DOCSLIB.ORG

Italiano, Di Origine Rumena, GEORGE GEORGESCU Ha Iniziato Gli Studi Del Violoncello Con Iacob Aron Nella Città Natale Di Bucare

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Italiano, Di Origine Rumena, GEORGE GEORGESCU Ha Iniziato Gli Studi Del Violoncello Con Iacob Aron Nella Città Natale Di Bucare Italiano, di origine rumena, GEORGE GEORGESCU ha iniziato gli studi del violoncello con Iacob Aron nella città natale di Bucarest, perfezionandosi successivamente con Serafim Antropov presso l'Università di Musica "Ciprian Porumbescu" di Bucarest e laureandosi con il massimo dei voti e la lode. Dimostrando qualità straordinarie sin dall'infanzia, riesce ad ottenere nel paese in riva al Danubio, in poco tempo, tutta la gloria, il grande favore del pubblico e della critica che non esita a metterlo sullo stesso piano con alcuni dei più famosi musicisti romeni come George Enescu, Valentin Gheorghiu e Stefan Gheorghiu. L’incontro con il grande Maestro Sergiu Celibidache contribuisce in modo profondo alla sua formazione artistica. La sua attività concertistica si allarga oltre i confini della Romania, in Spagna, Francia, Repubblica Ceca, Cina, Svizzera, Italia, Giappone. Per chiara fama, nel 1981, il Maestro Riccardo Muti lo invita a ricoprire l’incarico di Primo violoncello solista presso l’Orchestra del Maggio Musicale Fiorentino, ruolo che ha onorato per oltre 30 anni, con grande apprezzamento del Direttore Principale, Maestro Zubin Mehta, e di tutti grandi direttori che si sono susseguiti alla direzione di questa grande Orchestra. Nei ultimi anni ha consolidato la collaborazione con la pianista Dalida Jacono in duo di violoncello e pianoforte e con il violinista Yehezchel Yerushalmi e la pianista Dalida Jacono nel Trio “Cosimo de’ Medici”. Importante anche la sua attività didattica, come docente di violoncello ai Corsi Master della Scuola “Il Trillo” di Firenze, ai corsi di perfezionamento del Maggio Musicale Fiorentino o della New York Accademy, oltre alla sua partecipazione nelle giurie di concorsi nazionali ed internazionali. Hanno detto di lui: "Ho avuto modo di costatare nel violoncellista George Georgescu eccezionali qualità di strumentista e sensibilità musicale" (Carlo Maria Giulini); "Ho riscontrato nel violoncellista George Georgescu primissime qualità strumentali, nonché alta sensibilità musicale" (Carlos Kleiber); "Ho avuto l'opportunità di collaborare con George Georgescu, straordinario violoncellista e soprattutto splendido musicista" (Eduardo Mata); “George Georgescu - ottimo solista e musicista di sensibilità squisita" (Zubin Mehta) La pianista DALIDA JACONO ha studiato al Conservatorio “Luigi Cherubini” di Firenze e alla Scuola di Musica di Fiesole, dove si è perfezionata in musica da camera con Maria Grazi. Dopo il diploma il suo percorso artistico prosegue con Orazio Frugoni a Firenze e con Sergej Senkov a Ginevra. Ha al suo attivo la vittoria di vari concorsi per giovani talenti ed esperienze come maestro sostituto per “Opera Barga”, con il maestro Georgi Robev, del Conservatorio di Sofia, al Centro Didattica Musicale di Fiesole. Ha tenuto concerti in vari teatri e rassegne - quali i Mercoledì musicali in Palazzo Vecchio a Firenze, Artaria Festival, Concerti per gli amici (Scuola di Musica di Fiesole), Concerti al Cocumella (Associazione Culturale Cyprea-Sorrento), Parco Mediceo di Villa Demidoff - sia come solista, sia insieme ai Solisti Fiorentini, alla Florence Symphonietta, all’Orchestra Filarmonica del Forum Fiorentino, con i Cameristi del Maggio Musicale Fiorentino e con il complesso cameristico “Demidoff Ensemble”. Ha partecipato anche alle manifestazioni promosse dalla Provincia di Firenze nell'ambito del Genio Fiorentino. Negli ultimi anni ha consolidato la sua collaborazione artistica in duo di violoncello e pianoforte con George Georgescu e con il Trio “Cosimo de’ Medici” insieme al violinista Yehezchel Yerushalmi e al violoncellista George Georgescu. Attualmente riveste la figura di direttore artistico dell'Associazione Musicale Demidoff, alternando l'attività concertistica all'impegno didattico, rivolto alla formazione dei giovanissimi. .
