Untitled - Tarom

ITINERARII COLABORATORI Air Treks Contributors 

INSIGHT 

EXEMPLARUL DUMNEAVOASTR| / YOUR COMPLIMENTARY COPY 

2 

DAMIAN DR|GHICI 

ALINA COJOCARU_Lec]ia / The Lesson 

CLUJ: Comori sub Dealul Cet\]uii / Treasures beneath Cetatuii Hill_MUNCHEN / MUNICH: Culoarea 

Sudului, `n stil nem]esc / The Color of the South, in German Fashion_MONACO: Nestemata 

Coroanei / A Crown Jewel_MAYA: M\re]ie [i pr\bu[ire / Greatness and Demise_PARFUM DE 

VREMURI / FLAVOR OF TIMES: Frumoasele case ale Bucure[tilor / The Beautiful Houses of Bucharest 

Insight TAROM 

Prim\var\/Spring 2007 

Foto: arhiva personal\ Damian Dr\ghici 

Publisher 

Isabella Hurezan 

Editor-in-chief 

Diana Boicescu 

Senior Art Director 

Marcel {tef 

DTP 

Doru Iordache, Anca Firescu 

Photo 

Paul Antoniu, Constantin Ciocan, 

Mediapro, Alex B\rbulescu, 

Lucian N\stase 

Traffic Manager 

Ema Dr\gan 

Assistent Editor 

Elena Leonte 

Contributing Editors 

Gabriela Ceciul, 

Csire Gábor, 

Della L. Marcus, 

Lelia Zamani 

Proofreading 

Rodica Petcu 

Translator 

Andreea Pocotil\, Monica Bonea, 

Otilia Haraga, Della L. Marcus 

Craig Lasner, Dana Milea, 

Ciprian Siulea 

Production Coordination 

Alexandru Florescu 

Romania, Bucharest 

Bdul Mircea Eliade nr. 18, sector 1 

Tel./Fax: (4021) 311.47.00/01 

www.baniinostri.ro 

www.investromania.ro 

Advertising 

Director executiv: 

Beatrice B\lan 

beatrice.balan@arond.ro 

Romania, Bucharest 

Bdul Mircea Eliade nr. 18, sector 1 

Tel./Fax: (4021) 311.47.01 

www.arond.ro 

Andreea POCOTIL| D\nu] UNGUREANU Corina GONTEANU Otilia HARAGA 

Colaboratori 

CONTRIBUTORS 

Absolvent\ a Facult\]ii 

de Jurnalism [i {tiin]ele 

Comunic\rii. ~n 2004 a 

terminat un curs de 

specializare organizat 

de Centrul de Jurnalism 

Independent. Dup\ o 

experien]\ de doi ani [i 

jum\tate ca reporter la 

un cotidian `n limba 

englez\, a realizat c\ 

acest ritm i se potrive[te 

cel mai bine. 

She graduated the 

Faculty of Journalism 

and Communication 

Sciences. In 2003 she 

attended a journalism 

trening program 

organized by the Center 

for Independent 

Journalism. After a two 

and a half 

year-experience as a 

reporter for an English 

newspaper she realized 

a daily is the working 

environment that suits 

her best. 

Are la activ o 

îndelungat\ carier\ 

jurnalistic\, dar prima 

[i ultima lui dragoste 

r\mâne literatura 

science-fiction. 

A publicat dou\ 

volume SF [i a fost 

premiat în 1992 

de Societatea 

European\ de SF. 

He is a journalist, 

but Science Fiction 

is the first love. 

He published two 

SF books and in 1992, 

was awarded by the 

European Science 

Fiction Society 

in United Kingdom. 

{apte ani `n domeniul 

comunic\rii corporative 

[i nonprofit i-au 

accentuat dorin]a de a-[i 

`mp\rt\[i g‚ndurile [i 

experien]ele. O autoare 

de bloguri, ea scrie 

despre PR pentru un 

site specializat [i, `n 

timpul liber, despre 

tango. 

Seven years in 

non-profit and corporate 

communications have 

left her with a passion 

for sharing her thoughts 

and experiences. An 

avid blogger, she writes 

about PR for a specialist 

portal and about tango 

in her spare time. 

Lucreaz\ de trei ani ca 

reporter. A urmat 

Facultatea de Limbi 

Str\ine, unde a studiat 

engleza [i franceza. Cu 

toate c\ jurnalismul nu a 

fost prima alegere, a 

r\mas `n acest domeniu 

pentru c\ a descoperit 

c\ ì place s\ afle 

pove[tile oamenilor [i 

ale locurilor. 

She has been working 

as a reporter for three 

years. She attended the 

Faculty of Foreign 

Languages where she 

studied English and 

French. Although 

journalism was not her 

first choice, she continued 

working in this field 

because she 

discovered she likes to 

find out stories about 

places and people. 

Muzeul Na]ional George Enescu / The George Enescu National Museum 

Romania, Otopeni, 

Calea Bucure[tilor nr. 224 F, etaj 2 

Tel.: (4021) 201.47.33 

Fax: (4021) 351.53.68 

http://www.tarom.ro 

PR & Advertising Manager 

Sonia Rusu 

e-mail: prsonia@tarom.ro 

ISSN 1583-4964 

CORRESPONDENCE 

Your opinion, offers of 

collaboration and any further 

requests for information 

are greatly appreciated. 

isabella.hurezan@mediaon.ro 

diana.marcu@mediaon.ro

CUPRINS 

Contents 

4 

34 

08 

14 

20 

24 

CUPRINS CONTENTS 

8 44 

ITINERARII / Air Treks 

CLUJ CLUJ: 

Comori sub Dealul Cet\]uii 

Treasures 

beneath Cetatuii Hill 

ITINERARII / Air Treks 

MUNCHEN MUNICH: 

Culoarea Sudului, 

`n stil nem]esc 

The Color of the South, 

in German Fashion 

JURNAL DE VACAN}| 

Holiday Diary 

MONACO MONACO 

Nestemata Coroanei 

A Crown Jewel 

INTERVIU / Interview 

ALINA COJOCARU 

Lec]ia / The Lesson 

8 

30 

EXPLORATOR / Explorer 

Europa [i Taurul ceresc 

Europe and the 

Bull from the Sky 

34 DISCOVERY 

MAYA MAYA: 

M\re]ia [i pr\bu[irea 

Greatness and Demise 

38 

44 

CAMPIONII / The 

Champions 

Via]a ca o aren\. 

Omul care 

adoarme crocodili 

Life as an Arena. 

The Man who makes 

Crocodiles sleep 

COVER STORY 


DAMIAN DRAGHICI: 

„Am vrut s\ `napoiez 

Rom‚niei ceea ce mi-a dat“ 

“I wanted to return the gift 

Romania made me“ 

50 BUCURE{TIUL 

REDESCOPERIT / 

Bucharest rediscovered 

Parfum de vremuri. 

Frumoasele 

case ale Capitalei 

Flavor of Times. 

The Beautiful 

Houses of Bucharest 

56 

62 

OBICEIURI / Customs 

Ia-]i mireas\ ziua bun\... 

Dear Bride, say “farewell“... 

LOCURI DE POPAS / 

Paceful Retreats 

BUCOVINA BUCOVINA 

Peisaj de sub 

fruntea ]\rii 

Bucovina. 

Landscape beneath 

the country’s brow 

24 

14

VIP 6 

PInterviu cu / Interview with 

Klaus 

Johannis 

Primar al Sibiului 

The Mayor of Sibiu 

Salonul Lounge 

Photo: Constantin Ciocan 

De [apte ani primar al Sibiului, Klaus Werner Johannis (48 de ani) 

este, de la 1 ianuarie 2007, primarul unei capitale culturale 

europene. El are meritul de fi adus ora[ul pe care `l conduce `n 

aten]ia `ntregului continent. Sub angajamentul s\u, Sibiul a fost numit, 

`mpreun\ cu Luxemburg, Capital\ European\ a Culturii pentru anul 2007. 

Johannis este licen]iat `n fizic\ la Universitatea Babe[-Bolyai din Cluj. 

Dup\ terminarea facult\]ii a fost mai `nt‚i profesor de fizic\ la Liceul 

Samuel von Brukenthal din Sibiu. Dup\ 1989 a devenit inspector [colar 

general adjunct, apoi inspector [colar general al jude]ului Sibiu. 

CUM ESTE S| FII PRIMARUL UNEIA DINTRE CAPITALELE EUROPEI 

Este o senza]ie foarte pl\cut\ s\ fii primarul unui ora[ care atrage 

aten]ia at‚tor europeni. ~n acela[i timp, [i o responsabilitate mare. 

Programul Sibiu - Capital\ Cultural\ European\ 2007 este f\r\ precedent 

la noi `n ]ar\ [i reprezint\ o [ans\ nu doar pentru sibieni, ci [i pentru 

Rom‚nia: aceea de a ne prezenta `n fa]a europenilor cu ce facem mai bine 

- cultura. Importan]a evenimentului este cu at‚t mai mare cu c‚t 2007 

este anul `n care am devenit membri ai Uniunii Europene. 

RECENT, SIBIUL A FOST INCLUS DE COTIDIANUL BRITANIC 

„THE GUARDIAN“ PE UNUL DINTRE PRIMELE ZECE ALE WEB- 

SITE-ULUI „50 DE LOCA}II TURISTICE FABULOASE ALE LUMII“. 

SIBIUL OCUP| POZI}IA A NOUA, FIIND DEVANSAT DE NEW 

YORK, LONDRA, PISA, PALERMO, CHICAGO, PARIS. CE 

~NSEAMN| ASTA PENTRU ORA{ 

Pentru Sibiu este o recunoa[tere a ceea ce are mai atractiv, adic\ a 

frumuse]ii centrului istoric [i a valorii programului cultural preg\tit pentru 

anul 2007. Ne bucur\m c\ publica]ia britanic\ atrage aten]ia cititorilor 

din acea parte a Europei asupra Sibiului, care merit\ o c\l\torie 

chiar [i din cel\lalt cap\t al continentului. 

Argumentele [i aprecierile topului sunt cu at‚t mai valoroase, cu c‚t, 

[tim cu to]ii, presa britanic\ nu a avut prea multe cuvinte de laud\ 

despre ]ara noastr\. 

CE ARE SIBIUL SPECIAL ~N ACEST AN 

~n 2007, Sibiul `[i va r\sf\]a vizitatorii cu o ofert\ de excep]ie: un program 

cultural creativ, dinamic, t‚n\r, bazat pe diversitatea popula]iilor, 

culturilor [i limbilor vorbite aici, care va produce experien]e unice. 

For seven years the mayor of Sibiu, Klaus Werner Johannis, 48, is, 

since January 1, 2007, the mayor of Europe’s cultural capital. He 

has the merit of having brought the city he leads to the attention 

of the entire continent. Due to his commitment, Sibiu was named, together 

with Luxembourg, the European Capital of Culture for the year 2007. 

Johannis graduated physics studies at the Babes-Bolyai Universtiy in 

Cluj. After graduating from college he was first a physics teacher at the 

Samuel von Brukenthal in Sibiu. After 1989 he became general deputy 

school inspector and then general school inspector of the Sibiu County. 

HOW IS IT LIKE TO BE THE MAYOR OF ONE OF EUROPE’S 

CAPITALS 

It is a very nice feeling to be the mayor of a city that draws the attention 

of some many Europeans. In the same time, it is a great responsibility. 

The program Sibiu-European Capital 2007 does not have a precedent in 

our country and it is an opportunity not only for the people of Sibiu, but 

for Romania: of presenting ourselves in front of the Europeans with what 

we do best - culture. The importance of the event is furthermore important, 

as 2007 is the year we became members of the European Union. 

RECENTLY, SIBIU WAS INCLUDED BY THE BRITISH DAILY “THE 

GUARDIAN“ ON ONE OF THE FIRST TEN PLACES OF THE “50 

FABULOUS LOCATIONS OF THE WORLD“ WEBSITE. SIBIU IS 

ON THE NINETH POSITION, BEING OUTRUN BY NEW YORK, 

LONDON, PISA, PALERMO, CHICAGO, PARIS. WHAT DOES THIS 

MEAN FOR THE CITY 

For Sibiu it is a recognition of its most attractive sites - the beauty of 

the historical center and the value of the cultural program prepared for 

the year 2007. We are glad the British publication draws the readers’ 

attention from that part of Europe on Sibiu, which deserves a journey 

even from the other side of the continent. The arguments and appreciations 

of the top are even more valuable because, as we all know it, the 

British media did not have too many praising words for our country. 

WHAT IS SIBIU’S SPECIAL OFFER FOR THIS YEAR 

In 2007, Sibiu will spoil its visitors with an exceptional offer: a creative, 

dynamic, young cultural program, based on the game of the large 

array of populations, cultures, and languages spoken here, which will

INSIGHT TAROM Prim\var\/Spring 2007 7 

Vizitatorii vor avea ocazia s\ se bucure de cultur\ `n zeci de fa]ete: teatru, 

muzic\, literatur\, pictur\, dans, film, arhitectur\, me[te[uguri 

tradi]ionale, art\ contemporan\, fotografie, gastronomie. Avem `n 

preg\tire o c\lduroas\ primire turistic\, un peisaj urban unic, iar `mprejurimile 

Sibiului ofer\ un peisaj natural uimitor. 

CÂ}I TURI{TI SUNT A{TEPTA}I S| SOSEASC| LA SIBIU 

Beneficiile pe care le aduce titlul de Capital\ Cultural\ European\ sunt 

de mai multe feluri. Sibiul va deveni un ora[ cunoscut, poate dup\ capitala 

]\rii cel mai vizibil din Rom‚nia. Miz‚nd pe aceasta, suntem `ncredin]a]i 

c\ vom atrage mai mul]i investitori spre Sibiu, care are deja faima unei 

loca]ii economice bune, datorit\ unei zone industriale create `n 2003. 

Infrastructura care s-a modernizat - drumuri, re]ele, transport public, 

iluminat etc. - va r\m‚ne [i dup\ anul 2007 [i va `mbun\t\]i clar calitatea 

vie]ii `n Sibiu. 

~n al treilea r‚nd, vom atrage un num\r important 

de turi[ti. Evalu\rile noastre sunt de 400.000-500.000 

de turi[ti `n plus fa]\ de un an obi[nuit. ~n 2005, am 

avut cam 350.000 de turi[ti. Ceea ce este mai important, 

se creeaz\ premisele ca num\rul celor care vor 

vizita Sibiul s\ creasc\ `n continuare, `n mod natural, [i 

dup\ 2007. 

CARE SUNT, POTRIVIT LUI KLAUS WERNER 

JOHANNIS, PRIMELE CINCI PUNCTE DE 

ATRAC}IE ALE SIBIULUI 

~ntreg centrul istoric este un punct de atrac]ie, `ns\ 

sunt sigur c\ turi[tii vor vrea s\ vad\ Pia]a Mare, 

Turnul Sfatului, Podul Minciunilor [i Pia]a Mic\, 

Muzeul Brukenthal [i Pasajul Sc\rilor, cu trecerile lui 

fantastice pe sub arcadele contrafor]ilor din zidurile de 

fortifica]ii. Pe l‚ng\ acestea, sunt convins c\ ansamblul 

de biserici fortificate din jurul Sibiului va prezenta 

interes pentru turi[ti. Dac\ ar fi s\ fiu subiectiv, a[ 

recomanda cl\direa baroc\ a Colegiului Brukenthal, 

un loc pe care `l vizitez de fiecare dat\ cu pl\cere. 

