"Man, man is mightier than destiny!" - such was Oedipus' response to the Sphinx's riddle, during one of the key scenes of George Enescu's opera. Last night, I had the privilege of witnessing Ionuț Pascu embody the main role in a new production, presented by the Bucharest National Opera House and skillfully directed by Stefano Poda. In fact, the renowned Poda not only takes the reins in directing this monumental production, worthy of being featured in any notable opera house, but also lends his creative touch to the set design, costumes, lighting and choreography, everything being tailored by his comprehensive and cohesive vision. It's simply the natural order of things for a man of his caliber.
It was the premiere night, but the audience also had the opportunity to preview this performance on the 21^st of December 2023. The encore marked the National Culture Day, celebrated on the 15^th of January.

The evening commenced with a brief press conferencefeaturing Daniel Jinga, the institution's manager, Raluca Turcan, the Minister of Culture, conductor Tiberiu Soare, andbaritone Ionuţ Pascu.

What does encountering this score mean for the performer of the main role?

Ionuț Pascu: For me, this score has managed to open new horizons - both vocally and musically, and that's because Enescu goes beyond mere notes; he delves into the minutest details of musical dramaturgy, which, fortunately,he had left written for us. Our mission is to decode and translate them for the audience, who must come somewhat prepared to actively engage in this monumental masterpiece.

Tiberiu Soare, having previously conducted Enescu's score, expressed his admiration for Stefano Poda's production and hopes for its enduring presence in the repertoire of the Bucharest Opera House. He also offered a piece of advice to the listeners:

As a member of the audience, no one should be intimidated by this work, for it must naturally find its way to you, and that is precisely what we have endeavored to accomplish, more or less consciously. Personally, I confess, very consciously. I tried to present this message in a way that reaches absolutely anyone listening. I need people who are interested in what Enescu wrote, and believe me, with utmost honesty, all the artists involved in preparing this piece have strived to faithfully convey what we found in the score. You'll find a minimal number, if not very asymptotically close to zero, of personal interventions. What you will hear is our honest attempt to faithfully reproduce what we discovered within the pages of this score.

The Opera Housemanager, Daniel Jinga, welcomed the presence of the Minister of Culture, Raluca Turcan, at the event:

We feel truly privileged tonight because you chose to join us, though in a way, out of our own pride, we believe we deserve it- not us individually, but the entire production and everything you'll witness tonight at the Bucharest National Opera House.

Raluca Turcan: Tonight, we have the joy of participating in the premiere of this Enescu masterpiece, at a moment of double significance, celebrating the National Culture Day- a day I wish it could multiply throughout the year, but receiving the same amount of attentionfrom the public. At the same time, we celebrate 70 years since the inauguration of this exceptional lyrical institution.

We were also informed by the Minister of Culture that students from music and art high schools and universities in Bucharest attended the event. What did they think of the performance?

Is this the first time you've seen Enescu's Oedipus?

Yes. It's the first time.

What brought you here tonight?

My directing professor at NUTF[1] told me she had some tickets, and we should come see Oedipus for National Culture Day.
(*NUTF - National University of Theatre and Film "I. L. Caragiale" - Bucharest)

What do you think about the production?

Since I was little and I was going to the Athenaeum* with my mother, I always found Enescu's works challenging to grasp- you either like them or not. I do. I couldn't wait to see Stefano Poda. I studied about him in the scenography classes. I really love his performances. -Maria Constantin.

- My name is Alexandra, and I come from the "Nicolae Tonitza" Fine Arts Highschool.

Is this the first time you've seen Enescu's Oedipus?

Yes. It is the first time.

What are your first impressions?

It's very spectacular. The scenic design, the production, the ballet. It's highly metaphorical and captivating. I really enjoy it.

If you had to recommend it to someone your age, what would you say to attract them to attend a performance like Oedipus?

I would tell them that if they want to broaden their artistic horizons- because, in the end, opera, even if it's not as prevalent among today's youth, is a beautiful art form, one that I am very passionate about. I want to study classical singing at the Conservatory, and for me, it's wonderful to listen to and discover new voices.

After the first production of Oedipus in Bucharest, directed by Jean Rânzescu way back in 1958, five other directors have been invited to stage George Enescu's creation. They are, in chronological order: Cătălina Buzoianu, Andrei Şerban, Petrică Ionescu, Anda Tăbăcaru Hogea, and most recently, Valentina Carrasco. Stefano Poda's production, therefore, marks the seventh in Bucharest. The internationally acclaimed artist has a recipe, one of significant impact and success. I admired his vision for Oedipus, and because I had two breaks to briefly meet many acquaintances- musicians or music enthusiasts- I can say I was not the only one pleasantly impressed. Ionuț Pascu's presence on stage also played a crucial role. As a musician dedicated to each role with seriousness, intelligence, and talent, he shone last night- a feat not necessarily guaranteed just because he portrayed the titular role. Ionuț Pascuis not only a valuable performer with a noble tone and impeccable French pronunciation but also an actor who breathed life into a credible character. His stage partners, with varying degrees of excellence, included bass Marius Boloş- as Tiresias, baritone Dan Indricău- as Creon, tenor Andrei Lazăr-as the Shepherd, mezzo-soprano Sorana Negrea -as the Sphinx, bass Leonard Bernad -as Phorbas, mezzo-soprano Oana Andra- as Jocasta, mezzo-soprano Andreea Iftimescu-as Meropa, and soprano Daniela Cârstea-as Antigone.

The performance left a lasting impact. Noteworthy moments include the extraordinary scene of the Sphinx, the only character dressed in vibrant red amidst a sea of white with black accents; the slaying of Laius, where Oedipus's gesture is multiplied, in a cinematic ralenti manner, by a male ballet dancer, often reminiscent of Greek statues; and the moment of Oedipus's blindness, where he reappears in front of the audience, piercing, in a symbolic motion, a panel (bas-relief) with a giant eye painted on it.

Musically, perhaps the most significant issue, as usual, was the orchestra overpowering the voices on stage. There were moments, like those of Antigone, for instance, but not only, when the solo voice was barely audible. Unfortunately, the choir-a significant element in ancient Greek tragedy and, consequently, in Enescu's creation- had a pale presence, lacking in quality, homogeneity, with pitch inaccuracies. A great pity, especially considering the outstanding performances in past Oedipus productions!

Tiberiu Soare, one of Romania's most intelligent and dedicated orchestral conductors, managed to provide fluidity, naturalness in interpreting this meticulously notated score by its author. There were many moments of true beauty-gentle, passionate, or violent beauty characteristic of George Enescu's music.

The next performances of George Enescu's Oedipus will take place on the evenings of the 9^th and 11^th of February at the Bucharest Opera House, having approximately the same cast. I highly recommend them!