Load more

Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • From the Violin Studio of Sergiu Schwartz
    CoNSERVATORY oF Music presents The Violin Studio of Sergiu Schwartz SPOTLIGHT ON YOUNG VIOLIN VIRTUOSI with Tao Lin, piano Saturday, April 3, 2004 7:30p.m. Amamick-Goldstein Concert Hall de Hoernle International Center Program Polonaise No. 1 in D Major ..................................................... Henryk Wieniawski Gabrielle Fink, junior (United States) (1835 - 1880) Tambourin Chino is ...................................................................... Fritz Kreisler Anne Chicheportiche, professional studies (France) (1875- 1962) La Campanella ............................................................................ Niccolo Paganini Andrei Bacu, senior (Romania) (1782-1840) (edited Fritz Kreisler) Romanza Andaluza ....... .. ............... .. ......................................... Pablo de Sarasate Marcoantonio Real-d' Arbelles, sophomore (United States) (1844-1908) 1 Dance of the Goblins .................................................................... Antonio Bazzini Marta Murvai, senior (Romania) (1818- 1897) Caprice Viennois ... .... ........................................................................ Fritz Kreisler Danut Muresan, senior (Romania) (1875- 1962) Finale from Violin Concerto No. 1 in g minor, Op. 26 ......................... Max Bruch Gareth Johnson, sophomore (United States) (1838- 1920) INTERMISSION 1Ko<F11m'1-za from Violin Concerto No. 2 in d minor .................... Henryk Wieniawski ten a Ilieva, freshman (Bulgaria) (1835- 1880) llegro a Ia Zingara from Violin Concerto No. 2 in d minor
    [Show full text]
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present
    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
    [Show full text]
  • Artes 21-22.Docx
    DOI: 10.2478/ajm-2020-0004 Artes. Journal of Musicology Constantin Silvestri, the problematic musician. New press documents ALEX VASILIU, PhD “George Enescu” National University of Arts ROMANIA∗ Abstract: Constantin Silvestri was a man, an artist who reached the peaks of glory as well as the depths of despair. He was a composer whose modern visions were too complex for his peers to undestand and accept, but which nevertheless stood the test of time. He was an improvisational pianist with amazing technique and inventive skills, and was obsessed with the score in the best sense of the word. He was a musician well liked and supported by George Enescu and Mihail Jora. He was a conductor whose interpretations of any opus, particularly Romantic, captivate from the very first notes; the movements of the baton, the expression of his face, even one single look successfully brought to life the oeuvres of various composers, endowing them with expressiveness, suppleness and a modern character that few other composers have ever managed to achieve. Regarded as a very promising conductor, a favourite with the audiences, wanted by the orchestras in Bucharest in the hope of creating new repertoires, Constantin Silvestri was nevertheless quite the problematic musician for the Romanian press. Newly researched documents reveal fragments from this musician’s life as well as the features of a particular time period in the modern history of Romanian music. Keywords: Romanian press; the years 1950; socialist realism. 1. Introduction The present study is not necessarily occasioned by the 50th anniversary of Constantin Silvestri’s death (23rd February 1969).
    [Show full text]
  • Transformations of Programming Policies
    The Warsaw Autumn International Festival of Contemporary Transformations of Programming Music Policies Małgorzata gąsiorowska Email: [email protected]???? Email: The Warsaw Autumn International Festival of Contemporary Music Transformations of Programming Policies Musicology today • Vol. 14 • 2017 DOI: 10.1515/muso-2017-0001 ABSTRACT situation that people have turned away from contemporary art because it is disturbing, perhaps necessarily so. Rather than The present paper surveys the history of the Warsaw Autumn festival confrontation, we sought only beauty, to help us to overcome the 1 focusing on changes in the Festival programming. I discuss the banality of everyday life. circumstances of organising a cyclic contemporary music festival of international status in Poland. I point out the relations between The situation of growing conflict between the bourgeois programming policies and the current political situation, which in the establishment (as the main addressee of broadly conceived early years of the Festival forced organisers to maintain balance between th Western and Soviet music as well as the music from the so-called art in the early 20 century) and the artists (whose “people’s democracies” (i.e. the Soviet bloc). Initial strong emphasis on uncompromising attitudes led them to question and the presentation of 20th-century classics was gradually replaced by an disrupt the canonical rules accepted by the audience and attempt to reflect different tendencies and new phenomena, also those by most critics) – led to certain critical situations which combining music with other arts. Despite changes and adjustments in marked the beginning of a new era in European culture. the programming policy, the central aim of the Festival’s founders – that of presenting contemporary music in all its diversity, without overdue In the history of music, one such symbolic date is 1913, emphasis on any particular trend – has consistently been pursued.