DAC| NU A{ {TI NIMIC DESPRE ORA{, CUM MI 

L-A}I DESCRIE 

Sibiul este un ora[ care adun\ la un loc rigoarea 

arhitecturii germane cu un [arm aproape mediteranean. 

Sibiul p\streaz\ `nc\ imaginea de acum trei secole, 

a celei mai bogate [i mai influente dintre cele [apte cet\]i 

transilvane, care era, `n acela[i timp, [i un centru al 

artelor [i culturii. 

Centrul istoric, de un farmec deosebit, al\tur\ 

cl\diri de perioade [i stiluri diferite - de la gotic [i 

Rena[tere p‚n\ la baroc [i Jugendstil. Cine se plimb\ 

prin centrul vechi vede `n jur o adev\rat\ cronic\ a 

celor opt secole de istorie a ora[ului. Aceasta este 

„perla“ ora[ului, dar ve]i descoperi [i loca]ii care 

vibreaz\ de tinere]e [i locuri moderne sau inedite `n 

care s\ v\ bucura]i de [ederea `n Sibiu. 

VORBIND DESPRE ORA{E, DESPRE C|L|TORII, 

AVE}I DESTINA}II DE ZBOR FAVORITE 

Sunt sigur c\ toate destina]iile sunt interesante `n felul 

lor, de accea las pe fiecare s\ le descopere farmecul. ∫ 

bring unique experiences. Visitors will have chance to enjoy culture in 

dozens of ways: theatre, music, literature, paintings, dance, film, architecture, 

tradition craft, contemporary art, photography and gastronomy. We 

are preparing a warm welcoming for tourists, a unique urban landscape 

and the surroundings of the city offer an amazing natural landscape. 

HOW MANY TOURISTS ARE YOU EXPECTING IN SIBIU 

The benefits the titleof European Cultural Capital are of many kinds. 

Sibiu will become a well-known city, maybe the most visible city of 

Romania after the country’s capital. Putting our stakes on this grown visibility, 

we are sure we will attract more investors to Sibiu, which already 

has the fame of good economic location due to the industrial area that 

was created in 2003. The modernized infrastructure - roads, networks, 

public transport, illumination and so on - all these will remain after 2007 

and will improve the life quality in Sibiu. 

Thirdly, we will attract a significant number of 

tourists. Our evaluations are of 400,000-500,000 

tourists in comparison with the usual years. In 2005, 

we had around 350,000 tourists. What is important is 

that the establishment of the premises that will make 

the number of tourists in Sibiu to continue to grow 

naturally even after 2007. 

WHICH ARE, ACCORDING TO KLAUS WERNER 

JOHANNIS, THE FIRST FIVE POINTS OF 

ATTRACTION IN SIBIU 

The entire historical center is a point of attraction, 

but I am sure the tourists will want to see the Grand 

Square, the Council Tour, the Bridge of Lies and the 

Small Square, the Brukenthal Museum and the Stairs’ 

Passage. Besides these I am sure the entrenched 

churches surrounding Sibiu will be of interest for the 

tourists. If I were subjective, I would recommend the 

baroque building of the Brukenthal College, a place I 

visit with pleasure every time. 

IF I KNEW NOTHING ABOUT THE CITY, HOW 

WOULD YOU DESCRIBE IT TO ME 

Sibiu is a city that combines the precision of the 

German architecture with an almost Mediterranean 

charm. Sibiu still keeps the three-century old image 

of the riches and most influential of the seven 

Transylvanian citadels, which was in the same time a 

center of arts and culture. 

The historical center, of a special charm, combines 

buildings of different periods and styles - from 

Gothic and Renaissance to baroque and Jugendstil. 

Who walks down the historical center sees a real 

chronicle of the city’s eight centuries of history. This 

is the city’s „pearl,“ but here you will discover locations 

that vibrate with youth and modern or unusual 

places where to enjoy your staying in Sibiu. 

TALKING ABOUT CITIES AND TRAVELLING, DO 

YOU HAVE FAVORED FLIGHT DESTINATION 

I am sure all destinations are interesting in their 

own way, which is why I let each person discover 

their charm. ∫

ITINERARII 

Air Treks 

8 

Cluj beneath 

By Corina Gonteanu 

Photo: Paul Antoniu 

Comori sub 

Dealul Cet\]uii 

Treasures 

Cetatuii Hill 

Statuie ecvestr\: Sfântul Gheorghe 

Ecvestrian sculpture: Saint George 

~N JURUL STATUII LUI MATEI CORVIN, FREAM|TUL NU CONTENE{TE. 

PORUMBEII, COPIII CARE ~NCEARC| S| SE CA}ERE PE SOCLU, ADOLESCEN}II 

CARE-{I POVESTESC ~NTÂMPL|RILE DE PESTE ZI, ~NDR|GOSTI}II... 

De peste 100 de ani, monumentul ecvestru al regelui maghiar de 

descenden]\ rom‚n\ este locul de `nt‚lnire al clujenilor. Ne 

afl\m `n Pia]a Unirii, deslu[ind urmele a peste 2.000 de ani de istorie. 

Sub caldar‚m se afl\ vestigiile unei a[ez\ri neolitice, peste care se 

suprapun locuin]e [i obiecte romane, din vremea c‚nd Clujul primise de 

la `mp\ratul Hadrian numele de „Municipium Aelium Hadrianum Napoca“. 

Retragerea aurelian\ a adus dec\derea ora[ului, distrus mai apoi 

de migra]iile evului mediu timpuriu. 

Clujul avea s\ renasc\, iar `n 1167 era men]ionat pentru prima dat\ 

`n documente drept „Castrum Clus“. La 1350 `ncepe construc]ia primei 

catedrale, de rit romano-catolic, dedicat\ Sf‚ntului Mihai. Dup\ altarul de 

24 de metri, lucr\rile au continuat p‚n\ `n 1487. Decora]iunile ini]iale s-au 

pierdut, dar o restaurare contemporan\ a pere]ilor a dezv\luit fragmente 

ale unor fresce delicate, din secolele XIV-XV. ~n capela de la baza turnului 

a supravie]uit o alt\ fresc\ de secol XV, „Golgota“. 

Poarta sus]ine `nsemnele heraldice ale regelui Sigismund. Catedrala, 

unul dintre cele mai vechi edificii transilvane `n stil gotic, domin\ actuala 

Pia]\ a Unirii, odinioar\ „inima“ ora[ului. 

O FARMACIE ISTORIC| {I „STRADA ~N OGLIND|“ 

Pe latura nordic\ a Pie]ei Unirii, la intersec]ia cu bulevardul Regele 

Ferdinand, mai poate fi v\zut\ cl\direa care a ad\postit prima farmacie 

clujean\. ~nfiin]at\ `n 1572, ea a apar]inut municipalit\]ii p‚n\ `n 1752, 

c‚nd a fost `nchiriat\ unui farmacist particular [i a func]ionat p‚n\ `n 

1949, inclus\ apoi `n Muzeul Na]ional de Istorie al Transilvaniei. 

Cl\direa ad\poste[te acum colec]ia de istorie a farmaciei, obiecte de 

uz farmaceutic de pe `ntreg cuprinsul Transilvaniei. Amenajarea a p\strat 

For more than 100 years, the 

statue of the Hungarian 

king of Romanian birth 

mounted on a horse has been the 

meeting place for the residents of 

Cluj. We are in Unirii Square, following 

the trail of over 200 years 

of history. 

Neolithic ruins lie beneath the 

cobblestone. Above them lie Roman 

walls and objects from the time 

when Emperor Hadrian had 

named Cluj “Municipium Aelium 

Hadrianum Napoca“. The withdrawal 

of Emperor Aurelianus 

meant the decay of the city, destroyed 

later by migrations during 

the early Dark Ages. Cluj was later 

reborn and, in 1167, was first mentioned 

in documents as “Castrum 

Clus.“ 

The construction of the city’s 

first cathedral began in 1350. It 

was a Catholic cathedral, dedicated 

to Saint Michael. After building 

a 24 meter altar, the works 

continued until 1487. The initial 

decorations disappeared, but a 

recent restoration of the walls 

unveiled fragments of delicate 

paintings, from the 14 th 

and 15 th 

centuries. 

In the chapel of the tower, 

another 15 th 

century fresco, “Golgotha,“ 

survived. The gate holds 

King Sigismund’s coat of arms. 

The cathedral, one of the oldest 

Gothic buildings in Transylvania, 

towers over Unirii Square, which 

used to be the “heart“ of the city. 

A HISTORIC DRUGSTORE 

AND THE “MIRROR STREET“ 

On the northern side of Unirii 

Square, at the meeting point of 

King Ferdinand Boulevard, stands 

the building that hosted the first 

drugstore in Cluj. Set up in 1572, it 

belonged to the city until 1752, 

when it was rented out to a private 

pharmacist. It was open until 

1949 and later it was included in 

the Transylvanian National History 

Museum.


Catedrala Romano-Catolic\, construit\ la 1350 / The Roman-Catholic Cathedral, built in 1350 

THE RUSTLING NEVER STOPS AROUND MATEI CORVIN’S 

STATUE. PIGEONS, CHILDREN TRYING TO CLIMB THE BASE, 

TEENAGERS TALKING ABOUT THEIR DAILY LIVES, LOVERS... 

destina]ia ini]ial\ a `nc\perilor: magazie, laborator, birou - pe tavanul 

c\ruia vizitatorii pot admira `nc\ fresce cu simboluri farmaceutice din secolul 

al XVIII-lea. 

Din aceea[i perioad\ dateaz\ [i palatul care g\zduie[te Muzeul Na]ional 

de Art\. Construit `ntre anii 1774 [i 1785 de c\tre arhitectul Johann 

Eberhard Blaumann, la comanda guvernatorului Gyorgy Banffy, este cea 

mai reprezentativ\ cl\dire a barocului transilvan. O restaurare expert\, finalizat\ 

`n 1996, i-a redat aspectul ini]ial. Ast\zi, vizitatorii admir\ aici 

colec]ii de art\ din Transilvania, inclusiv altarul din Jimbor, secolul al 

XVI-lea, opere anonime din secolele XVIII [i XIX, dar [i lucr\ri ale pictorilor 

Ioan Andreescu, Constantin David Rosenthal, Theodor Aman. 

~n vecin\tate se ridic\ alte dou\ cl\diri remarcabile: Palatele Statusului 

Romano-Catolic, construite la finele secolului al XIX-lea. Cl\dirile 

gemene str\juiesc intrarea pe strada Iuliu Maniu, o raritate arhitecto- ® 

Bastionul Croitorilor / Tailors’ Bastion 

The building now hosts a collection 

covering the history of 

pharmaceutics, with drugstore 

tools from all over Transylvania. 

The rooms kept their original destination: 

storage room, lab, office. 

On the ceiling of the last, visitors 

can still admire frescos with pharmaceutical 

symbols from the 18 th 

century. 

Also built in the 18th century is 

the palace that is home to the National 

Art Museum. Built between 

1774 and 1785 by architect Johann 

Eberhard Blaumann and by orders 

of Governor Gyorgy Banffy, this 

building best represents Transylvanian 

baroque. 

A professional restoration, finished 

in 1996, gave the palace its 

original appearance. Visitors can 

currently admire there collections 

of Transylvanian art, including the 

16 th century Jimbor altar, anonymous 

pieces from the 13 th and 14 th 

centuries and works of painters 

Ioan Andreescu, Constantin David 

Rosenthal, Theodor Aman. 

Two other notable buildings 

stand nearby: the Palaces of the 

Roman-Catholic Status, built at the 

end of the 19th century. The twin 

buildings tower over Iuliu Maniu 

Street, which in itself is an architectural 

wonder. It is also called 

the “Mirror Street,“ because each 

house is identical to the one across 

the road, from structure to architecture 

details, ornaments, gates, 

window grating and balconies. 

TAILORS’ BASTION 

- MEMORY IN TEARS 

The metropolitan cathedral 

stands in the center of Stefan cel 

Mare Square. This is a Byzantine 

style Orthodox church built in the 

first years of the 20th century. The 

dome resembles the one at Saint 

Sophia. 

The square marks the edge of 

the old Cluj citadel. A few hundred 

meters away, visitors can 

find the only remnants of the ®

ITINERARII Air Treks 10 

® nic\ - strada `n oglind\. Fiecare cas\ este identic\ celei de peste drum, 

de la structur\ [i form\ p‚n\ la detaliile arhitectonice, sculpturi ornamentale, 

por]i, grilajele ferestrelor [i balcoane. 

BASTIONUL CROITORILOR - MEMORIA ~NL|CRIMAT| 

~n centrul Pie]ei {tefan cel Mare se `nal]\ catedrala mitropolitan\, 

l\ca[ de cult ortodox zidit `n primii ani ai secolului XX, `n stil bizantin. 

Cupola bisericii a fost modelat\ dup\ cea a Hagiei Sofia. 

Pia]a marcheaz\ limita vechii cet\]i clujene. La c‚teva sute de metri se 

reg\se[te singurul fragment din zidul fortifica]iei, care a supravie]uit anilor, 

[i Bastionul Croitorilor, construit ca turn de observa]ie. ~n 5 februarie 

1601, edilii au expus aici trupul ne`nsufle]it al lui Baba Novac, c\pitanul 

lui Mihai Viteazul, ars de viu dup\ `nfr‚ngerea de la Mir\sl\u. Ast\zi, o 

statuie [i numele str\zii din apropiere amintesc de soarta nefericitului 

c\pitan. Un alt turn, cel al Pompierilor, se ridic\ solitar la c‚]iva kilometri 

distan]\, pe malul Some[ului. Fortifica]ia a ap\rut `n secolul al XV-lea [i 

proteja vechile ziduri ale cet\]ii, ridicate `n secolul al XIII-lea. 

Str\zile Baba Novac [i Mihail Kog\lniceanu ne readuc `ncet spre Pia]a 

Unirii, cu un popas la biserica reformat\, construit\ `n stil gotic t‚rziu `ntre 

1486 [i 1510, cu ajutorul b\nesc al lui Matei Corvin. Pe latura nordic\ pot fi 

v\zute `nc\ ghiulelele ce au p\truns `n zid `n timpul asediilor din secolele 

XVI [i XVII. 

Drumul trece pe l‚ng\ cl\direa Filarmonicii clujene, pe l‚ng\ impozanta 

cl\dire a Universit\]ii Babe[-Bolyai, [i duce pe Strada Universit\- 

]ii, la Biserica Piari[tilor, construit\ `ntre anii 1718 [i 1724, `ntr-un baroc 

fermec\tor. 

® 

Vitraliu / Stained glass window 

® citadel’s walls and the Tailors’ 

Bastion, built by the tailors’ guild 

as an observation tower. 

