The press conference of the opening of the XXVI edition, outside the program and news of the anniversary edition, 65 years since the first festival, became a kind of echo of previous festival openings. Minister of Culture Ms. Raluka Tsurkan, interim director of Artexim, organizer Kristina Uruk, artistic director of the festival, conductor Christian Mechelaru, guest of the opening concert cellist Gauthier Kapuson, mayor-general of the capital Nikushor Dan, Valentina Baintan from TVR and general director of SRR Rezvan Yoan Dinka.

The current edition is the first since Mihai Constantinescu, the event’s executive director and re-enactor, retired after 1989. Probably, if it was a political position, he would have remained governor.

But when it comes to skills, there is a certain rush.

In the conditions in which even today Artexim works with a temporary quasi-post. Although it would seem secondary, the most important moment of the conference was the presentation of a diploma by the Ministry of Culture to Mr. Constantinescu. Belated recognition of merits, or, as it were, washing away of sins, in conditions where, practically, Constantinescu is the only person who can be said to have lived only for this holiday.

The Enescu Festival is the country’s only cultural brand in performing arts.

Enthusiasts could still call, but FIT? No. A brand means more than a collection of events. Yes, both FITS and FNT have value, they are cultural landmarks in our landscape, or let’s say domestic brands, not international. Returning to the conference, we would like to remind you about the success (sold out) of the series of Concerts for Children, which we expected a year ago, because we have the experience of these performances, from the Odeon theater, where they are currently held, Atenev, ONB.

I don’t want to be stingy, but I sit and wonder why they didn’t choose a bigger hall or, since the weather is still good in September, the Summer Theater of Herăstrău.

It would probably cause technical problems, but if we want to set a direction, I don’t think a 300-seat venue is definitive.

The festival followed its previous directions, that is, presenting classical music alongside modern and contemporary music. The proportions have changed. For example, concerts of new music at Sala Radio were mixed. Midnight concerts, the Romanian Athenaeum, are no longer dedicated exclusively to music, more precisely to baroque opera. The number of works presented in the concert was reduced. Several related events were introduced and the Festival Square was restored. Otherwise, the artistic structure was preserved. We will once again have a parade of stars, young stars, legends and a lot of quality music. There will be, as before, performances with the participation of guests of the festival, which takes place in the province. Full program here.

The famous cellist Gauthier Capuson revealed to us, if we did not already suspect, the admiration he has for our great composer George Enescu, the musical link between us and the West.

The participation figures, as in other years, are impressive. In these conditions, all logistics are very difficult. We can only bow to those who engage in such a show of force. And, obviously, of most interest, public radio and television will broadcast concerts, live and recorded, interviews, shows. The festival newspaper is back, and it’s a victory. But in the printed version. It will probably be online too, otherwise I don’t see the point.

Next, no smartphone app at the festival!?

Mildly funny, but in a country where IT/software engineers are tax exempt, they should be doing something like this for free. Otherwise, I learned what I knew, some of it always. To ensure the budget remained the same dangerous ballet as in previous editions. No number is given except that it is bigger! The issue of the concert hall of symphonic music was put on the back burner. The answer was the same (30 years). It is being studied. Either a new hall or a recalibrated current Palace Hall.

Meanwhile, two new concert halls were built in Budapest. We could move him there.

And, finally, about Oedipus’ lack of work. A contrast not to be missed. For those familiar with the local musical landscape, especially opera, you can even bet it won’t happen. Of course, not everyone knows how such show business works. It must be said that commitments to invited artists are made years in advance. Therefore, it was difficult to assume that something could be done only from year to year, even two. But no one understands how, when it is known that the festival is held once every two years, that the opera must be there, that professional appointments are not held? But with us it is possible. I believe that ONB is the only opera house in Europe that has not yet published a program for the current season. In other countries, and I am not talking about the West, there are also sold out. But what should remain is the magic of the music.

There is a program that more or less covers even the most sophisticated desires. These are evenings that will remain in everyone’s hearts. This is the month when the parameters of our existence change once every two years. Let the show begin!