    [Show full text]
  • My Name Is Cucu Alexandru-Nicu, but You Can Call Me Alex. I'm Almost 17
    Introducing myself Hello ! My name is Cucu Alexandru-Nicu, but you can call me Alex. I’m almost 17 and I live in Bacau, a beautiful town with beautiful people. I live with my family in a house situated in a neighborhood called Serbanesti. I study at National College ―Vasile Alecsandri‖ which, in my opinion, is the best highschool in town. As you can see I love sports, all kind of sports. But mainly motor- sports, hunting, fishing and boxing are my favorite. Once a year my father and I take part in a Enduro European Championship. If you want to know the best place to fish or hunt you can ask me and I’ll say that Danube Delta is the perfect place. As my uncle owns a pension, I spend almost 4 months per year there. My family consists of my father (Nicu), my mother (Mihaela) and my brother (Radu). I can say that we are very close and my father is one of my best friends. Bacău Bacău is the main city in Bacău County, Romania. It covers a land surface of 43 km², and, as of January 1, 2009, has an estimated population of 177,087. The city is situated in the historical region of Moldavia, at the foothills of the Carpathian Mountains, and on the Bistriţa River (which meets the Siret River about 8 km (5.0 mi) to the south of Bacău). The Ghimeş Pass links Bacău to Transylvania. It has a public university and several colleges. Two major Romanian poets, George Bacovia and Vasile Alecsandri were born here.
    [Show full text]
  • Recording Master List.Xls
    UPDATED 11/20/2019 ENSEMBLE CONDUCTOR YEAR Bartok - Concerto for Orchestra Baltimore Symphony Orchestra Marin Alsop 2009 Bavarian Radio Symphony Orchestra Rafael Kubelik 1978L BBC National Orchestra of Wales Tadaaki Otaka 2005L Berlin Philharmonic Herbert von Karajan 1965 Berlin Radio Symphony Orchestra Ferenc Fricsay 1957 Boston Symphony Orchestra Erich Leinsdorf 1962 Boston Symphony Orchestra Rafael Kubelik 1973 Boston Symphony Orchestra Seiji Ozawa 1995 Boston Symphony Orchestra Serge Koussevitzky 1944 Brussels Belgian Radio & TV Philharmonic OrchestraAlexander Rahbari 1990 Budapest Festival Orchestra Iván Fischer 1996 Chicago Symphony Orchestra Fritz Reiner 1955 Chicago Symphony Orchestra Georg Solti 1981 Chicago Symphony Orchestra James Levine 1991 Chicago Symphony Orchestra Pierre Boulez 1993 Cincinnati Symphony Orchestra Paavo Jarvi 2005 City of Birmingham Symphony Orchestra Simon Rattle 1994L Cleveland Orchestra Christoph von Dohnányi 1988 Cleveland Orchestra George Szell 1965 Concertgebouw Orchestra, Amsterdam Antal Dorati 1983 Detroit Symphony Orchestra Antal Dorati 1983 Hungarian National Philharmonic Orchestra Tibor Ferenc 1992 Hungarian National Philharmonic Orchestra Zoltan Kocsis 2004 London Symphony Orchestra Antal Dorati 1962 London Symphony Orchestra Georg Solti 1965 London Symphony Orchestra Gustavo Dudamel 2007 Los Angeles Philharmonic Andre Previn 1988 Los Angeles Philharmonic Esa-Pekka Salonen 1996 Montreal Symphony Orchestra Charles Dutoit 1987 New York Philharmonic Leonard Bernstein 1959 New York Philharmonic Pierre
    [Show full text]
  • 2003-2004 Senior Recital-Andrei Bacu (Violin)
    CoNSERVATORY OF Music presents SENIOR DEGREE RECITAL Andrei Bacu, violin and Tao Lin, piano Wednesday, March 17, 2004 7:30p.m. Amarnick-Goldstein Concert Hall de Hoernle International Center Sonata KV 304 .............................................................. WolfgangA. Mozart Sonatina in a minor, No.2, Op. 137 ...................................... Franz Schubert Sonata for Violin and Piano ................................................... Claude Debussy INTERMISSION Sonata, No.5 (Spring) ................................................ Ludwig van Beethoven La Campanella ................................................................... Niccolo Paganini Edited by Fritz Kreisler Andrei Bacu, violin Andrei Bacu began playing the violin at the age offive and at the age of6 he was accepted in a music primary school in his hometown Constanta, Romania. In 1994, he entered the George Enescu Music High School in Bucharest and in 1998, he was admitted at the Academy ofMusic in Bucharest. In September 2000, he began his Bachelor ofMusic degree in Violin Performance at the Consenratory ofMusic at Lynn University as a student ofartist faculty Sergiu Schwartz. Amember ofJeunesses Musicales World Orchestra ( Gennany), Andrei toured Germany, Switzerland, Holland, Belgium, Taiwan, Philippines, Korea, and Japan(1996-1999). He was also a member ofthe Bucharest National Radio Orchestra (1999-2000) and the Black Sea Symphony Orchestra (1998-2000). In 1998, he participated in the Modem American Music Festival in Romania and received a honorary diploma. Andrei has participated in a number ofmusic competitions in Romania in the George Georgescu Violin Competition winning first prize, the W.A. Mozart Violin Competition, and the George Enescu Competition. He has performed as soloist with the Black Sea Symphony Orchestra, Bucharest National Radio Orchestra, and has appeared in solo recitals in Romania, Gennany, and France.