On February 5, 1601, the city 

leaders displayed there the body 

of Baba Novac, a captain in the 

army of ruler Mihai the Brave, 

burned alive after the defeat at 

Miraslau. 

Today, a statue and the name 

of a nearby street are remembrances 

of the captain’s sad fate. 

Another tower, of the firefighters, 

stands solitary a few kilometers 

away, on the bank of the Somes 

River. 

It was built in the 15 th century 

to protect the old city walls, dating 

from the 13 th century. 

Baba Novac and Mihail Kogalniceanu 

streets bring the visitor 

back to Unirii Square, with a stop 

at the Protestant church built in a 

late Gothic style between 1486 and 

1510, with financial support from 

Matei Corvin. The unrest of the 

Reformation prevented people 

from entering there for ceremonies 

until 1579, when Prince Bathory 

gave it to the Jesuits. In 1662, the 

leaders’ council decided the 

church would be used by Protestants, 

who remain in charge of it, 

even today. The holes made by 

projectiles during sieges in the 16 th 

and 17 th 

centuries are still visible 

on the northern side. 

THE INN OF ROYAL 

TRAVELERS 

The road goes further along 

the building of the Cluj Philharmonic 

Orchestra, the imposing 

Babes-Bolyai University building 

and leads to University Street and 

the Piarist Church, built between 

1718 and 1724, in charming 

baroque. 

Crossing Unirii Square, the visitor 

can walk down Corvin Street 

to see Cluj’s oldest laic building: 

the Matei Corvin Memorial House, 

a gothic building dating back to 

the 14 th 

century. In spite of its 

name, the building did not belong 

to Corvin’s family. It was an inn 

where the king’s mother, Erzsebet 

Szilagyi, lived and where Matei 

Corvin was born and lived his first 

months. 

Museum Square got its name 

from the nearby Transylvanian 

History Museum. Set up in 1859 

by the Transylvanian Museum 

Society and functioning in the current 

headquarters since 1932, the 

institution presents a broad history 

of Transylvania. 

The collections include a lapidary 

with Roman and medieval 

engraved stones and a treasure of 

about 4,000 pieces of gold and silver 

jewelry, harnesses, clothing accessories, 

coins and medals. 

The Franciscan Church, ®

ITINERARII Air Treks 12 

® Travers‚nd Pia]a Unirii, intr\m pe strada Corvin, pentru cea mai 

veche cl\dire laic\ a Clujului: Casa Memorial\ Matei Corvin, zidit\ la 

finalul secolului al XIV-lea. ~n ciuda numelui s\u, cl\direa nu a apar]inut 

huniazilor, fiind de fapt un han `n care s-a ad\postit Erzsebet Szilagyi, 

mama regelui, locul `n care acesta s-a n\scut. 

Pia]a Muzeului a fost numit\ astfel dup\ Muzeul de Istorie al Transilvaniei, 

din apropiere. ~nfiin]at\ `n 1859 de Societatea Muzeului Ardelean, 

institu]ia face o ampl\ prezentare a istoriei transilvane. Colec]iile includ un 

lapidar, cu vestigii romane [i medievale, [i un tezaur de circa 4.000 de 

obiecte din aur [i argint, podoabe, piese de harna[ament, accesorii vestimentare, 

monede [i medalii. 

® most likely built around 1260- 

1290 on the ruins of an older 

church destroyed by Tatars, was 

designed in late Romanic style 

with Gothic elements. 

Close to the church, a Benedictine 

monastery financed by 

Iancu of Hunedoara was built. During 

the Reformation, the Benedictine 

monks were chased away. 

Today, the building hosts a high 

was built, in 1715, it often served 

as prison and has housed famous 

revolutionaries such as Horea, 

Closca and Crisan and the leaders 

of the 1848 revolution. 

The scenery of Cetatuii Hill 

reveals many treasures of the city, 

a mixture of color and style that 

makes it lively and lovable for 

tourists, but difficult to describe 

for the writer... ∫ 

Catedrala Sf. Mihail, interior 

Pe malul opus al Some[ului, Dealul Cet\]uii `[i datoreaz\ numele fortifica]iei 

austriece care `l `ncoroneaz\. Domin‚nd urbea `nc\ de la construire, `n 

1715, ea a servit adesea [i ca `nchisoare, printre de]inu]i num\r‚ndu-se capi ai 

r\scoalei lui Horea, dar [i pa[opti[ti. Panorama de pe Dealul Cet\]uii dezv\- 

luie multe alte comori ale ora[ului, un mozaic de stiluri [i culori, acela care-l 

face at‚t de viu [i de pl\cut turistului, dar at‚t de greu condeierului... ∫ 

Teatrul Na]ional din Cluj / The Cluj National Theatre 

school for music students. 

On the other bank of Somes 

River, Cetatuii Hill owes its name 

to the Austrian stronghold built 

there. 

Towering over the city since it 

St. Michael’s Cathedral, interior view 

BUCURE{TI (HENRI COAND|) - CLUJ 

Zbor / Perioad\ / Zile de operare / Plecare / Sosire / Avion / 

Flight Effective Days of Service Departure Arrival Aircraft 

RO 651 25.03.07 - 1, 2, 3, 4, 5 07.55 08.55 AT 5 

27.10.07 

RO 653 25.03.07 - 7 13.05 14.05 AT 5 

27.10.07 

RO 647 25.03.07 - 1, 2, 3, 4, 5, 6 17.25 18.25 AT 5 

27.10.07 

RO 649 25.03.07 - 1, 2, 3, 4, 5, 7 21.20 22.10 737 

27.10.07 

RO 649 25.03.07 - 6 21.20 22.20 AT 5 

27.10.07 

CLUJ - BUCURE{TI (HENRI COAND|) 



RO 654 25.03.07 - 1, 2, 3, 4, 5, 7 14.25 15.25 AT 5 

27.10.07 

RO 648 25.03.07 - 1, 2, 3, 4, 5, 6 18.45 19.45 AT 5 

27.10.07 

RO 650 25.03.07 - 1, 2, 3, 4, 5, 6 06.45 07.35 737 

27.10.07 

RO 650 25.03.07 - 7 06.45 07.45 AT 5 

27.10.07

ITINERARII 

Air Treks 

14 

MUNCHENMUNICH 

Culoarea Sudului, `n stil nem]esc 

The Color of the South, in German Fashion 

Timp [i art\ / Time and art 

PÂN| TOAMNA TÂRZIU, ÎNCEPÂND DIN PRIM|VAR|, {I CHIAR ~N INIMA IERNII, MUNCHENEZUL 

PURSÂNGE, DAR {I CEL „ADOPTAT“, C|CI METROPOLA BAVAREZ| ~{I FARMEC| OASPE}II, SIMTE O 

TIHN| AUTENTIC|, O POFT| DE VIA}| BINE TEMPERAT|, ~NS| PREGNANT|. 

STARTING IN SPRING AND LASTING UNTIL LATE FALL, EVEN IN THE DEPTHS OF WINTER, THE REAL 

MUNICH RESIDENT, AS WELL AS THE “ADOPTED“ ONE - AS THE BAVARIAN METROPOLIS OFTEN CHARMS 

ITS GUESTS INTO STAYING - FEELS AN INNER PEACE, A WELL-TEMPERED BUT OBVIOUS JOY OF LIFE. 

By Danut Ungureanu 

Frauenkirche, catedrala simbol al ora[ului / The Frauenkirche - the cathedral as a symbol of the city 

Chiar dac\ plou\, `n taverne halbele continu\ s\ defileze [i s\ se 

goleasc\, sub amenin]area miezului de noapte, c‚nd cele mai 

multe dintre localuri trag obloanele. Nicio dezam\gire `ns\ pentru 

acela obi[nuit s\ savureze via]a de noapte, c\ci barurile [i cluburile 

`[i primesc clien]ii p‚n\ la [ase diminea]a. O constela]ie de puburi [i discoteci 

str\luce[te, puls‚nd frenetic, pe Occamstrasse [i Feilitzstrasse. Iar 

`ntre Leopoldstrasse - bulevardul central - [i Munchner-Freiheit sunt 

locurile de dans cele mai c\utate. Aici, p‚n\ [i amatorii devin iute profesioni[ti 

ai pasului ritmat. 

Boema se reune[te, `nc\ din primele decenii ale secolului trecut, `n 

Even when it rains, the 

mugs of draught beer continue 

to pour and are emptied 

inside the taverns, under the 

threat of midnight, when most restaurants 

close. Do not be disappointmented, 

however, for those 

who enjoy the taste of night life, 

pubs and clubs remain open until 

six o’clock in the morning. There is 

an entire network of pubs and discos 

that shines, pulsating frantically, 

on Occamstrasse and Feilitzstrasse. 

The most popular places to 

go dancing are between Leopoldstrasee 

- the main boulevard - and 

Munchner-Freiheit, where even 

amateurs can get caught up in the 

scene. 

Bohemians have been gather-


Schwabing, locul scriitorilor, al poe]ilor, actorilor [i muzicienilor, dar [i 

preferatul studen]ilor, pentru escapade nocturne mai pu]in previzibile 

din perspectiva... spiritului nem]esc. Via]a de noapte a ora[ului are 

acela[i chip cu anotimpurile. La `nceputul anului s-a `ncheiat Fasching, 

carnavalul bavarez, pornit prin noiembrie, cu `ncoronarea Regelui [i a 

Reginei Nebunilor, prilej cu care s-au etalat admira]iei publice unele dintre 

cele mai insolite [i fascinante rochii de bal. O mare parad\ pune 

punct, `n plin\ strad\, fermec\torului exces de fantezie. 

COCHET|RIILE B|TRÂNEI URBE 

Palatul Residenz e mereu ]inta unei promenade tradi]ionale, printre 

copacii care traseaz\ Maximilianstrasse. ~n apropiere a[teapt\ marile 

colec]ii - Galeria de Art\ Modern\, Vechea [i Noua Galerie de Pictur\. Pe 

insula Isarului a fost amenajat Deutsches Museum, unul dintre cele mai 

faimoase locuri dedicate [tiin]ei. 

Ora[ul nou s-a impus irezistibil celui vechi. Dar str\zile lungi, 

Odeonsplatz 

Photo: Frank Riessmann 

ing, since the first decades of the 

last century, in Schwabing, a hangout 

for writers, poets, actors and 

musicians, but also a favorite spot 

among students for spending the 

evening out, which is not so expected, 

from the perspective of ... the 

German spirit. The city’s nightlife 

has the same face as the seasons. 

The Bavarian carnival Fasching, 

which draws to a close at the beginning 

of the year, begins in November 

with the coronation of the 

King and Queen of Fools, an opportunity 

for the public to see a parade 

of some of the most unique and fas- 

apar]in‚nd exclusiv pietonilor, Kaufingerstrasse ori Neuhauserstrasse, 

p\r\sesc gara principal\ [i Karlstor - una dintre por]ile urbei, spre Marienplatz, 

inima Ora[ului vechi. Aici, `n fa]a prim\riei noi, au `ncremenit 

cinating costumes. A great parade 

ends, in the middle a crowded street, 

the charming excess of fantasy. 

fermecate personajele mecanice ale caruselului - Glockenspiel. 

THE SHOP WINDOW, 

Centrul e dens, fascinant [i poate fi str\b\tut pe jos. ~ntre localit\]ile 

germane Munchenul p\r\se[te [abloanele istorice, tocmai pentru 

c\ nu i se poate identifica un centru omogen al Ora[ului Vechi. 

Nuan]ele proaspete [i str\lucitoare se asorteaz\ de minune cu 

THE ALLURE OF THE OLD 

TOWN 

Residenz Palace is always the 

target of a traditional promenade 

A LANDSCAPE WITH 

BEAUTIFUL OBJECTS 

There is no shortage of Bavarian 

antiquities, from the cheapest clay 

tradi]ionalul rustic, iar postbelicul arhitectural separ\ zone compacte through the trees that mark beer steins to the massive furniture, 

de cl\diri venerabile, unele dintre ele dat‚nd nici mai mult, nici mai 

pu]in, de la originile ora[ului. Operele baroc [i rococo `[i revendic\ 

`ns\, f\r\ drept de apel, gloria Bavariei, `n detrimentul goticului, care... 

nu a prins aici, `n Sud. 

Altstadt este situl ora[ului medieval, cuprins `ntre Sendlinger Tor, 

Isartor, Odeonsplatz [i Karlstor. La nord-vest, palatul Nimfenburg [i frumosul 

s\u parc g\zduiesc fabrica [i muzeul dedicat celebrului por]elan 

cu acela[i nume. Str\b\t‚nd la pas toat\ aceast\ `ncreng\tur\ lini[titoare 

de str\zi [i opere arhitectonice, ve]i descoperi c\, pe alocuri, normele au 

interzis ridicarea unor cl\diri mai `nalte dec‚t Frauenkirche - catedralasimbol 

Maximilianstrasse. Nearby there 

are great collections of art - the 

Modern Art Gallery, the Old and 

the New Painting Gallery. The 

Deutsches Museum, one of the 

most important places dedicated to 

science, was built on an island in 

the Isar River. The new city imposed 

itself irresistibly over the old 

one. However, the long streets - 

popular in the houses of farmers, at 

the multitude of small shops on 

Westenriederstrasse and Viktualienmarkt. 

The shelves bend under 

the weight of curiosity, superb 

collections of old dolls and toys. At 

the same time, unusual and inexpensive 

objects and assorted trinkets 

from all around Eastern Europe 

are put on display at weekend 

al ora[ului. ® Kaufingerstrasse or Neuhauserstra- 

fairs, close to Arnulfstrasse the 

® 

sse, which are closed off to automobiles, 

leave the main train station 

and Karlstor - one of the city’s gates, 

toward Marienplatz, the heart of 

the Old Town. Here, in front of the 

new city hall, stand the famous mechanical 

characters of the carousel - 

Glockenspiel. The center is densely 

populated, fascinating, and can be 

travelled on foot. Among German 

cities, Munich drifts away from traditional 

patterns, precisely because 

one cannot identify a definite center 

of the Old Town. The fresh and brilliant 

nuances match wonderfully 

with the rural traditions, while the 

post-war architecture separates 

compact areas of admired buildings, 

some of them dating back to 

the beginnings of the cty. The baroque 

and rococo works claim, without 

any dispute, the glory of Bavaria, 

to the detriment of the Gothic 

style, which did not have much success 

here in the south of Germany. 

Altstads is the site of the medieval 

town, nestled among Sendlinger 

Tor, Isartor, Odeonsplatz and Karlstor. 

Toward the northwest, Nimfenburg 

Palace and its beautiful 

park play host to the factory and 

museum dedicated to the famous 

porcelain of the same name. Exploring 

this gentle network of streets 

and architectural works on foot, 

you will discover that, here and 

there, regulations have forbidden 

the construction of buildings taller 

than Frauenkirche - the cathedral 

which serves as a symbol of the city.

ITINERARII 

Air Treks 

16 

Vedere panoramic\ asupra Munchenului / Panoramic view of Munich 

VITRINA, PEISAJ CU OBIECTE FRUMOASE 

® Antichit\]ile bavareze, de la cea mai ieftin\ halb\ din lut p‚n\ la 

mobilierul masiv care st\p‚ne[te casele fermierilor, sunt nelipsite `n 

puzderia micilor pr\v\lii din Westenriederstrasse [i Viktualienmarkt. 

