste and definitions of art are more or less subjective. I also spend part of each week working on my new book, Holocaust Memory. Finally, I write literary reviews from time to time about books I really like. I also enjoy learning about and writing about different fields related to my areas of specialization. My ideal is of the salonnieres and philosophes of the eighteenth century, who could write and converse about all aspects of the arts and humanities, often even mathematics, physics and natural science. I’ve lost any hope, however, in being able to know much about science or math. My parents, Henri and Elvira Moscovici, are both mathematicians, and I saw how different (and difficult) these fields are from the arts and humanities. But even in this day and age, of focused specialization, we can still do our best to expand our horizons.

8. How do you see Romania’s future?

8. I see Romania’s future as being increasingly open to international collaborations and the country as being more visible internationally. Of course, success stories like Herta Muller and Cristian Mungiu add to the country’s visibility. I predict that there will be more success stories like this. In the field of journalism and literature, Romania already has collaborations with Conde Nast Publishing, Forbes Magazine and others. I think such international collaborations in journalism will expand. Culturally, in every country groups and individuals create worthy art and literature and compete for limited consecration and power. The content of the art or literature are often inseparable from the institutions competing for influence. This is part of human nature and won’t change. The politics in Romania is the wild card. I don’t know enough about the ins and outs of politics in the country to make any predictions about it. It would be best for the country and its people, needless to say, if the infrastructure and laws of a democratic nation are taken seriously.

Claudia Moscovici, Literature Salon

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Filed under book review, Claudia Moscovici, contemporary fiction, Diana Robu, fiction, Henri Moscovici, Intre Doua Lumi Curtea Veche Publishing, literary criticism, literary fiction, literature, literature salon, literaturesalon, Velvet Totalitarianism, Ziare.com, Ziare.com Claudia Moscovici

How writers write fiction: Marching to the beat of your own drum

Seducer Cover

How writers write fiction: Marching to the beat of your own drum

by Claudia Moscovici

In an earlier article, entitled Why writers write, I explored some of the reasons why writers write fiction by looking into common misconceptions. I argued, for instance, that most writers don’t write in order to achieve fame or fortune, both of which are cosmically unlikely and therefore equally unlikely to last as primary motivations for writers past a very young (and naïve) age:

https://literaturesalon.wordpress.com/2012/09/12/why-writers-write-common-myths-about-being-a-writer/

Now I’d like to explore the process of writing (and misconceptions about it as well), by relying on my own experience as a novelist as well as by using as examples a few of my favorite fiction writers. Basically, I believe that there’s no rule, regimen or standard way of writing fiction: not only in terms of content and style (the diversity of fiction speaks for itself and renders this point quite obvious), but also in terms of the writing process itself.

The diversity in styles and approaches to fiction writing makes the job of those who teach Creative Writing un-enviably difficult. I’ve often read interviews with fiction writers and advice given writers offered by Creative Writing seminars, courses and websites that indicate certain standard procedures of writing fiction. Those usually include making a plot outline; writing a scheme for the structure of the short story or novel; disciplining and pacing yourself as a creative writer in specific ways. Some teachers, writers and courses even suggest that fiction writers need to isolate themselves from social media, email and other external “distractions” in order to concentrate better on writing fiction. Don’t get me wrong, I think such advice can be very helpful to many writers. Yet, at the same time, I still maintain that the creative writing process is as individual as writing styles. Each writer writes at his or her own pace and requires specific conditions.

Anna Karenina

There’s no doubt that all fiction writers need some uninterrupted periods of time to write fiction and a good place to do it, or A Room of One’s Own (1929), to allude to Virginia Woolf’s famous essay.  The reason for this is quite obvious: fiction writing requires stepping into imaginary situations and entering the minds of imagined characters. This delicate creative process would be extremely difficult, if not impossible, to achieve in short spurts of time or with constant interruptions. Speaking from personal experience, this is part of the reason why my first novel, Velvet Totalitarianism (2009), which I wrote when I was an academic teaching philosophy and literature and a young mom of two small kids, took me ten years to write. Once my children became older and more independent and (especially) once I became a full-time writer and art critic, I had the right conditions to finish The Seducer (2011), my second novel, in only three years. But I wouldn’t take this common denominator of fiction writers—needing some uninterrupted chunks of time, a space to write and periods of peace and quiet—to an extreme, to suggest that fiction writers need to isolate themselves from social media or external input in order to write fiction. There’s a delicate balance between needing external input and isolating oneself to write fiction (or to create art, a similar creative process). Nobody can dictate to any writer or artist what that balance is because it’s as individual as the personality of each writer and his or her writing style.