    [Show full text]
  • 4260294892477.Pdf
    About this album: This is the third volume of recordings of piano concertos performed by Dinu Lipatti. It brings together works by Grieg, Liszt, Bartók and Lipatti himself that were reorded in 1947 and 1948. 1. Grieg: Piano Concerto in A minor, Op. 16 This concerto formed part of Lipatti’s core repertoire from the very beginning. He played it first in public on 3 November 1933 in Bucharest (with George Georgescu), followed by another seven performances, the last of which was in Paris on 16 February 1947, seven months prior to the EMI recording. The first record company to approach Lipatti had been Decca, as early as January 1946. The idea had been to make recordings during an envisioned two-month concert tour. However, EMI got wind of the plan and Walter Legge succeeded in signing Lipatti up as an exclusive artist for EMI’s sub label Columbia, of which Legge was production manager. First recording sessions took place on 15 October 1946 (Chopin, Waltz No. 2, Op.34/2, Liszt, La leggierezza and Sonetto del Petrarca) with further sessions in 1947: February (Chopin, Nocturne Op. 27/2), March (Chopin, Sonate Op.58) and May (test recordings with cellist Antonio Janigro). The recording of the Grieg Concerto on 18 and 19 September 1947 proved eventful as it immediately established Lipatti’s fame as one of the record industry’s exceptional discoveries. Like all EMI’s pre-1951 recordings, the Grieg Concerto was issues on 78rpm shellacs. As with the Schumann Concerto, the source for our transfer was the 1956 US Columbia-LP pressing.
    [Show full text]
  • Noten Auf Briefmarken 1940 - 1949 ( Musical Notation on Stamps 1940 - 1949)
    Noten auf Briefmarken 1940 - 1949 ( Musical Notation on Stamps 1940 - 1949) Dieser Teil beschreibt die Briefmarken mit Noten, die zwischen 1940 und 1949 erschienen sind. ( This part describes stamps with musical notation that were issued between 1940 and 1949) Argentinien / Argentina Scott B10 + B11 (2v2) Michel 492-493 / Block 5+6 (2v2) 17.7.1944 Blockausgabe zugunsten der Provinzen La Rioja und Catamarca Sheets issued in favor of the provinces of La Rioja and Catamarca Die untere Hälfte der Blocks zeigt die Anfangstakte der argentinischen Nationalhymne „Marcha de la Patria“, komponiert von Jose Blas Parera. Hinweis: Das Notenbild ist nicht ganz korrekt, denn bei allen Noten befindet sich der Kopf links vom Hals. Bei korrekter Schreibweise einer einstimmigen Notation stehen die Köpfe der Noten oberhalb der Mittellinie jedoch rechts vom Hals. The lower half of the sheets shows the opening bars of the Argentine National Anthem "Marcha de la Patria", composed by Jose Blas Parera. Note: The notation is not quite correct, because for all the notes the head is noted left of the neck. In a correct notation, the heads of the notes above the center line are, however, on the right of the neck. Details zum Komponisten: http://de.wikipedia.org/wiki/Blas_Parera Details zur Hymne: http://de.wikipedia.org/wiki/Himno_Nacional_Argentino Details about the composer: http://en.wikipedia.org/wiki/Blas_Parera Details about the Anthem: http://en.wikipedia.org/wiki/Argentine_National_Anthem Böhmen und Mähren / Bohemia and Moravia Scott B5 + B6 (2v2 / with labels) Michel 79 + 80 (2v2 / mit Zierfeld) 26.10.1941 150. Todestag von Wolfgang Amadeus Mozart (http://de.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart ) 150th death anniversary of Wolfgang Amadeus Mozart (http://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart ) Die Zierfelder der Marken zeigen die Anfangstakte der Ouvertüre zur Oper „Don Giovanni“ von Wolfgang Amadeus Mozart in einem Arrangement für Klavier.