Rafturile se `ndoaie sub mul]imea curiozit\]ilor, superbe colec]ii de 

p\pu[i vechi [i juc\rii. Totodat\, piese interesante [i necostisitoare ori 

fleacuri asortate, de pe tot cuprinsul Europei de Est, zac `n week-end prin 

iarmaroace, aproape de Arnulfstrasse podul [i Donnersberger. 

Constela]ia magazinelor continu\ pe Barerstrasse, Turkenstrasse, 

Theresienstrasse. Centrul cuprinde o imens\ zon\ dedicat\ cump\r\- 

torilor, de la Marienplatz p‚n\ spre nord, la Odeonplatz. Munchenul este 

o metropol\ `nst\rit\ [i o arat\ cu prisosin]\. Pe kilometri `ntregi de ® 

® bridge and Donnersberger. 

The network of shops continues 

on Barerstrasse, Turkenstrasse and 

Theresienstrasse. The center includes 

an immense area dedicated to 

shoppers, from Marienplatz to the 

north, at Odeonplatz. 

Munich is a wealthy metropolis 

and it shows. On kilometers of 

streets that are inaccessible to cars, 

the shop windows seem to line endlessly, 

one after the next, in a parade 

of colors. 

The shops have an unmistakable 

elegance and very few of the 

passers-by can resist their temptations. 

Even for those only interested 

in looking around - and you definitely 

have things to see - you really 

must make an effort to discover the 

row of boutiques on Prannerstrasse. 

And up north, a little ways 

from the University, one can find 

the maze of some of the most noncomformist 

and unique commercial 

streets that are absolutely impossible 

to ignore. 

BEER, BREWERIES AND BEER 

HOUSES 

Asked where they would like to 

live, Germans often place the Bavarian 

capital at the top of the list. The 

respectable Munich resident does 

not refuse a glass of wine, even finding 

some time to comment upon 

it. Then he indulges in a couple of 

culinary wonders. The Bavarian’s 

passion for the “Wurst“ (sausage) 

explains such sayings as “don’t let 

the midday sun shine over a 

Weisswurst,“ or the pledge not to 

eat “Rotwurst“ in the evening. 

Among the local favorites are Bratwurst 

- made of pork and spices, 

but the Munich traditional is Weisswurst: 

veal, beef brain and spleen, 

sprinkled with lemon juice. However, 

one can in no way ignore the 

other wonders of Bavarian cuisine: 

Zungerl - pork tongue, Klosse - 

potato balls, Wammers - pork stomack, 

the famous Schweinbraten, or 

carp - very esteemed among gastronomers. 

®

ITINERARII 

Air Treks 

18 

Königsplatz Munich Photo: Frank Reissmann Marienplatz, simbol bavarez / Marienplatz, a Bavarian symbol 

® str\zi interzise automobilului, vitrinele se succed f\r\ `ncetare, o ® 

defilare a culorilor. Magazinele au o clas\ inconfundabil\ [i foarte pu]ini 

dintre trec\tori se pot `mpotrivi tentanta]iilor pe care le eman\. Dac\ e 

vorba `ns\ doar de privit - [i ave]i ce privi -, trebuie neap\rat s\ 

descoperi]i [irul buticurilor de pe Prannerstrasse. Iar spre nord, ceva mai 

`ncolo, dup\ Universitate, se contorsioneaz\ unele dintre cele mai 

nonconformiste [i insolite str\du]e comerciale, cu neputin]\ de ignorat. 

BEREA, BERARII {I BER|RIILE LOR 

~ntreba]i unde le-ar pl\cea s\ tr\iasc\, nem]ii `nregistreaz\ capitala 

bavarez\ pe locul `nt‚i `n lista op]iunilor. Munchenezul respectabil nu 

refuz\ un p\h\rel de vin, ba chiar g\se[te timp pentru a-l comenta. Apoi, 

`[i desfat\ sim]urile cu c‚teva minun\]ii gastronomice. 

Pasiunea bavarezului pentru „wurst“, c‚rnat, explic\ zicalele precum 

„nu l\sa soarele amiezei s\ str\luceasc\ peste un Weisswurst“ ori 

leg\m‚ntul de a nu m‚nca „rotwurst“ seara. Printre favori]i se num\r\ 

bratwurst - din carne de porc cu mirodenii, dar tradi]ionalul munchenez 

este weisswurst: vi]el, creier de vit\ [i splin\, stropite cu suc de l\m‚ie. Cu 

niciun chip nu pot fi `ns\ ignorate celelalte minuni ale buc\t\riei 

bavareze: zungerl - limb\ de porc, klosse - g\lu[ti de cartofi, wammerl - 

stomac de porc, celebrul schweinbraten ori crapul - la mare pre] printre 

gastronomi. 

Subiectul inepuizabil al dezbaterilor... practice r\m‚ne, f\r\ drept de 

apel, galeria de virtu]i ale berii. Zeci de ber\rii, Bierkellers sau Biergartens, 

`[i `mbie oaspe]ii cu gust\ri simple - c‚rna]i, ridichi, br‚nz\ [i delicio[i covrigi, 

s\ra]i parc\ anume pentru a spori setea. 

Berea bavarez\ „normal\“ nu este at‚t de tare ca aceea care se bea `n 

nordul Germaniei. Weizenbier se face cu o concentra]ie mare de gr‚u fermentat. 

Prim\vara, o dat\ cu fructele [i legumele proaspete, se servesc 

Bock [i Doppelbock, Marzenbier [i Pils ori Beck neagr\. Cine nu se simte 

`n stare s\ mai fac\ fa]\ la o „normal\“ cere politicos Radlermass (literar - 

„o halb\ pentru biciclet\“), jum\tate bere, jum\tate limonad\. 

De secole, obiceiul locului ì `ng\duie celui care trece pragul ber\riei, 

pentru a-[i ast‚mp\ra setea cu o halb\, s\-[i aduc\ m‚ncare de acas\. 

Potrivit legii [i mai ales... orgoliului, ber\riile `[i fabric\ propria bere din 

drojdie, orz, hamei [i ap\. Conservan]i nu se pun, c\ci cine mai are 

nevoie de ei c‚nd clien]ii `nseta]i golesc un butoi de 200 de litri `n c‚teva 

minute ∫ 

BUCURE{TI (HENRI COAND|) - MUNCHEN 



RO 311 25.03.07 - 1, 2, 3, 4, 5, 7 14.55 16.00 737 

27.10.07 

The inexhaustible subject of 

practical debate remains, nevertheless, 

the abundant virtues of beer. 

Dozens of beer houses, Bierkellers 

or Biergartens lure their guests with 

simple appetizers - sausages, radishes, 

cheese and delicious pretzels, 

salted seemingly with the very 

purpose of increasing thirst. The 

“normal“ Bavarian beer is not as 

strong as the popular tipple in northern 

Germany. Weizenbier is made 

with a larger concentration of 

fermented wheat. In spring, together 

with the fresh fruit and vegetables, 

locals enjoy a Bock and Dopplebock, 

Marzenbier and Pils or 

dark Beck. Those who do not think 

they can handle a “normal“ beer, 

can politely ask for Radlermass 

(literally, “a draught for the bicycle“), 

made of half beer - half lemonade. 

For centuries, the custom of the 

place allows those who go into a 

beer house to quench their thirst, 

and bring their own food from 

home. According to the law, and 

especially owing to pride, beer 

houses make their own beer, from 

yeast, barley, hops and water. There 

are no preservatives, because who 

needs them when the thirsty clients 

empty a 200 liter barrel in a matter 

of minutes ∫ 

MUNICH - BUCURE{TI (HENRI COAND|) 



RO 312 25.03.07 - 1, 2, 3, 4, 5, 7 16.45 19.45 737 

27.10.07 

SIBIU - MUNCHEN 



RO 309 25.03.07 - 1, 2, 3, 4, 5, 6, 7 15.20 17.00 AT 5 

27.10.07 

RO 315 25.03.07 - 1 08.00 09.35 AT 5 

27.10.07 

RO 315 25.03.07 - 3 07.25 09.00 AT 5 

27.10.07 

RO 315 25.03.07 - 5, 7 07.25 09.00 AT 5 

27.10.07 

MUNICH - SIBIU 



RO 310 25.03.07 - 1, 2, 3, 4, 5, 6, 7 17.45 21.00 AT 5 

27.10.07 

RO 316 25.03.07 - 1 10.15 13.30 AT 5 

27.10.07 

RO 316 25.03.07 - 3 09.55 13.10 AT 5 

27.10.07 

RO 316 25.03.07 - 5, 7 10.25 13.40 AT 5 

27.10.07

JURNAL DE VACAN}| Holiday Diary 20 

Monaco princiar / Princely Monaco 

MONACO 

Nestemata Coroanei A Crown Jewel 

DAC| AM DUBLA SUPRAFA}A 

PARCULUI BUCURE{TEAN 

HER|STR|U, AM OB}INE ARIA 

UNEIA DINTRE CELE MAI MICI 

}|RI ALE LUMII, MONACO: NU 

MAI MULT DE DOI KILOMETRI 

P|TRA}I. MICUL STAT SUVERAN 

{I INDEPENDENT SE AD|POS- 

TE{TE ~NTRE MEDITERANA 

{I ALPII MARITIMI, PE COASTA 

DE AZUR. DOUBLE HERESTR|U 

PARK IN BUCHAREST AND YOU 

GET THE APPROXIMATE SURFACE 

OF THE WORLD’S SECOND 

SMALLEST COUNTRY, MONACO, 

WHICH EXTENDS OVER SOME 

TWO SQUARE KILOMETERS. 

THE SOVEREIGN AND INDEPEND- 

ENT STATE OF MONACO IS NES- 

TLED BETWEEN THE MEDITERRA- 

NEAN SEA AND THE MARITIME 

ALPS ON THE CÔTE D’AZUR. 

Text and photo: Della L. Marcus 

Apartamente cu vedere spectaculoas\ 

La 8 ianuarie 1997, Principatul de Monaco a s\rb\torit 700 de ani 

de domnie a Dinastiei Grimaldi, `n fruntea c\reia se afla pe 

atunci MS Prin]ul Rainier al III-lea, supranumit „Prin]ul creator“. 

Monarhului constitu]ional i s-a datorat extinderea teritorial\, prin recuperarea 

teritoriului de la Marea Mediteran\. Tunelurile au u[urat accesul 

din Fran]a. 

}ara s-a transformat `ntr-un centru bancar, de conferin]e [i turism. {i 

totu[i, succesul principatului este relativ recent. Pentru o ]ar\ s\rac\, izolat\ 

o perioad\ lung\ de vecinii s\i, cu un teritoriu st‚ncos [i mijloace de 

comunicare inexistente, schimb\rile au venit odat\ cu construc]ia dificil\ a 

str\zilor [i c\ilor ferate. 

Un vechi proverb ì ilustreaz\ provoc\rile [i determinarea: „Sunt 

Monaco, pe st‚nc\. Nu s\desc, nici nu recoltez [i totu[i vreau s\ tr\iesc“. 

C‚nd Prin]ul Rainier [i-a `nceput domnia de 55 de ani, `n 1950, 95% din 

venitul anual provenea din luxoasele cazinouri. Ele fuseser\ organizate 

`nc\ din 1863, de c\tre Prin]ul Charles al III-lea, pentru a ob]ine independen]a 

]\rii [i a o ajuta s\ dep\[easc\ serioase dificult\]i financiare. Monaco 

pierduse `n favoarea Fran]ei dou\ ora[e care ì aduceau mari venituri: 

Menton [i Roquebrune. Ast\zi, de[i cazinourile produc doar 3% din venitul 

anual, ]ara prosper\ economic din industrie, turism, comer], servicii [i 

promovarea artelor. Mai mult, veniturile a 39.000 de str\ini depind de 

Monaco. Dat fiind c\ principatul are pu]in p\m‚nt, industria sa nepoluant\ 

este g\zduit\ `n cl\diri `nalte. S-au f\cut mari eforturi pentru a armoniza 

aceste „fabrici“ cu mediul [i arhitectura `nconjur\toare. Cu greu ]i-ai 

putea imagina c\ acolo lucreaz\ peste 3.000 de angaja]i. 

Prin]ul Rainier al III-lea a sporit semnificativ recunoa[terea interna- ® 

On 8 January 1997, the tiny 

Principality of Monaco 

celebrated the 700 year 

reign of the Grimaldi Dynasty, 

headed at the time by H.S.H. 

Prince Rainier III, known as the 

“Builder Prince“. This constitutional 

monarch was largely responsible 

for increasing the country’s 

size by a land reclamation from 

the Mediterranean Sea, adding tunnels 

to increase accessibility from 

France, and turning the country 

into a corporate banking, convention 

and tourism center. 

Monaco’s fortune is however 

relatively new. A poor country for 

much of its existence, isolated from 

neighbors, with rocky land, and 

poor communication, changes came 

with the painstaking construction 

of roads and a railroad. A popular 

saying illustrates its challenges 

and determination: “I am Monaco 

on a rock. I neither sow nor do I 

harvest, and yet I want to exist“. ® 

Appartments with spectacular view

JURNAL DE VACAN}| Holiday Diary 22 

Muzeul oceanografic [i Acvariul / Oceanographic Museum and Aquarium 

® ]ional\ a ]\rii prin c\s\toria sa, `n 1956, cu una dintre cele mai faimoase 

actri]e ale Americii, Grace Kelly. 

Aceast\ uniune a fost binecuv‚ntat\ cu trei urma[i: `n 1957, Principesa 

Caroline, un an mai t‚rziu - mo[tenitorul tronului, Prin]ul Albert, [i, `n 1965, 

Principesa Stephanie. La moartea tat\lui s\u, `n 6 aprilie 2005, Prin]ul Albert 

al II-lea a devenit al 32-lea membru al Casei Grimaldi care domne[te `n 

Principatul de Monaco. 

SUPERBELE IAHTURI, FRUMOASELE CASE 

Micul stat este o nestemat\ care-]i taie respira]ia, `n montura sa de albastru 

marin, vibrant. Zg‚rie-norii [i cl\dirile elegante, `nnobil‚nd fiecare centimetru, 

dau impresia unui amfiteatru natural, cu porturile Condamine [i 

Fontvieille a[ezate acolo unde ar trebui s\ se afle scena. Porturile sunt 

`n]esate `n tot cursul anului de iahturi minunate, fiecare dintre ele concur‚nd 

cu rivalele sale pentru titlul de cea mai mare, mai frumoas\ [i mai bine 

echipat\ ambarca]iune. 

Ma[inile scumpe str\lucesc la tot pasul: Rolls Royce, Ferrari, Lamborghini 

[i Porsche, pentru a aminti doar c‚teva, parcate `ntre palatele 

plutitoare [i imobilele cu apartamente de lux. Din loc `n loc, r\sar pe acoperi[urile 

unor imobile mici vile, unele `nconjurate de palmieri [i gr\dini. 

Palatul regal a fost cl\dit pe st‚nc\, deasupra celor dou\ porturi. 

