In the communist era, in Romania, two destinies of musicians meet in a collaboration that has marked for some decades an artistic friendship and exceptional musical achievements. Their careers developed in the context in which sacred music was carefully censored by the communist political system and the two artists precisely targeted this repertoire. Who were they, how they made their musical projects possible and what their artistic heritage is-we intend to draw in the following lines. The present article is based on extensive documentation, but mainly on a recent interview with the organist Eckart Schlandt. The author of this article had the privilege of interact directly with the two artists.
"When it comes to contemporary audience of the opera, we have in mind a multitude of individuals with extremely diverse and heterogeneous cultural backgrounds, very different tastes and expectations related to the show and to the artists who perform on stage. Perhaps the famous Italian loggionisti who once made up the dreaded galleries, although still present, are no longer as influential as in the past centuries; and the splendid euphoria of the opera lovers from the 1950s and 1960s has faded. The extremely refined and knowledgeable elite is also becoming less numerous. But Opera still incites the interest of the public and arouses passions at the same time. Who is today's audience and what makes them attend and influence the Opera show? What are the managerial strategies for attracting new audience to the auditorium? The social distancing and the restricted access of the public in the performance halls during the recent coronavirus pandemic is also highlighted in the article. Keywords: Opera Audience, 21st Century, communication, audience reception "
"In a postmodern world where creative, aesthetic and social patterns are constantly reshaped or radically changed – a conservative, traditionalist view of lyrical performance can easily be categorized by some contemporary audiences as outdated and irrelevant. It is still possible that the opera, in its old costumes, to communicate any more interesting content – to modern man? This has been the dilemma of many opera directors who in the twentieth century changed their approach and often produced shocking performances for the public. The question remains open to the creators of the 21st century, the world of opera receiving more and more versions of shows that challenges the public with provocative solutions. Keywords: Regietheater, Opera, modern stages, 20th century "
In the middle of the communist era, a Romanian singer with talent, music knowledge and ambition, manages the performance of devoting herself to a vast concertrepertoire, not exactly a friendly one with the atheist views of the official doctrine of the proletariat, who recently was installed in Romania after the World War II. Her vocal repertoire included Songs (Lieder) and Oratory, represented by vocal-symphonic works mostly with religious content. But through a high level of professionalism, her well mastered vocal technique and a unique intelligence in mastering the musical phrase, also with a practical temperament, Emilia Petrescu manages to achieve a wide national and European recognition. This article aims to reconstruct some of the artist's thoughts on the art of singing, which I hope will be useful to new generations of singers."
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