    [Show full text]
  • Rachmaninov (1873-1943)
    RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Sergei Rachmaninov (1873-1943) Born at Oneg, Novgorod Region. He had piano lessons from an early age but his serious training in composition began at the Moscow Conservatory where he studied counterpoint with Sergei Taneyev and harmony with Anton Arensky. He began to compose and for the rest of his life divided his musical time between composing, conducting and piano playing gaining great fame in all three. After leaving Russia permanently in 1917, the need to make a living made his role as a piano virtuoso predominant. His 4 Piano Concertos, Rhapsody on a Theme of Paganini and substantial solo piano works make him one of the world's most-performed composers. However, he also composed operas and liturgical choral works as well as other pieces for orchestra, chamber groups and voice. Piano Concerto No. 1 in F-sharp minor, Op. 1 (1892, rev. 1917) Leif Ove Andsnes (piano)/Antonio Pappano/Berlin Philharmonic Orchestra ( + Piano Concerto No. 2) EMI CLASSICS 74813-2 (2005) Agustin Anievas (piano)/Rafael Frühbeck de Burgos/New Philharmonia Orchestra ( + Piano Concertos Nos. 2, 3 and 4, Rhapsody on a Theme of Paganini, Prelude in C-sharp minor, 10 Preludes and 12 Preludes) EMI CLASSICS TRIPLE 5 00871-2 (2007) (original LP release: ANGEL SCB 3801 {3 LPs}) (1973) Vladimir Ashkenazy (piano)/Bernard Haitink/Royal Concertgebouw Orchestra (+ Rhapsody on a Theme of Paganini) DECCA 417613-2 (1987) Vladimir Ashkenazy (piano)/André Previn/London Symphony Orchestra ( + Piano Concertos Nos. 2, 3 and 4, Rhapsody on a Theme of Paganini, Variations on a Theme of Corelli and Piano Sonata No.
    [Show full text]
  • Expunerea De Motive La Lege
    EXPUNERE DE MOTIVE la Legea privind majorarea unor drepturi salariale ale personalului de specialitate artistică din cadrul Filarmonicii George Enescu din Bucureşti Urmare sarcinii rezultate din şedinţa Guvernului din data de 22 august 2003, prin prezenta lege s-au majorat unele drepturi salariale ale personalului de specialitate artistică din cadrul Filarmonicii „George Enescu” din Bucureşti. În istoria sa de 135 de ani Filarmonica a trezit interesul de colaborare celor mai mari personalităţi din lume: George Enescu, George Georgescu, Constantin Silvestri, Ionel Perlea, Dinu Lipatti, Ion Voicu, Arturo Toscanini, Herbert von Karajan, Richard Strauss, Sir John Barbirolli, Otto Klemperer, David Oistrah, Sviatoslav Richter, M. Rostropovitch, Yehudi Menuhin, Zubin Mehta, iar mai recent Sergiu Celibidache, Sergiu Comissiona, Seiji Ozawa, Placido Domingo, Jose Carreras, Montserat Caballe, Ileana Cotrubaş, Mirela Freni, Mariana Nicolesco. În activitatea sa internaţională, această instituţie a contribuit la imaginea pozitivă a României în multe zeci de turnee efectuate în lumea întreagă, susţinând concerte de prestigiu în cele mai importante săli de concert, ca: Musikverein – Viena, Gewandhouse – Leipzig, Albert Hall – Londra, Sallepleyel, Theatre du Chatelet şi Centrul Pompidou – Paris, Bethovenhalle – Bonn, Alte Oper – Frankfurt, Tonnhalle – Zurich, Victoria Hall – Geneva, Grand Auditorio – Madrid, Sala Conservatorului din Moscova, Sala Academiei Ferenliszt – Budapesta, Teatrul Herodes Atticu – Atena, Sala Rudolphinum – Praga, Mozarteum – Salzburg. Sunt locuri în care nu poate fi programată decât o orchestră de nivel excepţional, nivel confirmat permanent de către presa de specialitate. Filarmonica „George Enescu” s-a dovedit a fi în continuare pepiniera de selecţie a valorilor ţării, artiştii admişi să funcţioneze în cadrul ei ridicându-se la standarde de performanţă europeană, neputând fi cântăriţi cu etalonul obişnuit la nivel intern.
    [Show full text]