Proprietarilor s\i li se deschide, desigur, o panoram\ superb\ a ]\rii care 

g\zduie[te 6.000 de monegasci [i 26.000 de str\ini, din peste 125 de ]\ri. 

Anual, zeci de mii de vizitatori sunt atra[i irezistibil de numeroasele 

evenimente interna]ionale g\zduite de micul principat. ~n prim\var\ are loc 

Monaco Formula 1 Grand Prix, singura curs\ de ma[ini ce se desf\[oar\ pe 

str\zile unui ora[. 

~n iulie-august e r‚ndul Festivalului Interna]ional al Focurilor de 

Artificii, manifestare `n cadrul c\reia speciali[tii pirotehni[ti concureaz\ 

pentru onoarea de a-[i proba m\iestria cu ocazia Zilei Na]ionale. Toamna 

adun\ `n expozi]ia din portul Condamine `n jur de 100 dintre cele mai frumoase 

iahturi, cu lungimi `ntre 25 [i 90 de metri. Oaspe]ii care sosesc iarna 

se pot bucura de faimosul raliu Monte-Carlo [i, pe parcursul unei `ntregi 

s\pt\m‚ni, de Festivalul Interna]ional al Circului. Monaco, o nestemat\ `n 

coroana Coastei de Azur, e `n orice sezon o `nc‚ntare a privirii pentru cel 

care se bucur\ de un sejur chiar de numai c‚teva zile. ∫ 

® When Prince Rainier began 

his 55-year reign in 1950, 95% of Monaco’s 

annual revenue came from 

gambling in the Principality’s luxurious 

casinos. Today the gaming 

houses, originally established in 

1863 by Prince Charles III, to help 

the country overcome serious financial 

difficulties following the loss to 

France of two major income-generating 

cities, Menton and Roquebrune, 

in exchange for Monaco’s independence, 

generate a mere 3% of 

revenue. The country now flourishes 

economically due to industry, 

tourism, trade, services, and promotion 

of the arts. Moreover, some 

39,000 foreigners depend on 

Monaco for their livelihood. 

Prince Rainier III significantly 

raised his and his city state’s international 

recognition when he married 

one of America’s most famous and 

stunning actresses, Grace Kelly, in 

1956. Their union produced three 

beautiful offspring: Princess Caroline 

Detaliu arhitectonic / Design detail 

in 1957, an heir to the throne, Prince 

Albert in 1958, and Princess Stephanie 

in 1965. On the death of his 

father on 6 April 2005, Prince Albert 

II became the 32 nd member of the 

House of Grimaldi to reign over the 

Principality of Monaco. 

EXQUISITE YACHTS, 

BEAUTIFUL HOMES 

The tiny city state is a breathtaking 

jewel, firmly locked into its 

vibrant sea blue setting. Elegant 

high-rises and buildings fill 

virtually every inch of the country 

that resembles a natural amphitheater, 

with the Condamine and 

Fontvieille Harbors settled in the 

area normally serving as stage of 

such a tiered theater. Both harbors 

are filled year-round with stunning 

yachts, each vying with its neighbor 

for the prize of biggest, most 

beautiful and best equipped. 

Nor is there a lack of the 

world’s most expensive cars, Rolls 

Royce, Ferrari, Lamborghini and 

Porsche, to mention but a few, 

some parked between the floating 

palaces and the luxurious apartment 

buildings. The rooftops occasionally 

house small villas and 

penthouses, some surrounded by 

palm trees and tailored gardens. 

The palace sits on the Rock, 

overlooking both harbors. Its royal 

occupants must have a splendid 

view of much of their country, home 

to some 6,000 Monegasques, 

and about 26,000 foreigners from 

over 125 countries. 

The country is host to a number 

of important international events, 

each attracting tens of thousands of 

visitors annually. In spring there is 

the Monaco Formula 1 Grand Prix, 

the only car race that takes place on 

city streets. In July/August there is 

the Monte-Carlo International Fireworks 

Festival, an event whose pyrotechnic 

specialists compete for the 

honor of creating the fireworks for 

Monaco’s National Day. Monaco, 

one of the crown jewels of the Cote 

d’Azur, is a must for all business and 

leisure tourists, and even a few days 

will be sure to bring delight to your 

eyes and senses. ∫

INTERVIU 

Interview 

24 

By Diana Boicescu, Photo: Constantin Ciocan, Alex B\rbulescu 

THE 

LEC}IA 

LESSON 

REDEFINE{TE BALETUL. POATE FI VERSIUNEA DIN CARNE, 

OASE {I SÂNGE A „M|IASTREI“ LUI BRÂNCU{I: ALINA 

COJOCARU, PRIM-BALERIN| A COMPANIEI REGALE DE BALET 

DE LA COVENT GARDEN. SHE REDEFINES BALLET. SHE MIGHT 

BE THE FLESH AND BLOOD VERSION OF BRANCUSI’S 

MAIASTRA: ALINA COJOCARU, FIRST BALLERINA OF THE 

ROYAL BALLET OF COVENT GARDEN. 

Instantanee din baletul „Lec]ia“, dup\ Eugen Ionesco / Snapshots from „ The Lesson“ ballet show, after Eugen Ionesco 

Alina Cojocaru 

Firav\, timid\ [i extrem de rezervat\ la conferin]a de pres\, avea s\ explodeze 

24 de ore mai t‚rziu `n toat\ splendoarea ei. Puternic\, 

gra]ioas\, sfid‚nd perfec]iunea, Alina Cojocaru (26 de ani) a oferit 

rom‚nilor dou\ seri regale dans‚nd pe scena Na]ionalului bucure[tean. A 

adus cu ea nume mari din baletul acestei lumi, soli[ti ai Operei Regale de la 

Covert Garden [i ai Operei Regale Daneze: Zenaida Yanowsky, Deirdre ® 

Slender, shy and extremely 

reserved at the press conference, 

she was about to 

explode 24 hours later in all her 

glory. Powerful, gracious, approaching 

perfection, Alina Cojocaru, 26, 

offered Romanians two magnificent 

dancing evenings on the Bucharest’s 

National Thatre stage. She brought 

with her important names of world 

ballet, members of Royal Opera of 

Covent Garden and Royal Danish


Opera: Zenaida Yanowsky, Deirdre 

Chapman, Gary Avis, Kenneth Greve, 

Steve McRae and, last but not least, 

Johann Kobborg, the accomplished 

artist that stands besides Alina on 

stage and in life. 

Ranked among the first three 

world ballerinas, Alina Cojocaru was 

declared in 2004 the best ballerina at 

the Monaco Dance Forum Festival, the 

biannual Nijinski Awards Gala. 

She looks like a little girl. Weights 

at most 65 pounds but has an incredible 

force and talent. Symbiosis 

between two famous ballet schools, 

the Russian and the British one, 

Cojocaru was born in Bucharest, in 

1981, and studied in Kyev for seven 

years. After winning the Lausanne 

Award in 1997, she was granted a 

scholarship at the Royal Ballet School 

in London. After the year she danced 

for the Kiev Ballet Company (Don 

Quijote, The Beauty from the Sleepy 

Forrest, The Nut Cracker, Coppelia), 

Cojocaru returns to London in 1999, 

where she is promoted as first ballerina. 

Her parts conquer the British and 

not only them. Even the crowned 

heads bends in front of the gracious 

artist. The Queen of Britain invites her 

to dinner and comes to see her shows, 

and Ion Iliescu, the Romanian President 

at that time, grants her the National 

Order of Merit in rank of Knight. 

She plays the fantastic parts from 

Giselle, Swan Lake, Evgheni Oneghin, 

Don Quijote, Mayerling, Sylfida, 

Manon, The Beauty From the Sleepy 

Forrest, The Lesson. She dances on the 

great world stages with first names of 

world ballet, but willingly slips 

Romania in her very carefully, months 

ahead planned agenda. London, 

Barcelona, Bucharest, Tokyo, Swiss, 

SUA are the places to dance in the first 

60 days of this year for Alina Cojocaru. 

Al\turi de Johan Kobborg, la conferin]a de pres\ / With Johan Kobborg, at the press conference 

YOU’RE A TINY WOMAN, ALINA. 

WHERE ALL THIS FORCE COME 

FROM 

I believe that it’s a passion for this 

profession; love for movement, ballet, 

dance, for the freedom of move- ®

INTERVIU 

Interview 

26 

® Chapman, Gary Avis, Kenneth Greve, Steve McRae [i, nu `n ultimul r‚nd, 

pe Johan Kobborg, artistul complet ce-i st\ al\turi pe scen\ [i `n via]\ Alinei. 

Cotat\ `ntre primele trei balerine ale lumii, Alina Cojocaru a fost 

declarat\ `n 2004 cea mai bun\ balerin\ `n cadrul Festivalului Monaco 

Dance Forum, la Gala Premiilor Nijinky, acordate o dat\ la doi ani. 

E o m‚n\ de om. C‚nt\re[te maximum 40 de kilograme, dar are o for]\ 

[i un talent incredibile. Simbioz\ `ntre dou\ [coli de balet celebre: cea rus\ 

[i cea britanic\, Alina Cojocaru s-a n\scut la Bucure[ti, `n 1981, [i a studiat 

[apte ani baletul la Kiev. ~n 1997, ca urmare a c‚[tig\rii Premiului Lausanne, 

a primit o burs\ de studii la {coala Regal\ de Balet din Londra. Dup\ 

anul `n care a dansat `n cadrul Companiei de Balet din Kiev („Don Quijote“, 

„Frumoasa din P\durea Adormit\“, „Sp\rg\torul de nuci“, „Coppelia“), 

Cojocaru revine la Londra, `n 1999, unde e promovat\ prim-balerin\. Rolurile 

sale ì cuceresc pe britanici [i nu numai. Chiar [i capetele `ncoronate 

se pleac\ `n fa]a gra]ioasei artiste. Regina Marii Britanii o invit\ la mas\ [i 

vine s\-i vad\ spectacolele, iar Ion Iliescu, pre[edintele Rom‚niei la acea 

vreme, ì acord\ Ordinul Na]ional de merit `n grad de Cavaler. 

Interpreteaz\ roluri fantastice `n „Giselle“, „Lacul lebedelor“, „Evgheni 

Oneghin“, „Don Quijote“, „Mayerling“, „Sylfida“, „Manon“, „Frumoasa 

din P\durea Adormit\“, „Lec]ia“. Danseaz\ pe scenele lumii al\turi de 

nume mari ale baletului mondial, dar strecoar\ cu bucurie Rom‚nia `n 

agenda planificat\ extrem de atent cu luni bune `nainte. Londra, Barcelona, 

Bucure[ti, Tokio, Elve]ia, SUA fiind punctele de dans ale Alinei Cojocaru `n 

primele 60 de zile ale acestui an. 

E{TI O MÂN| DE OM, ALINA. DE UNDE ATÂTA FOR}| 

Eu zic c\ e un fel de pasiune pentru aceast\ profesie; dragoste de 

mi[care, de balet, de dans, de libertate a mi[c\rii. Atunci c‚nd `ncepi s\ 

dansezi nu ai `n minte dec‚t libertate... Libertatea de a spune o poveste, de 

a te transpune `ntr-o alt\ persoan\, libertatea de a-i face pe cei din fa]a ta s\ 

viseze... S\ stai cu sufletul `n dans. 

CE-AR FI FOST DAC| N-AR FI FOST DANSUL 

Nu [tiu. Am ajuns s\ fac balet f\r\ s\ fi pl\nuit, f\r\ s\ fi v\zut balet `n 

via]a mea. Am plecat la Kiev f\r\ s\ [tiu ce `nseamn\ baletul. Acolo l-am 

descoperit. A fost s\ fie. M-am `ndr\gostit de aceast\ profesie. Am avut o 

[coal\ care m-a `nv\]at s\ respect aceast\ profesie [i s\ m\ dedic ei trup [i 

suflet, chiar trup [i suflet. 

~mpreun\ cu Kenneth Greve / With Kenneth Greve 

CÂT STUDIEZI ZILNIC 

E mult\ munc\. Orice zi `ncepe cu ora de balet, c‚nd te dezvol]i tehnic. 

Zilnic repe]i acelea[i mi[c\ri: la bar\, mijloc, s\rituri, exerci]ii `n poante. ~n 

func]ie de teatru, studiul dureaz\ `ntre o or\ [i un sfert [i o or\ jum\tate. 

Acesta e micul nostru dejun (r‚de). Apoi, ore [i ore de repeti]ii la balete, 

spectacole sau proiecte la care lucr\m, p‚n\ la ora 18.30. Apoi spectacolul. 

{I STUDIUL INDIVIDUAL PENTRU CA E{TI UNA DINTRE CELE 

MAI PERFEC}IONISTE BALERINE... 

Sunt (r‚de) [i `nv\] s\ nu mai fiu. Am `nceput s\ cred foarte mult `n 

yoga, `n controlul corpului, `n acele exerci]ii pe care le execu]i st‚nd culcat 

[i dezvolt‚nd mu[chii. ~n urm\ cu ceva timp am avut probleme cu picioarele. 

A trebuit s\ `nv\] s\-mi dezvolt tehnic\ f\r\ s\ fiu nevoit\ s\ repet prea 

mult anumite exerci]ii care-mi d\unau. ~n acela[i timp am `nv\]at s\ am 

mai mult\ for]\, ceea ce m-a ajutat foarte mult. Timp de doi ani n-am mai 

avut nici o problem\ cu picioarele [i pot dansa f\r\ durere. Dansezi mai 

bine [i mai bine c‚nd [tii c\ ai libertatea s\ ri[ti, f\r\ s\ resim]i vreo durere... 

A fost o mare descoperire pentru mine (n.r. - yoga). Din p\cate, dureaz\. La 

programul zilnic, mai ad\ug\m dou\ ore. 

® ment. When you start dancing 

you have nothing else in mind but 

freedom... The freedom to tell a story, 

to transpose yourself into another 

person, the freedom to make those 

who stand in front of you dream... To 

have your soul in dance... 

WHAT IF THE DANCE HADN’T 

EXIST 

I came to ballet without planning 

it, without seeing a ballet show in all 

my life. I left for Kyev having no idea 

what ballet means. And then I discovered 

it. It was meant to be. I fell in 

love with this profession. I had a 

school that tought me to respect this 

profession and to devote to it body 

and soul, really body and soul. 

HOW MUCH TIME DO YOU 

STUDY EACH DAY 

It’s a lot of work. Each day 

begins with the ballet class, when 

you develop yourself ethnically. 

Each day you repeat the same 

movements: at the perch, jumpings, 

exercising on toe tips. According to 

each theatre, the study lasts from 

one hour and fifteen minutes to one 

hour and a half. This is our breakfast 

(she laughs). And then, hours and 

hours of rehearseals at the ballets, 

shows and projects we work on, 

until 18:30, and then the show. 

