Romanian orchestra brings Enescu and Bartók to Berlin stage

The manager of the State Philharmonic of Târgu Mureș, György Levente, stated that the “Berlin 2025” Project, which marks 145 years of Romanian-German diplomatic relations and under which the Târgu Mureș Symphony Orchestra is performing Thursday evening at the Berlin Philharmonie – Main Auditorium, represents “the pinnacle of the institution’s 75-year history.”

“For us, performing in the Berlin Philharmonie is the peak of our artistic journey. In the 75 years of the Târgu Mureș State Philharmonic’s history, this is our first time performing in the legendary hall where great conductors such as Wilhelm Furtwängler, Sergiu Celibidache, Herbert von Karajan, and others have performed. Our symphony orchestra will be conducted by Pablo Boggiano. About 90% of the program was performed in Vienna’s Musikverein last year, but playing Enescu and Bartók requires very high-level preparation since these are not easy works for the orchestra. After successfully passing the test at Musikverein, the orchestra is now well-acquainted with Bartók’s concerto, which is extremely complex,” said György Levente before departing for Berlin.

The concert program, under conductor Pablo Boggiano, includes works by George Enescu, Richard Wagner, Béla Bartók, and Astor Piazzolla, and has been expanded with the overture “The Mastersingers of Nuremberg” by Wagner, CE Report quotes AGERPRES.

Romania’s Ambassador to Germany, Adriana Stănescu, told AGERPRES that “Romania represents itself in the most convincing way possible through art and culture,” and that the extraordinary concert of the Târgu Mureș State Philharmonic Orchestra in Berlin is part of the celebration of the 145th anniversary of Romanian-German diplomatic relations.

The director of the Romanian Cultural Institute (RCI) in Berlin, Cristian Niculescu, said that the orchestra’s participation will be “a truly special moment,” demonstrating that “Romanian tradition is not a museum artifact, but a living force capable of moving and inspiring audiences.”

The Viennese-Argentinian conductor Pablo Boggiano described the Berlin concert as “a major project,” similar in importance to last year’s performance in Vienna.

“Everything we did in Vienna, it’s important we do here as well — it’s a fantastic adventure. We’re all very happy and eager. We feel deeply responsible to make this concert a true representation of what is Romanian — and Transylvanian — since we have many nationalities here. Music is the best way to bring countries together,” said Boggiano.

The “Berlin 2025” Project was initiated by the Iunona Community Development Association from Târgu Mureș and the Târgu Mureș State Philharmonic, and is organized by the Romanian Embassy in Germany and the Romanian Cultural Institute in Berlin.

According to Ovidiu Maior, co-president of the Iunona Association, around 85 people — musicians and technical staff — are part of the delegation. “We want to impress the Berlin audience with a strong stage presence and a full, spectacular sound,” he said, adding that the project enjoys strong institutional support from RCI Berlin and the Romanian Embassy.

Co-president Mihail Poruțiu emphasized that, as in Vienna, the Berlin 2025 project provides a platform not only for the orchestra to perform in a European capital but also for local authorities and partners to promote cultural diplomacy.

“The Berlin Philharmonie is a 2,200-seat hall and the most important concert venue in Germany. Even though it may not have the history of Vienna’s Musikverein, culturally speaking, it’s considered the most important concert hall in Germany. Berlin, alongside Paris, London, and Vienna, is one of the epicenters of European symphonic music and culture,” he said.

The project also includes academic, diplomatic, and entrepreneurial components. During the concert, there will be a special segment celebrating excellence in medicine and science.

The Berlin Philharmonie, where the Târgu Mureș Symphony Orchestra will perform, is noted for its innovative architecture and acoustics, which — though initially controversial — became a model for concert halls worldwide.