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In fact, probably many creative writers and artists find themselves in the position that Pablo Picasso describes to his  partner, Françoise Gilot: namely, that of needing external stimulation and contact with others as a rich source of inspiration for art, yet also, because of that, not having enough time to focus on each work of art. As Gilot recalls in her autobiography, Life with Picasso:

“Sometimes Pablo would begin a canvas in the morning and in the evening he would say, ‘Oh, well, it’s done, I suppose. What I had to say plastically is there, but it came almost too quickly. If I leave it like that, with only the appearance of having what I wanted to put into it, it doesn’t satisfy me. But I’m interrupted continually every day and I’m hardly ever in a position to push my thought right up to its last implication.’ […] I asked him why he didn’t shut out the world, and with it the interruptions. ‘But I can’t,’ he said. ‘What I create in painting is what comes from my interior world. But at the same time I need the contacts and exchanges I have with others.’” (Life with Picasso, Françoise Gilot, Anchor Books, New York, 1989, p. 123)

Cover of Velvet Totalitarianism

In our times, this balance between external contacts and inspiration and the solitude necessary to perfect any art form is probably even more difficult to reach because we live in an era of inundation from social media on a daily basis. Nowadays, fiction writers and artists rely upon the social media—Facebook, blogs, interviews with journalists–not only to speak about their art and share with readers (or viewers) what they’ve already produced, but also to find new sources of inspiration. For some fiction writers–particularly those who write historical fiction, true crime novels and psychological–  research and external input may be indispensable. Once again speaking from my own experience, when I wrote the historical novel Velvet Totalitarianism (Intre Doua Lumi), I had to read literally dozens of books on the history of Romania and about Romanian communism in order to be able to draw a historically accurate fictional depiction of that era. I couldn’t rely simply on inspiration or on fading childhood memories, since I had left the country at a relatively young age and wanted my novel to be partly based on actual facts, not only about invented characters and situations. When I wrote my second novel, The Seducer, on the subject of psychopathic seduction, I became even more dependent on external sources of information. I relied especially on blogs, since at the time there were relatively few books published on the subject of psychopaths and other social predators. Most of the information on the subject, particularly testimonials by victims which were extremely helpful, could be found on blogs such as lovefraud.com, which I read with great interest as background for writing fiction about a psychopathic seducer.

I believe that how you write—the process of fiction writing itself, starting from the space you right in; how fast or slow you pace yourself; the conditions and interruptions you choose or that are imposed upon you—does NOT determine the QUALITY of your fiction. But these conditions, and the balance you find as a fiction writer between isolation and external input—has a significant impact upon the QUANTITY and even the style of your fiction.  The best advice I can offer any fiction writer is to find his or her own balance that works for them rather than rely upon generic advice. I guess that’s a paradoxical way of saying the best advice I have is not to follow any general advice and choose instead what works for your situation, personality and style.  To support my case for the importance of marching to the beat of your own drum, I’d like to offer examples from some of my favorite writers.

balzac-la-comedie-humaine

1. Honoré de Balzac (1799-1850) and La Comédie humaine

As a scholar of Comparative Literature specializing in 19th-century French fiction, it’s not surprising that my main examples will come mostly from the French classics. One of my favorite novelists, Honoré de Balzac (1799-1850), rivaled Napoleon in his ambition. In his wide-ranging work, La Comédie humaine, Balzac aimed to paint a literary portrait of “all aspects of society” during the period of the Restoration and the July Monarchy (1815-1848).  He wrote about 91 finished stories, novels and essays that capture almost every facet of French society and culture following the fall of Napoleon in 1815. Like many writers, his creative genius was spurred on by failure. After finishing school, Balzac apprenticed to become a lawyer, but decided pretty early on that he didn’t like the field. He then experimented with publishing, printing, becoming a critic and even a politician. All of these more traditional professions didn’t suit him, however.

Ultimately, Balzac decided to follow his dream of being a fiction writer. Given the scope of his literary ambition, he set for himself an extremely rigorous routine. He wrote at all hours of the day and night, staying awake by drinking many cups of strong coffee that ultimately damaged his health.  Throughout his life, Balzac’s difficult writing schedule—and lack of financial stability—strained his relationship with his family and even with friends. Despite writing dozens of novels and short stories, Balzac didn’t write quickly. He just worked long hours. Biographers document that he wrote approximately 15 hours a day. He took a nap after supper from 6 p.m to midnight, then woke up to write during the evening and night again. The author’s novels are greatly influenced by his life experiences, even though they’re not exactly autobiographical. Like Zola did after him, Balzac uses his observations of society to create fictional characters that offer a sweeping sketch of his era. His writing is a reflection of the balance he found between living and interacting with so many people from very diverse social backgrounds and the strenuous discipline he imposed on himself in order to fulfill his vast literary ambition.