WHAT ABOUT INDIVIDUAL 

STUDY YOU’RE ONE OF 

THE MOST PERFECTIONISTS


Aducerea „Lec]iei“ la Bucure[ti, o ambi]ie pentru Alina Cojocaru / Bringing ‘‘The Lesson“ to Bucharest was an ambition for Alina Cojocaru 

AI DECLARAT C| DE BALETUL „GISELLE“ TE SIM}I CEL MAI 

APROPIAT|, C| ATUNCI CÂND NU-L DANSEZI ÎI SIM}I LIPSA. DE 

CE ESTE „GISELLE“ ATÂT DE SPECIAL PENTRU TINE 

A fost primul spectacol dansat la Covent Garden [i primul dansat cu 

Johan (n.r. - Kobborg). E un rol care are totul. ~n prima parte, ai un dans, `n 

a doua - un alt dans. ~n prima parte, personajul e trup [i suflet, `n partea a 

doua - Giselle moare - e doar suflet. Mi-e foarte u[or s\ m\ reg\sesc `n acest 

registru. Ca persoan\ te compor]i `ntr-un fel anume, dar ca suflet, ca duh 

Nimeni nu [tie cum se exprim\ un duh. Aici intervine libertatea 

interpret\rii, libertatea de a te exprima a[a cum sim]i. Poate de aceea, ori de 

c‚te ori `l dansez, nu m\ plictisesc [i g\sesc noi nuna]e `n acest rol. 

VINE LUMEA LA BALET C|L|TORE{TI ÎN TOAT| LUMEA... 

Da, vine. ~n fiecare ]ar\ `ns\ aceast\ profesie e v\zut\ cu al]i ochi. ~n 

Rusia mergi pe strad\ [i dac\ e[ti recunoscut ca fiind balerin e[ti privit cu 

simpatie, lumea `]i z‚mbe[te. ~n alte ]\ri `ns\ spui c\ e[ti balerin [i e[ti privit 

ciudat. 

DAR PUBLICUL E DIFERIT DE CEL DIN ROMÂNIA ® 

BALLERINAS... 

I am (she laughs) and try not to 

be. I began to believe very much in 

Yoga, in body control, in those exercises 

you make lying down and 

developing muscles. I had some 

troubles with my legs a while ago. I 

had to learn to develop my techique 

without having to repeat too much 

some exercises that were doing me 

harm. In the same time I learned to 

have more force, which helped me a 

lot. For two years now I had no troubles 

with my legs and I can dance 

without pain. You dance better and 

better when you know you have the 

liberty to risk, without feeling any 

pain. It was a great discovery for me 

(Yoga, n. red.). Unfortunately, it 

takes time. We add two more hours 

at the usual programm. 

YOU SAID THAT YOU FEEL 

CLOSER TO ‘‘GISELLE”, THAT 

WHEN YOU’RE NOT DANCING IT, 

YOU MISS IT. WHY IS ‘‘GISELLE” 

SO SPECIAL FOR YOU 

It was the first show danced at 

Covent Garden and the first danced 

with Johann (Kobborg, n. red.). It’s a 

part that has everyting. In the first 

half you have a dance, in the second 

another one. In the first half the 

characer is body and soul, in the second 

- Giselle dies - only the soul. It’s 

very easy for me to found myself in 

this structure. As a person you 

behave in a certain way, but as a ®

INTERVIU 

Interview 

28 

Trei stele ale baletului: Deirdre Chapman, Alina Cojocaru [i Johan Kobborg / Three stars of ballet: Deirdre Chapman, Alina Cojocaru and Johan Kobborg 

® Japonezii sunt foarte sinceri. Dac\ ceva nu le place, fluier\. Pare greu de 

crezut. {i-n Rom‚nia publicul e sincer. Sim]i c‚nd ì place ceva deoarece 

aplaud\ din tot sufletul. 

CUM E LA LONDRA AM AUZIT CA E{TI BALERINA FAVORIT| A 

REGINEI... 

(r‚de) Nu [tiu dac\ sunt balerina ei favorit\, dar am avut marea onoare, 

c‚nd a venit dl Iliescu `n vizit\ `n Marea Britanie, s\ fiu [i eu invitat\ la 

dineu. Am stat la mas\ l‚ng\ so]ul reginei, ducele de Edinburgh. Ulterior 

au mai fost scurte `nt‚lniri cu regina. 

CE E MAI BINE PENTRU UN ARTIST: S| AIB| UN MODEL SAU S| 

{I DEVIN| PROPRIUL MODEL 

S\-[i devin\ propriul model. S\ aib\ propriile idei bazate pe ceea ce ar 

vrea s\ fac\. Dac\ ceva nu-]i porne[te din suflet nu e al t\u. Devenim 

altcineva. Asta nu `nseamn\ c\ nu trebuie s\ respect\m [i s\ `nv\]\m de la 

al]ii, dar ulterior, `n dezvoltarea individual\, totul trebuie s\ porneasc\ din 

propria inim\. 

CUM E ALINA COJOCARU DINCOLO DE SCEN| 

Sunt la o v‚rst\ la care continuu s\ `nv\] [i `n profesie, [i `n via]a personal\. 

{i, din toat\ aceast\ experien]\ (n.r. - cele dou\ seri de balet Gala, pe 

® soul, as spirit No one knows how 

a soul express himself... Here comes 

the freedm of the interpretation, the 

freedom to express yourself as you 

feel... Maybe that’s why, every time I 

dance it, I don’t get bored and I find 

new nuances in this part. 

DO PEOPLE COME TO BALLET 

YOU TRAVEL IN ALL THE WORLD... 

Yes, they do. But in each country 

this profession is seen differently. 

In Russia you walk on the street 

and if people recognise you as a 

ballerina you are regarded with 

sympathy, people smile at you... In 

other countries if you say you are a 

ballerina you get strange looks. 

WHAT ABOUT THE PUBLIC IS 

IT DIFFERENT FROM THE 

ROMANIAN ONE 

The Japanese are very sincere. If 

they don’t like something, they 

whistle. Seems hard to believe... In 

Romania the audience is sincere 

too... You feel when they like something 

because they applause from 

all their soul. 

HOW IS LONDON I HEARD 

THAT YOU ARE THE QUEEN’S 

FAVOURITE BALLERINA... 

(she laughs) I don’t know if I am 

her favourite but I had the honour, 

when Mr Iliescu came to Britain, to 

be invited at a dinner party. I sat 

near the Queen’s husband, the Duke 

of Edinburg. Other short meetings 

with the Queen followed afterwards. 

WHAT’S BEST FOR AN ARTIST: 

TO HAVE A MODEL OR TO


BECOME HIS/HER OWN 

MODEL 

To become his/her own model. 

To have his/her own ideas based 

on what he or she wants to do. If 

something doesn’t come out of your 

soul it doesn’t belong to you. We 

become someone else... That doesn’t 

mean that we shouldn’t respect 

and learn from other people but 

after that, in each one’s individual 

development, everything has to 

come out of each one’s heart. 

HOW IS ALINA COJOCARU 

BESIDES THE STAGE 

I am at an age when I still learn 

in my profession and in my life. And 

from all this experience (the two ballet 

evenings on the National stage, 

the bringing of the original stage set 

from London for „The Lesson“, 

inviting the ballet dancers from 

Covent Garden and the Royal 

Danish Opera, n.red.), I learned that 

I have more pacience than I thought. 

I travel a lot, I meet people that speak 

different languages, represent different 

cultures and that makes me not 

to tell right ahead what I think. I 

want to understand and be understood. 

Being a perfectionist with 

myself I expected from the people I 

worked with to be the same. It was a 

big mistake and I was wondering all 

the time: “Why don’t they try, why 

don’t they succeed, it’s so simple...“ I 

understood later that many arrive at 

their accomplisment in their own 

way. With more patience, I tried to 

be more opened, to see how other 

people work, to learn from them. It 

was a big lesson because it changed 

me as a person. I began to enjoy 

more my collegues, to be more 

happy for my efforts. 

In London is a very difficult 

atmosphere because there is less 

exercise. If at 18:30 the study is over, 

the class rooms become empty. At 

the beginning of my carrer I felt 

weird... I went home to practice. I 

didn’t dared to be in theatre, lest 

someone say “look, she’s mad...“. 

But in Russia we worked until they 

kicked us out. That was my habit. 

But now I learned that if I need this, 

then tha’ts what I do, without pretending 

from the others to do the 

same. The results are much better, I 

am more relaxed... Well, the nerves 

before the show are the same! ∫ 

scena Na]ionalului, aducerea decorurilor originale de la Londra pentru 

„Lec]ia“, invitarea balerinilor de la Covent Garden [i de la Opera Regal\ 

Danez\), am `nv\]at c\ am mai mult\ r\bdare dec‚t am crezut. ~nv\] s\ 

g‚ndesc `nainte s\ vorbesc. C\l\toresc mult, `nt‚lnesc oameni care vorbesc 

limbi diferite, reprezint\ culturi diferite, [i asta m\ face s\ nu pot spune ce 

g‚ndesc imediat. Vreau s\ `n]eleg [i s\ fiu `n]eleas\. 

Fiind o perfec]ionist\ cu mine `ns\mi, m\ a[teptam c\ [i cei cu care 

lucram s\ fie la fel. A fost o mare gre[eal\ [i permanent m\ `ntrebam: „De 

ce nu `ncearc\, de ce nu reu[esc, e a[a de simplu“. Am `n]eles mai t‚rziu c\ 

mul]i ajung la reu[it\ `n felul lor. Cu mai mult\ r\bdare, am `ncercat s\ fiu 

mai deschis\, s\ v\d cum lucreaz\ ceilal]i, s\ `nv\] de la ei. Asta a fost o 

mare lec]ie pentru c\ m-a schimbat ca persoan\. Am `nceput s\ m\ bucur 

mai mult de colegii mei, s\ m\ bucur de eforturile mele. 

La Londra este o atmosfer\ foarte grea pentru c\ se lucreaz\ foarte 

pu]in. Dac\ la 6.30 s-au terminat studiile, s\lile sunt libere. La `nceputul 

carierei m\ sim]eam ciudat. M\ duceam acas\ s\ lucrez. Nu `ndr\zneam s\ 

fiu `n teatru ca s\ nu zic\ cineva „uite-o, e nebun\“, dar la ru[i... noi lucram 

p‚n\ ce ne d\deau afar\ din sal\. Veneau s\ sting\ lumina [i se trimiteau 

acas\. Pentru mine \sta era obiceiul. Pe c‚nd acum am `nv\]at c\ dac\ eu 

am nevoie de asta, atunci asta fac f\r\ a avea preten]ia ca ceilal]i s\ m\ 

urmeze. Iar rezultatele sunt mult mai bune, eu mai relaxat\... Bine, nervii 

`nainte de spectacol nu se schimb\! ∫ 

Alina Cojocaru, balet la superlativ / Alina Cojocaru, ballet at the highest level

EXPLORATOR Explorer 30 

ZEUS ~{I ~NDREPT| PRIVIREA C|TRE PORTURILE DIN MAREA ASIEI. 

~N GR|DINA UNUI SPLENDID PALAT AURIT, DIN CENTRUL UNUI ORA{ 

FENICIAN, Z|RI O FIIN}| GINGA{|, MAI FRUMOAS| CA O ZEI}|. 

SE ~NDR|GOSTI LA PRIMA VEDERE DE PRIN}ESA EUROPA. 

ZEUS TURNED HIS EYES TO THE ASIAN SEA PORTS. IN THE GARDEN 

OF A GORGEOUS GOLDEN PALACE, IN THE HEART OF A PHOENICIAN 

CITY, HE SAW A DELICATE CREATURE, MORE BEAUTIFUL THAN 

A GODDESS. HE FELT LOVE AT FIRST SITE FOR PRINCESS EUROPE. 

Europa [i Zeus, imagine de pe un vas / Picture on an ancient pottery bowl: Europe and Zeus 

By Csire Gabor 

EUROPAEUROPE 

[i Taurul ceresc and the Bull from the Sky 

P\rintele zeilor n\scoci iute un plan viclean, ca s\ se apropie de 

fata p\m‚ntean\. Chiar `n acea noapte, Europa avu un vis straniu: 

dou\ zei]e se b\teau pentru ea. ~[i luar\ armele [i se luptar\, 

p‚n\ c‚nd una dintre ele se pr\bu[i `nvins\. 

- Te-am supus, Asia! - `[i flutur\ sabia zei]a `nving\toare. 

- Eu am d\d\cit-o, fata `mi apar]ine! - se `mpotrivi cea `nfr‚nt\. 

Dar era prea t‚rziu ca lupta s\ continue. Cuceritoarea o ridic\ pe Europa 

[i zbur\ cu ea deasupra m\rii ca oglinda. 

The father of the gods quickly 

invented an astute plan to 

get close to the mortal girl. 

That very night, Europe had a 

strange dream: two goddesses were 

fighting for her. 

They took their weapons and 

they fought until one of them fell on 

the ground defeated. 

“I won, Asia!“ the winner goddess 

said, waving her sword. 

“I have nursed her, the girl belongs 

to me“ the defeated one argued. 

But it was too late for the fight to 

go on. 

The winner took Europe and


Prin]esa se trezi brusc. Inima ì b\tea, dar c‚nd ie[i afar\ cu prietenele 

sale, uit\ de vis [i se prinse `n hor\, c‚nt\, culese flori. 

- Uita]i-v\, ce animal miraculos! - strig\ bucuroas\ una dintre fete. 

Un taur alb ca spuma p\[ea prin poiana `nflorit\, str\lucitor. 

- Poart\ dou\ semiluni pe cap! Coarnele-i sunt argintii! - se mirar\ fetele. 

Europa porni voioas\ `n `nt‚mpinarea taurului. 

- Are ochii ro[ii ca rubinul! {i privirea-i bl‚nd\. Doar c\ nu vorbe[te... 

Animalul minunat, cu parfum de ambrozie, `ngenunche `n fa]a 

prin]esei. 

- Ai vrea s\ m\ iei pe 

spatele t\u - zise Europa [i Sculptur\ / Stonework 

`mbr\]i[\ g‚tul taurului alb. 

- De ce nu - `[i zise, apuc‚ndu-i 

coarnele sclipitoare. 

Dar `ndat\ ce o sim]i `n 

c‚rc\, taurul divin porni `n 

grab\ spre ]\rmul nisipos. 

Acolo se arunc\ `n mare se 

`ndep\rt\ de uscat, mai iute 

dec‚t o corabie. Nicio pic\- 

tur\ de ap\ nu atingea poalele 

prin]esei. 

- Vai, dragii mei p\rin]i! 

Tat\, m\icu]a mea! pl‚nse 

fata. Vai, dragii mei fra]i! 

Degeaba m\ ve]i c\uta, nu 

ve]i da niciodat\ de 

Pleiadele, eclipsate de Lun\ 

flew with her over the mirror-shinning 

sea. 

The princess suddenly woke 

up. Her heart was pounding, but 

when she went out to meet her 

friends, she had forgotten about the 

dream. She danced, sang and handpicked 

flowers. 

“Look at that miraculous animal!“ 

one of the girls said with joy. 

A bull, white as the sea foam 

and shining, was walking through 

the meadow. 

“He wears two half-moons on 

his head! His horns are shinning like 

silver!“ the girls said, surprised. 

Europe walked towards the bull. 

“His eyes are ruby red! And a 

kind look. The only thing is that he 

does not talk...“ 

The wonderful animal, smelling 

like ambrosia, kneeled in front 

of the princess. 

