This month, the National Orchestra of France celebrates 90 years of artistic endeavor, and to mark the occasion, the ensemble will perform a series of five concerts under the baton of its music director, conductor Cristian Măcelaru.The Romanian musician will share more insights into the events and not only in a dialogue with Ioana Țintea.

Mr. Cristian Măcelaru, the National Orchestra of France-90 years of activity. How would you describe this orchestra and its history, after nearly four years as its musical director?

From where I stand, the National Orchestra of France is the French ensemble that has preserved and continues to uphold the tradition of the French sound and how French music is interpreted. Of course, this fact has been achieved over time. I didn't make it happen in the first place, but I am continuing this tradition along with the conductors who have contributed to shaping this extraordinary ensemble. We are now celebrating the 90 years of activity of the National Orchestra of France by placing its unique sound in a more global context.

You are marking the 90 years of history with five events, the first of which will take place on Thursday, March 21st. What is the structure of these events, and what do you aim to highlight through them?

Throughout these five events, we shine the spotlight on French music and showcase the rich tapestry of our repertoire, namely the French repertoire. The first concert features Berlioz's "The Damnation of Faust." It's a piece where we invite vocal soloists to contribute. The choir of Radio France will perform alongside us at the Théâtre des Champs-Élysées, a venue steeped in Parisian history, and also the hall where the orchestra has flourished for many years.The second concert offers a chamber music experience featuring Saint-Saëns' Septet for trumpet. During the first segment of the concert, the exceptional mezzo-soprano Stephanie d'Oustrac will perform Berlioz's "Nuits d'été" in a chamber version.For the third concert, we maintain our collaboration with the Philharmonie de Paris and we'll present music for a much larger orchestra. We'll showcase Debussy's "Images," Dutilleux's Cello Concerto performed by Gautier Capuçon. Moving on to the fourth concert, we will return to our home venue, the Auditorium Maison de la Musique, where we'll deliver a performance featuring slightly more intimate music. I'm talking about Ravel's "Le Tombeau de Couperin," Bizet's "Symphony in C,'" Messiaen's "Oiseaux exotiques"featuring Pierre-Laurent Aimard on piano, and then, to cap off this extraordinary evening, we'll have Ibert's "Bacchanale."The fifth concert recounts the orchestra's history through compositions staged by the ensemble, capturing the distinct sounds related to significant moments over its 90-year journey. What I can tell you is that Enescu will also have a presence in this narrative intimately linked to musicians from Romania.

What makes the Radio Orchestra stand out from all the other symphonic ensembles you've worked with?Why is it important for radio orchestras to exist today, even though their role has evolved?

You're absolutely right about that. The role of radio orchestras has evolved.These orchestras are trained and accustomed to performing in front of a microphone as well as in front of a live audience. In fact, these are two distinct ways of playing and interpreting a concert, one tailored for the audience in the concert hall and another for a microphone that captures absolutely every detail. Radio orchestras have an even greater responsibility to achieve this exceptional precision to capture through microphones what is necessary and what is preserved in the eternal archives, serving as a global testament to culture and music today. It is crucial to capture these images and preserve them in a global heritage. For this reason, radio orchestras continue to be those ensembles that faithfully document the everyday life of music and the ongoing evolution and development of culture.

April 12th will see the release of an album you've described as a dream come true, presenting George Enescu's major symphonic works recorded with the National Orchestra of France. What's the story behind the making of this project?

The story is long and beautiful. When I assumed the role of music director for the National Orchestra of France, my foremost goal was to perform the music of George Enescu. He was a remarkable Romanian composer, a source of pride, and a figure we hold dear in our hearts and souls. But he was also someone who had lived in France and had a deep understanding of French life.As a young musician, he also received his musical training in Paris, studying under Faure and Massenet. This is why I felt it was very fitting for a French orchestra, such as the National Orchestra of France, which upholds and continues the tradition of French music, to perform Enescu's music.That's when I brought forward this project to the orchestra. Together, we also proposed it to the Deutsche Grammophon record label, which hadn't previously included Enescu's music in their catalog. We all unanimously agreed to embark on this project, which proved to be very challenging, given that Enescu's music requires a significant amount of time to be understood. It's complex music, yet so beautiful and unparalleled in the world. Unlike any other composer I know, Enescu created a distinct universe in all of his works. I'm incredibly proud that we have taken this first step to bring these recordings to fruition.

When were the recordings produced and which scores did you use?

The recordings were made over the past three years. I requested access to the manuscripts held at the George Enescu Museum, and it was granted to me by the Ministry of Culture and the George Enescu Museum for research purposes. Unfortunately, the current editions of Enescu's scores are riddled with errors. I spent countless hours correcting these mistakes and consulting the source of Enescu's compositions. I'm pleased to present these recordings in a version that I hope will preserve these corrections from now on.

Are these recordings from live concerts or special recordings?

These are special studio recordings.

What new insights did you gain about George Enescu's music while working on this project?

I find myself rediscovering George Enescu every time I immerse myself in one of his scores.His music is immensely complex. I believe a lifetime wouldn't be enough for me to fully understand everything he composed. Therefore, each exploration of his works fills me with joy, curiosity, and a sense of pleasure, as I seek to rediscover the musical universe Enescu has crafted.

Lastly, could you please share your thoughts on Symphonies No. 2 and No. 3?

Symphonies No. 2 and No. 3 represent the pinnacle of Enescu's symphonic oeuvre.Take Symphony No. 2, for instance, where Enescu begins with a rather modest, limited musical idea, which he then elaborates upon over the course of the ensuing hour. The result consists of a symphony that is so intricately developed and diversified that it becomes almost unrecognizable. However, from an academic point of view, I believe it's fascinating to observe how he created the symphony, as Enescu transforms modest beginnings into grandiosity.Symphony No. 3 is a masterpiece. Words fail to capture its depth and beauty. Its solemn and mysterious opening gives way to an infernal scherzo in the second part, throwing us into the depths of Dante's Inferno. The final part feels like a paradise. When we recorded the symphony, I told the orchestra that each musical phrase is like a friend, like a loved one we reunite with in heaven.This remarkable paradise, where all musical ideas come back to life, is truly extraordinary.