2. Gustave Flaubert (1821-1880) and Madame Bovary (1856)

Of course, writing a little may take just as much discipline and time as writing a lot. At the other end of the spectrum (at least in terms of quantity of writing), my favorite French writer, Gustave Flaubert, was far less prolific than Balzac, even though he was equally ambitious. Flaubert achieved international fame for his unforgettable novel, Madame Bovary (1856), as well as for a beautiful, innovative yet starkly honest (and even cynical) mode of writing that the author polished to perfection. For Flaubert, style was everything.  Avoiding all clichés, he edited fastidiously his short stories and novels, pursuing what he called “le mot juste” (the right word). Perfecting style in a few works took as much work for Flaubert as sketching an entire era in nearly 100 works did for Balzac. In his correspondence, Flaubert states that this perfected style didn’t flow naturally out of him. He had to work hard, and edit constantly, to approximate it.

Like many writers, Flaubert encountered his share of challenges and setbacks. By the time of his death, however, he became known as the master of French realism (despite his lyrical style, which is also regarded by critics as the last echo of Romanticism). The publication of Madame Bovary (1856), the story of the disillusionment and eventual suicide of a provincial doctor’s wife who (fruitlessly) seeks love and meaning through a series of adulterous affairs, was greeted by the public with scandal rather than admiration. When chapters of the novel were published in La Revue de Paris (October 1956 to December 1956), Madame Bovary was attacked as “obscene” by the public prosecutor. Flaubert became acquitted, however, the following year. Afterwards, the novel quickly became a best seller, going far beyond a succès de scandale. By the time of his death, Flaubert was considered as one of the greatest French writers of the century (and he still is).

No rule, advice or measure could apply equally well to a writer like Balzac as to a writer like Flaubert, except perhaps the very general tenet that each found his own balance and discipline in the process of writing to suit his writing style, personality and literary ambition.

rubato1

3. Snippets of the interview with Romanian writer Razvan Petrescu: Marching to the Beat of your own Drum

Perhaps no writer shows the relativity of the writing process—and even casts doubt upon the boundary conventionally drawn between fiction and nonfiction, or fact and imagination—as my friend, the Romanian writer Razvan Petrescu. I have already written about his latest collection of short stories in the following article:

https://literaturesalon.wordpress.com/2013/01/09/razvan-petrescus-rubato-the-coordinates-of-world-class-romanian-fiction/

This article has been translated and published in Romania on Editura Curtea Veche’s blog:

http://www.curteaveche.ro/blog/2013/01/15/rubato-de-razvan-petrescu-coordonatele-unei-proze-romanesti-de-clasa-mondiala/?utm_source=rss&utm_medium=rss&utm_campaign=rubato-de-razvan-petrescu-coordonatele-unei-proze-romanesti-de-clasa-mondiala

To continue our discussion, I recently interviewed him about his books, his life and the writing process for a series of articles published in the Romanian magazine Scrisul Romanesc and the blog Agentia de Carte. To my mind,  Razvan Petrescu exemplifies the meaning of the English expression “marching to the beat of your own drum,” both as a person and as a writer (since the two aspects are, after all, intertwined). What struck me most about his interview, from which I’m translating only a few bits and pieces here, is the fact that his nonfiction (meaning his answers to my very traditional, journalistic questions) reads like some of the best fiction I have ever read. His first answer, to my very standard question “When did you begin writing fiction?” reminds me of lines from one of my favorite novels, Lolita (1955), by the man I consider the greatest American novelist, the Russian-born Vladimir Nabokov. In this beautiful and lyrical passage of the novel, the narrator, Humbert Humbert introduces Annabel, his first love and the precursor to Lolita: “All at once we were madly, clumsily, shamelessly, agonizingly in love with each other; hopelessly, I should add, because the frenzy of mutual possession might have been assuaged only by our actually imbibing and assimilating every particle of each others soul and flesh; but there we were, unable even to mate as slum children would have so easily found an opportunity to do” (Lolita, Vladimir Nabokov, New York: Vintage International, 1997, p. 12).

Although Petrescu has a style of his own, of course, like Nabokov, he’s a master of style, whether he writes fiction or nonfiction. Speaking of which, if you believe that any course, author or teacher can draw a sharp distinction between fiction and nonfiction or tell any creative writer how to write, you may change your mind after reading parts of this humorous, honest, chaotic and–above all—unique and original interview with the writer and editor Razvan Petrescu. Enjoy the (non)fiction!

razvan-petrescu-foto-attila-vizauer

Claudia Moscovici: When did you begin writing fiction?