“Would you let me ride on your 

back“ Europe said and hugged the 

white bull’s neck. 

“Why not“ she wondered, 

hanging on to his glittering horns. 

As soon as he felt her on his back, 

the divine bull rapidly ran to the 

sandy seashore. Then he jumped 

into the sea and left the land 

behind, quicker than any ship. Not 

one drop of water was touching the 

princess’ clothes. 

“Oh, my dear parents! 

® ® 

Pleiades ocultation by the Moon 

CONSTELA}IA TAURULUI CUPRINDE MAI MULTE CORPURI CERE{TI 

THE TAURUS CONSTELLATION 

INCLUDES SEVERAL STARS 

∫ Aldebaran (Alfa Tauri), steaua principal\, este o gigant\ ro- 

[ie, aflat\ „aproape“ de noi, la 68 ani-lumin\, fiind de 125 mai 

str\lucitoare dec‚t Soarele. Denumirea ei provine din araba 

veche, `nsemn‚nd „cel care urmeaz\“, fiind steaua ce urmeaz\ 

Clo[ca cu pui. ~nc\ din vremea per[ilor antici, steaua era 

considerat\ mesagerul solsti]iului de prim\var\ (21 martie), iar 

astrologii o considerau steaua purt\toare de noroc, ocrotitoarea 

bog\]iei [i a cinstei. 

∫ Clo[ca cu pui sau Pleiadele - un roi stelar deschis format din 

circa 200 de stele. Numai nou\ sunt vizibile cu ochiul liber, `n 

mitologia greac\ fiicele lui Atlas [i Pleione: Electra, Maia, Taygeta, 

Alkyone, Celaena, Sterope [i Merope. Clo[ca cu pui, aflat\ la 400 

ani-lumin\ de noi, are un diametru de numai de 20 de ani-lumin\. 

∫ Hyadele formeaz\ un roi stelar mobil de foma unui „V“, la 

vest de Aldebaran, av‚nd un nucleu de opt ani-lumin\, care reprezint\ 

„capul taurului“. Denumirea `nsemna `n greaca veche „ploaie“, 

fapt ce explic\ de ce la multe popoare se p\streaz\ p‚n\ azi 

denumirea de Constela]ia ploii. 

∫ Nebuloasa Crabului, acest spectacol al cerului, se afl\ `n 

partea estic\ a constela]iei Taurus, la o distan]\ de 6.300 de 

ani-lumin\. Este o nebuloas\ difuz\, luminoas\, o r\m\[i]\ din 

explozia supernov\ de pe 5 iulie 1054, care a str\lucit pe cer 

timp de trei s\pt\m‚ni - chiar [i `n timpul zilei. Un astronom 

chinez a numit-o atunci stea musafir [i `ntr-adev\r a fost doar un 

oaspete. Dup\ un timp, a p\lit, apoi a disp\rut de pe cerul vizibil 

cu ochiului liber. A l\sat `n urm\ o nebuloas\ - cu forma unui 

crab - care, datorit\ str\lucirii slabe, poate fi vizualizat\ numai 

prin telescop. 

∫ Adelbaran (Alfa Tauri), the main star, is giant and red and is 

“close“ to the earth, at 68 light-years, and is 125 times more shining 

than the Sun. Its name comes from ancient Arabic and means 

“the one who follows“, because it comes after the group of stars 

named The Brood-hen with Chicken. Ever since the ancient Persians, 

the star was considerer the messenger of the spring equinox 

(March 21). Astrologers saw it at a lucky star, protector of wealth 

and honesty. 

∫ The Brood-hen with Chicken or the Pleiades - an open group 

formed of about 200 stars. Only nine of them are visible to the naked 

eye. They were named after the daughters of Atlas and Pleione, from 

the Greek mythology: Electra, Maia, Taygeta, Alkyone, Celaena, 

Sterope and Merope. The Brood-hen with Chicken is situated at 400 

light-years from the Earth and has a 20 light-years diameter. 

∫ The Hyades are a V-shaped mobile star swarm, west of 

Adlebaran. Its nucleus has an eight light-years diameter and it represents 

the “bull’s head“. Its name means “rain“ in the ancient 

Greek, which explains why many people still name it the Rain 

Constellation. 

∫The Crab Nebula, a real show of the sky, is on the eastern 

side of the Taurus Constellation, 6,300 light-years away. It’s a diffuse 

nebula, shiny, a remain of the July 5, 1054 supernova blast 

which glittered on the sky for three weeks, even during the day. A 

Chinese astronomer had then named it “guest star“, and so it was 

indeed, because after a while it became pale and disappeared from 

the sky visible with the naked eye. It left behind a crab shaped nebula 

which, because of the dim light, can only be seen with the telescope.

EXPLORATOR Explorer 32 

® urma mea, nu-mi ve]i cunoa[te soarta! 

® Father, my mother!“ the girl cried. 

Porturile disp\reau din fa]a ochilor ei `nl\crima]i. Numai cerul senin “Oh, my dear brothers! You will seek 

[i marea nem\rginit\ o `nconjurau. Ame]ise de spaim\, dar se ]inea for me in vain, you will never find 

str‚ns de coarnele taurului. 

me, you will never know my fate!“ 

Deodat\ ap\ru o insul\ uria[\. Mun]i st‚nco[i [i c‚mpii `nverzite se The ports were flying by her 

apropiar\ de ei vertiginos. Ajuns la ]\rm, taurul ceresc puse cu mult\ eyes full of tears and disappearing. 

grij\ fata pe p\m‚nt. Abia c\ f\cu prin]esa c‚]iva pa[i pe t\r‚mul necunoscut, 

c\ animalul se [i pierdu `n desi[ul codrului. 

sea were surrounding her. She was 

Only the clear sky and the endless 

- Nu m\ l\sa singur\! - strig\ Europa, alerg‚nd dup\ el. 

dizzy because of the fear, but she 

Se opri brusc la marginea unei poiene `nsorite. Zeus st\tea `n fa]a ei, was hanging on the bull’s horns. 

`nve[m‚ntat `n alb din cap p‚n\-n picioare, cu o mantie ce `mpr\[tia raze A huge island suddenly appeared. 

Rocky mountains and green fiel- 

bl‚nde de lumin\. Coroana-i era plin\ de diamante sc‚nteietoare. 

- Te iubesc! - rupse t\cerea st\p‚nul cerului [i al p\m‚ntului. Vom ds were quickly getting closer. When 

tr\i aici, `n locul cel mai drag mie, unde am copil\rit, pe insula Creta. Europa, 

fii so]ia mea! 

bull carefully placed the girl on the 

they reached the shore, the heavenly 

Zeus a[ez\ pe fruntea ei o coroni]\ b\tut\ `n rubine. 

ground. She barely made a few steps 

- Acest continent, pe care m\rile `nguste `l despart de Asia, nu are on the unknown land, and the animal 

disappeared in the thick forest. 

nume, spuse el. ~]i va purta numele pe vecie, iubirea mea, Europa! 

La nunta magnific\ venir\ Dreptatea, Legalitatea [i Pacea. Din unirea “Don’t leave me alone!“ Europe 

fericit\ a celor doi se n\scur\ trei b\ie]i. Cu to]ii au ajuns b\rba]i de seam\. cried, running after him. 

Minos, primul n\scut, deveni cel dint‚i rege cretan, vestitul Rege-taur. 

She suddenly stopped at the ed- 

Pentru a-[i aminti de-a pururi 

Canis, Mayor, Orion, Hyads, Pleiades 

dragostea fericit\ pe care a tr\it-o 

cu p\m‚nteanca r\pit\ din Asia, 

Zeus a `n\l]at taurul alb pe cerul 

`nstelat... ∫ 

ge of a sunny meadow. Zeus was 

standing in front of her, wearing only 

white clothes and a cloak spreading 

gentle beams of light. His crown 

was full of glittering diamonds. 

“I love you, the master if the 

earth and sky“ said. “We will live 

here, in the place I love most, where 

I grew up, in Crete. Europe, be my 

wife!“ Zeus placed a crown with rubies 

on her forehead. 

“This continent, separated by 

narrow seas from Asia, has no name, 

he said. It will bear your name 

forever, my beloved Europe!“ 

Justice, Legality and Peace came 

to their wedding. From their happy 

marriage three sons were born. 

They all became notable men. Minos, 

their first born, was the firs 

Cretan king, the famous Bull-king. 

To remember forever about the 

happy marriage with the earthly 

woman he had kidnapped from 

Asia, Zeus put the white bull on the 

starry sky... ∫ 

Respectul pentru mediu `n viziunea Maschio-Gaspardo 

Spre deosebire de alte sectoare ale economiei `n care reducerea impactului ambiental corespunde cre[terii costului de produc]ie [i a 

personalului productiv, `n agricultur\ aceasta se traduce, de cele mai multe ori, prin sc\derea costurilor [i economie de manoper\. 

Agricultura conservativ\ are ca obiectiv conservarea [i `mbun\t\]irea resurselor naturale, cum ar fi solul, garant‚nd un nivel productiv 

elevat `n condi]iile reducerii costurilor de produc]ie. 

Fiind unul dintre cei mai mari produc\tori mondiali de utilaje agricole, cu patru fabrici de produc]ie `n Italia, trei filiale productive 

`n Rom‚nia, Rusia [i China [i alte 11 filiale comerciale `n lumea `ntreag\, Grupul Maschio-Gaspardo se remarc\ prin deosebita 

aten]ie pe care o acord\ acestui concept. 

„~n ziua de azi, chiar [i `n agricultur\ este necesar s\ se reflecte asupra reducerii consumului, costurilor, a num\rului de utilaje [i a 

persoanelor implicate m\rind viteza de lucru, productivitatea [i eficien]a [i dac\ este posibil respect‚nd solul. Toate acestea se pot 

realiza cu o tehnologie de avangard\, care `n Maschio-Gaspardo se rezum\ la o singur\ ma[in\, Directa - trei lucr\ri diverse printr-o 

singur\ trecere“, afirm\ administratorul societ\]ii, Mirco Maschio. 

Mirco Maschio 

Folosind acest tip de utilaj, se reduce considerabil consumul de combustibil, ceea ce are ca efect limitarea emisiei de gaze `n atmosfer\, considerat\ 

responsabil\ a efectului de ser\. Prelucrarea terenului este minim\, at‚t ca ad‚ncime, c‚t [i ca num\r de treceri, evit‚ndu-se astfel daunele pe care 

lucr\rile tradi]ionale le produc asupra solului: efectul de eroziune, compactarea terenului, 

favorizarea form\rii crustei de suprafa]\ [i distrugerea structurii acestuia. Nu trebuie omis faptul c\ 

aplicarea sistemului de sem\nare direct\ m\re[te con]inutul de substan]\ organic\ `n sol, cresc‚nd 

deci fertilitatea acestuia. 

Reducerea costurilor se dovede[te a fi un element strategic pentru supravie]uirea multor produc\tori 

agricoli care `nt‚mpin\ mileniul trei cu perspectiva reducerii pre]ului produselor [i necesitatea de a 

deveni competitivi cu celelalte ]\ri ale Comunit\]ii Europene. 

Pentru a ajunge la realizarea tuturor acestor obiective, Grupul Maschio-Gaspardo investe[te importante 

resurse materiale [i umane `n domeniul cercet\rii, colabor‚nd cu universit\]i specializate din 

`ntreaga lume.

DISCOVERY 

34 

Maya 

M\re]ie [i pr\bu[ire Greatness and Demise 

By Gabriela Ceciul 

Photo: Mediapro 

LA APOGEUL CIVILIZA}IEI LOR, MAYA{II ERAU INTERESA}I ~N SPECIAL S| 

~N}ELEAG| TIMPUL {I SEMNIFICA}IA VIE}II. NIMENI NU {TIE CUM A FOST POSIBIL| 

DISPARI}IA UNEI SOCIET|}I ATÂT DE ~NFLORITOARE {I DE RAFINATE... 

AT THE HEIGHT OF THEIR CIVILIZATION, THE MAYA PEOPLE WERE ESPECIALLY INTERESTED IN ATTEMPTING TO UNDERSTAND TIME 

AND THE MEANING OF LIFE. NOBODY KNOWS EXACTLY HOW SUCH A FLOURISHING AND REFINED SOCIETY MANAGED TO DISAPPEAR... 

Pentru ca spectatorul s\ p\trund\ `n misterioasa lume a maya[ilor. Gibson a folosit actori amatori, unii chiar cu 

r\d\cini maya[e / So that the spectator would have access to the mysterious world of the Mayan people, 

Gibson used amateur actors, some even of mayan descent


„Apocalypto“, regizat de Mel Gibson, este un film despre o realitate uitat\ /“Apocalypto“, directed by Mel Gibson, is a movie about a forgotten reality 

Ora[ele maya[e se `ntindeau pe teritoriile a cinci state din zilele 

noastre: Mexic, Guatemala, Honduras, Belize [i El Salvador. 

Ruinele din jungla tropical\ au fost cunoscute doar de b\[tina[i 

p‚n\ `n 1839, c‚nd scriitorul John Lloyd Stephens [i arhitectul Frederick 

Catherwood au vizitat Copan, Palenque [i alte situri. C‚]iva ani mai 

t‚rziu, Alfred Maudslay a realizat primele fotografii ce dezv\luiau sofisticata 

arhitectur\ [i sistemul de scriere ale culturii maya. Dup\ colonizarea 

spaniol\, `n 1562, franciscanul Diego 

de Landa a ars toate c\r]ile maya, consider‚ndu-le 

„supersti]ii [i cuvinte ale 

diavolului“. S-au p\strat fragmente, la 

Dresda, Paris, Madrid, Mexico City. Au 

supravie]uit c‚teva scrieri importante 

despre obiceiurile, `mbr\c\mintea [i stilul 

de via]\ ale maya[ilor. 

ORA{ELE, CA FLORI ALE P|DURII 

~ntre 250 [i 900 d.Hr., cultura maya 

a cunoscut o puternic\ dezvoltare a arhitecturii 

monumentale, a creat o art\ 

rafinat\, matematica, propriul sistem de 

scriere, cuno[tin]e avansate de astronomie. 

Ora[ele au `nflorit `n p\durea tropical\. 

Maya[ii erau agricultori pricepu]i 

[i artizani, dar [i adep]i ai practicilor 

brutale. ~ntre sacrificiile `nchinate 

zeilor, fiin]ele umane erau ofrande supreme 

[i reveneau frecvent, cu speran]a 

c\ zeii pot fi domoli]i `n vremurile tumultuoase. 

Templele piramidale `n trepte sunt 

decorate cu sculpturi, basoreliefuri [i 

picturi sofisticate, cu o extraordinar\ 

fine]e [i precizie a detaliilor. Una dintre 

cele dou\ picturi murale ce au rezistat 

timpului - o scen\ din mitul crea]iei, cu 

un zeu central, a fost numit\ „Capela 

Sixtin\ a culturii maya[e“. 

