Word: sergiu
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Ciuleandra, directed by Sergiu Nicolaescu, is based on a popular Romanian novel and depicts a crime of passion. It shows tonight at 9:00 p.m. and Sunday at 4:00 p.m. In it, a woman in the mid-1920s is killed by her husband and drama ensues. The film is shot in neo-expressionistic shadows and icy blues and the action unfolds in flashbacks, climaxing horrifically in the present...
...lyrical new work by Hugh Aitken, while in Montreal, Stern contributed the North American premiere of French Composer Henri Dutilleux's impressionistic concerto. The same month Virtuoso Shlomo Mintz played Marc Neikrug's neoromantic concerto for the second time, having presented its world premiere in 1984. And this week Sergiu Luca will give the American premiere of William Bolcom's frisky new concerto in Pittsburgh (he introduced it in 1984 in Saarbrucken, West Germany...
First movement: Allegro. New York City, Feb. 27, 1984. Sergiu Celibidache makes his way across the stage of Carnegie Hall to a welcoming roar from the audience. He is the very image of a maestro out of Central European casting: formal evening clothes and a cascade of long white hair. After more than 30 years spent in the shadows of a reputation as the least heard of the great European conductors, he is finally making his American debut, not with a major orchestra, but with a student ensemble from the Curtis Institute of Music in Philadelphia...
...lies in rubble. So does the Berlin Philharmonic; the orchestra's conductor, Wilhelm Furtwängler, has been banned from performing until he can prove himself innocent of being a Nazi sympathizer. Onto his podium steps a 33-year-old music, mathematics and philosophy student from Rumania named Sergiu Celibidache. Despite his lack of professional experience, Celibidache more than restores the orchestra's prewar luster. "A baton genius, beyond any doubt," declares one Berlin critic. Only his former teacher at Berlin's Hochschule für Musik, Heinz Tiessen, fails to join the praise. "My, what...
After an emotional standing ovation and a warm embrace by Sergiu Comissiona, the symphony's music director, he returned for an encore and showed a different, more muted skill in Chopin's introspective D-Flat Nocturne, Opus 27, No. 2. In its own quiet, understated way the piece, more than the Franck, seemed to speak for the performer, telling, more clearly than words, what he had been through since he had last used that troubled hand in public. "It was evident that I am not back to where I would like to be," he said later...