Razvan Petrescu: Around the age of 15, when I fell in love for the third time. She had long, wavy red hair and well-formed breasts. My wonder knew no bounds when I was faced with this enigmatic pyramidal structure. I was fascinated by other zones and became absent-minded. Which didn’t provoke any particular happiness, given the fact that I was still expected to do various practical things, which included painting the walls, as I was dreaming with my hand shielding my forehead. I was thus overcome by a terrible love. It was autumn, the leaves were falling, the baby birds were hatching, while I was meandering in front of her house in my high school uniform with the number of my school inscribed on my left arm, my face turning melancholic-green with despair. She wasn’t in love with me yet. She would become swept in the feeling only at the moment when it left me and, because I had already read a whole slew of books (especially police thrillers and stories about submarines), I started writing her verses with an eye makeup pencil on a little notepad. I would read them alone at home and would cry seeing how much pain those words stolen from maximum suffering could provoke. When I read them again three years later, I couldn’t believe that I was able to write such idiocies and was overcome with a boundless sense of shame.

CM: What inspires you to write fiction?

RP: Almost anything. The blade of grass upon which climbs a little insect. The insect falls over, moves its little legs, I step on it with my shoe, a shoe meant for such events. The purplish clouds crossed by planes at sunset on the Paris-Slobozia route awaken in me aviatico-poetic catastrophes. I see the terrified passengers placing on their oxygen masks, screaming in them, waving their arms. The oxygen doesn’t work, the airplane changes course at the last moment exactly above IOR Park, over a little pond upon which floats a little ship with a hole in it. They all die of asphyxiation on the plane, while those on the ship drown in the greenish waters. … Usually I transform banal events with regular people into tragedies, or vice versa. I’m attracted to the dramatic, the grotesque, the painful. I describe what I observe, adding as many imagined things as possible to make the story more plausible, or conversely, more absurd.

CM: Who are the writers that inspire you most?

RP: Bach, Chekhov, Céline, Salinger, John Osborne, Raymond Carver, Mozart, Miles Davis, Donald Bartholomew,  Joyce, Faulkner, Schubert, Mahler, Lester Young, Cortazar, Buzzati, Garcia Marquez, Truman Capote, Coleman Hawkins, Chopin, Ben Webster, Oscar Peterson, Haneke, Pachelbel, Fellini, Tarkovsky, Beethoven.  The harmony of the piano. The king of the flies. Friday or the languages of the Pacific. … In order not to become mixed up, I’ve gotten into the habit of including my answer to this same question, which I’ve been asked by others and asked myself in other contexts, adding to it nonsensically titles, names, kinds, in order to leave an impression of culture pure and simple. But, above all, I do this in order to avoid boredom…

CM: No fiction is strictly autobiographical, but did you express any personal elements in your fiction. If so, which ones?

RP: I didn’t express anything, for the simple reason that everything I write and experience is fiction. In other words, if I included autobiographical elements in my fiction, they’re fictional. Example: the fact that I studied medicine. I didn’t. I wasn’t a doctor. I never lived in Bucharest. I didn’t go to high school number 43. I didn’t try to sleep with the high school beauty queen in ninth grade. I didn’t have a friend in kindergarten that died, and I didn’t go to her funeral. … I wasn’t a writer, I didn’t have a job, and thus I didn’t work at the magazines “The Word,” “Amphitheater,” the “Literature Museum,” the “Ministry of Culture,” All Publishing, Rosetti, Brukenthal and Curtea Veche Publishing….

CM: To follow-up my last question, what is the relation between your personal life and your life as a writer?

RP: It’s one of total harmony. They overlap. Any object or being that overlaps with another is happy. Given that I don’t need a job in order to make a living, I write all the time, especially at night. I’ve dedicated my life to literature for well over two decades. My personal life has been fulfilled in being a writer and vice versa. I had the good fortune of receiving good money by selling books and, also, through translations. Last month, when I signed a contract for the translation of my most recent book in Macedonia, they offered me almost 150 Euros. I had to renounce the retribution, since I know my value and it’s not quite so big. If I had accepted the payment for the author’s rights I’d have lost it completely, so I asked the editor to allow me to give him money.

Claudia Moscovici, Literature Salon

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Filed under Balzac La Comedie humaine, book review, Claudia Moscovici, contemporary fiction, creative writing, fiction, Flaubert Madame Bovary, how do writers write, how writers write, How writers write fiction: Marching to the beat of your own drum, Intre Doua Lumi Claudia Moscovici, literary criticism, literary fiction, literature, literature salon, literaturesalon, Nabokov Lolita, Razvan Petrescu, Rubato by Razvan Petrescu, The Seducer by Claudia Moscovici, The Seducer: A Novel, Velvet Totalitarianism, why do writers write