Pentru monumentalele cl\diri, colorate 

`n ro[u [i alb, erau adu[i mii de 

sclavi. Ei defri[au sute de hectare de 

p\dure, aprinz‚nd focuri imense, necesare 

ob]inerii cimentului din argil\. ~n 

1952 a fost descoperit primul morm‚nt 

`ntr-o piramid\, morm‚ntul regelui 

Pacal. Pe capacul sarcofagului era 

povestit\ c\l\toria sa c\tre zeii 

Maya cities spread over what nowadays is the territory of five 

countries: Mexico, Guatemala, Honduras, Belize and El Salvador. 

The ruins in the rainforests were known only by the 

locals until 1839, when writer John Lloyd Stephens and architect Frederick 

Catherwood visited Copan, Palenque and other sites. A couple of 

years later, Alfred Maydslay took the first photos that revealed the sophisticated 

architecture and the writing system of the Maya culture. 

After the Spanish colonization in 

1562, a Franciscan monk, Diedo de Landa, 

burned all Maya books, considering 

them full of “superstitions and words of 

the devil“. Fragments were preserved in 

Dresden, Paris, Madrid and Mexico City. 

Several important writings about the 

Maya customs, clothes and lifestyle also 

survived. 

Sacrificiul. Reprezentare / The sacrifice. Representation 

CITIES AS FLOWERS OF THE FOREST 

Between 250 and 900 BC, Maya culture 

spawned a great deal of monumental 

architecture, it created a sophisticated 

form of art, mathematics, its own system 

of written communication, and developed 

an advanced knowledge of astronomy. 

Cities flourished in the tropical forest. The 

Maya were skilled farmers and craftsmen, 

but also followers of brutal practices. 

Among the sacrifices made for their gods, 

human beings were supreme and frequently 

offered in hopes the gods would 

be appeased during troubled times. 

The stepped pyramid temples are decorated 

with sculptures, bas-relief 

carvings and sophisticated paintings that 

exhibit an extraordinary fineness and 

precision of details. One of the two mural 

paintings that stood the test of time - a 

scene depicting the creation, having a 

god at the center, has been called “the 

Sistine Chapel of Maya culture“. Thousands 

of slaves were brought for the 

construction of the monumental buildings, 

painted in red and white. These 

slaves would clear hundreds of hectares 

of forest and light huge fires that were 

necessary for obtaining the hardened 

clay. The first tomb in a pyramid, 

® ®

DISCOVERY 

36 

® Subteranului, despre care se credea c\ are nou\ 

® 

niveluri. Dup\ asfin]it, zeul Soarelui se transforma `n 

jaguar. Trupul ne`nsufle]it era `nf\[urat `n p‚nz\ de 

bumbac [i acoperit cu vopsea ro[ie - suger‚nd s‚ngele, 

esen]a vie]ii. Masca de jad reprezenta „fa]a pentru 

restul eternit\]ii“. 

CALENDARUL - FASCINA}IE {I AMENIN}ARE 

Sistemul calendarului maya este extrem de complex 

[i chiar mai exact dec‚t cel pe care `l folosim 

ast\zi. Observa]iile preo]ilor-astronomi erau notate `n 

codexuri ce cuprindeau calcule exacte ale mi[c\rii 

Soarelui, Lunii [i altor planete. 

Templele, ridicate dup\ cercet\ri minu]ioase, 

marcau solsti]iul sau echinoc]iul. La Chichen Itza, cel 

mai important ora[ maya[ din peninsula Yucatan, sute 

de oameni se str‚ng anual, `n timpul echinoc]iului 

de toamn\, pentru a observa cum razele soarelui iau 

forma unui [arpe pe treptele piramidei dedicate zeului 

Quetzacoatl. 

Calendarul `ncepe cu 11 august 3114 `.Hr. [i ]ine 

p‚n\ la 20 decembrie 2012 d.Hr., c‚nd un eveniment 

major va pune cap\t celei de-a 13-a perioade de 400 

de ani, dar nu va aduce sf‚r[itul lumii. „Pentru ei era 

foarte limpede c\ societatea urma s\ se ridice [i s\ 

decad\. 

Profe]ie sau nu, le era clar c\ exista o perioad\ de 

400-500 de ani `n care o societate putea prospera 

`nainte ca totul s\ se pr\bu[easc\“, spune exploratorul 

Richard D. Hansen, cel care l-a ajutat pe Mel Gibson 

la realizarea filmului „Apocalypto“. 

Imagine din filmul „Apocalypto“ 

Image from “Apocalypto“ movie 

home to the remains of King Pacal, was discovered 

in 1952. The lid of his coffin told the story of his journey 

towards the gods of the Underworld, which was 

thought to have two levels. After sunset, the Sun God 

would turn into a Jaguar. The lifeless body was 

wrapped in a cotton cloth and covered in red paint - 

suggesting blood, the essence of life. A jade mask represented 

“the face for the rest of eternity“. 

THE CALENDAR - FASCINATION AND THREAT 

The system of the Maya calendar is extremely complex 

and even more exact than the one in use today. 

The observations of the priests-astronomers were 

noted in codices which included exact calculations of 

the movement of the Sun, the Moon and other planets. 

The temples, erected following detailed research, marked 

the solstice or the equinox. Hundreds of people 

gather annually in Chichen Itza, the most important 

Maya town on the Yucatan peninsula, to see how the 

rays of the sun take the form of a snake on the steps of 

the pyramid dedicated to the god Quetzacoatl. 

The Maya calendar began on August 11, 3114 BC 

and ends December 20, 2012 AD, when a major event 

is to end the 13 th 400-year period, not necessarily bringing 

about the end of the world, but rather a new beginning. 

“For them it was very clear that society was to 

rise and fall. Whether it was a prophecy or not, it was 

clear for them that there was a period of 400-500 years 

in which a society could prosper before everything 

would crumble,“ says explorer Richard D. Hansen, 

who helped Mel Gibson for the film “Apocalypto.“ 

DEC|DEREA {I „APOCALYPTO“ 

„Cercet\torii cred c\ problemele grave cu care s-a confruntat civiliza]ia 

maya sunt similare cu cele ale societ\]ii din zilele noastre: degradarea 

mediului, consumul excesiv, corup]ia politic\“, spune scriitorul 

Rahad Safinia, care i-a fost al\turi regizorului Mel Gibson la documentarea 

pentru filmul „Apocalypto“. Pentru ca spectatorul s\ p\trund\ `n lumea 

misterioas\ a str\vechii civiliza]ii, Gibson a folosit actori amatori, 

unii chiar cu r\d\cini maya[e. 

Completate de folosirea limbii maya din Yucatan [i de machiaj, personajele 

exceleaz\ prin expresivitate [i realism. Interpre]ii au fost ajuta]i 

de nativii din Yucatan s\ deprind\ pronun]ia corect\, iar debutantul 

Rudy Youngblood (Jaguar Paw) [i-a f\cut singur cascadoriile. 

Probabil c\ nu a existat o singur\ cauz\ a pr\bu[irii civiliza]iei maya, 

ci o serie nefast\: defri[area, problemele climaterice, r\zboaiele, bolile, 

pierderea c\ilor comerciale. Pe m\sur\ ce ora[ele se dezvoltau, puterea 

politic\ a regalit\]ii [i a preo]ilor sporea. 

Conduc\torii controlau resursele [i manipulau popula]ia prin fric\, 

umilire [i venerare. Cei puternici cereau f\r\ `ncetare mai mult [i mai 

bine. Aceast\ cre[tere de dragul cre[terii trebuia s\ aib\ un pre] - c\derea 

uneia dintre cele mai mari civiliza]ii pe care le-a cunoscut omenirea. 

La `nceputul secolului XXI existau [ase milioane de maya[i, `n c‚teva 

state din America Central\. 

O parte s-au integrat `n lumea modern\. Al]ii continu\ s\ tr\iasc\ 

conform tradi]iilor de secole, maya fiind limba lor matern\. Ast\zi, chiar 

[i jaguarul, alt\dat\ venerat ca o mare putere `n cultura maya, este `n 

primejdie... ∫ 

THE DECLINE AND “APOCALYPTO“ 

“Researchers believe that the serious problems faced by the Maya 

civilization are similar to those in present society: the degradation of the 

environment, excessive consumption and political corruption“, says 

writer Rahad Safinia, who helped Mel Gibson with the documentation 

for the film “Apocalypto.“ For the spectator to be able to enter the mysterious 

world of the ancient civilization, Gibson used amateur actors, 

some even with Maya roots. Their use of the Mayan dialect spoken in 

Yukatan, as well as makeup, added to the expressiveness and realism of 

the characters. The performers were helped to learn the correct pronunciation 

and newcomer Rudy Youngblood (Jaguar Paw) performed his 

own stunts. 

There probably was not one cause for the fall of the Maya civilization, 

but an ill-fated series of occurrences: deforestation, climate change, 

wars, disease, the loss of commercial practices. As the towns became 

increasingly developed, the political power of the ruling family and the 

priests enlarged. The rulers controlled the resources and manipulated 

the population through fear, humiliation and worship. The strong and 

powerful would continually ask for more and better things. This development 

simply for the sake of developing came with a price - the fall of 

one of the greatest civilizations the world has known. 

At the beginning of the 21 th century there were 6 million Maya in 

Mexico and several countries in Central America. Some of them adapted 

to the modern world. Others continue to live according to century-old 

traditions, Maya being their mother tongue. Today, even the jaguar, once 

worshiped as a great power in the Maya culture, is in danger... ∫

CAMPIONII The Champions 38 

By Otilia Haraga Photo: arhiva personal\, Lucian N\stase 

Via]a ca o aren\ Life 

as an Arena 

Omul care adoarme 

Copiii `[i ]in r\suflarea. Tobele r\p\ie. T\cere... Pe marginile 

arenei, la doar un metru de cei mai apropia]i spectatori, [apte 

crocodili stau complet nemi[ca]i. Privirile lor reci ]intesc `n gol. 

Nimic nu ì desparte de public. Nicio plas\. Niciun gard de protec]ie. 

Temutele f\lci sunt `ncle[tate. Cozile grele au `ncremenit. 

~n mijlocul scenei, maestrul Karah Khavak, `nve[m‚ntat `ntr-un sclipitor 

costum oriental, cu turban, st\ `n fa]a unei mese pe care este culcat crocodilul 

Headtrick. Cu mi[c\ri sigure, ì deschide f\lcile imense [i `[i bag\ 

capul `ntre ele. Dup\ c‚teva momente de tensiune, se ridic\ [i se `ndreapt\, 

nev\t\mat, spre celelalte reptile aliniate, `n timp ce Headtrick e scos din 

aren\. Cu c‚teva gesturi u[oare, ì treze[te pe to]i, `n aplauzele publicului. 

„Oh! Maestre, n-a]i uitat nimic“, `ntreab\ prezentatorul. 

Mim‚nd surprinderea, Khavak se `ntoarce pentru a recupera ultimul 

crocodil r\mas pe scen\. 

Children hold their breath. 

The drum rolls. Then ... 

silence. ... On the perimeter 

of the arena, just one meter 

away from the closest spectators, 

seven crocodiles sit completely 

motionless. ... Their cold gaze aims 

nowhere. Nothing separates them 

from the public. No net. No protective 

fence. The feared jaws are 

ZIUA DE LUCRU A PARTENERILOR CU COL}I 

Acum, la 68 de ani, dup\ un lung [ir de reprezenta]ii `n fa]a unor 

capete `ncoronate [i vedete interna]ionale, hipnotizatorul de reptile Karah 

Khavak `nc\ `[i mai prezint\ num\rul la Circul Globus din Bucure[ti, unde 

va r\m‚ne p‚n\ `n martie. 

S-a n\scut `n Ungaria, `ntr-o familie cu o lung\ tradi]ie `n circ. Bunica 

sa e din Arad. Din fraged\ pruncie a c\l\torit peste tot `n lume. Acum 

locuie[te `n Germania, dar `[i petrece mai tot timpul `n alte ]\ri, unde are 

contracte cu circul. 

Khavak `[i `ncheie ziua de lucru o dat\ cu animalele sale, la sf‚r[itul 

fiec\rui spectacol. El ì supravegheaz\ atent pe asisten]ii care scot cele opt 

reptile din aren\, pe bra]e. 

Doi b\rba]i v‚njo[i car\ fiecare crocodil pe o distan]\ de numai c‚]iva 

metri, [i abia reu[esc s\-l st\p‚neasc\ atunci c‚nd coada puternic\ se zbate 

dintr-o parte `n alta. Animalele sunt `nchise `n cu[ti enorme cu gratii. Odat\ 

u[ile z\vor‚te, asisten]ii `mping cu[tile p‚n\ la remorca din curtea interioar\ 

a circului, adev\rata cas\ a crocodililor arti[ti. Aici sunt instalate dou\ 

bazine, `n care lenevesc p‚n\ a doua zi, c‚nd `[i reiau spectacolele. 

Dup\ ce s-a asigurat c\ partenerii s\i cu s‚nge rece sunt caza]i confortabil, 

Khavak se a[az\ [i `[i `ncepe povestea. „Nu este niciun secret. Totul 

se `nva]\, exact ca la [coal\. ~i hipnotizez cu m‚inile. ~mi folosesc energia 

[i g‚ndesc intens: dormi, dormi!“ - spune el, `ntr-o englez\ `n care scap\ 

c‚nd cuvinte nem]e[ti, c‚nd italiene. „Dar asta nu se poate `nv\]a de la o 

zi la alta“. 

~n numai c‚teva minute, a renun]at la costum pentru un halat simplu, 

dar `nc\ mai are machiajul de scen\. Ochii, creiona]i cu mult negru, sunt 

fascinan]i. 

CÂND E{TI CIRCAR, NU CUNO{TI GRANI}ELE 

S\rind iute de la o idee la alta, Khavak `ncearc\ s\ strecoare 68 de ani 

de via]\ [i experien]\ `n mai pu]in de o or\. 

Tainele sale au fost mo[tenite din tat\ `n fiu. Bunicul, care era dresor 

de lei, [i-a transmis arta copiilor s\i. Unii au ales s\ lucreze cu elefan]i, al]ii 

cu cai, iar tat\l lui Khavak a vrut s\ duc\ mai departe dresura de lei. 

Dar dup\ un nefericit incident petrecut `n aren\, c‚nd un leu l-a 

La doar doi ani se juca cu crocodilii / At just two years old, he was already working with crocodiles


KARAH KHAVAK A URCAT PRIMA OAR| PE UN CROCODIL CÂND AVEA DOAR UN AN. FAMILIA, ARTI{TI DE CIRC CELEBRI DE GENERA}II, 

A AVUT GRIJ| CA FIUL S| DUC| MAI DEPARTE TALENTUL MISTIC DE A HIPNOTIZA CELE MAI VECHI REPTILE DE PE PAMÂNT. 

KARAH KHAVAK SAT FOR THE FIRST TIME ON A CROCODILE WHEN HE WAS ONLY ONE YEAR OLD. HIS PARENTS, PART OF A LONG 

LINE OF RENOWNED CIRCUS PERFORMERS, SAW TO IT THAT THEIR SON CARRIED ON THE MYSTICAL TALENT OF HYPNOTIZING 

THE EARTH’S OLDEST REPTILE. 

crocodili The Man Who Makes Crocodiles Sleep 

mu[cat de fa]\, un bogat spectator indian avea s\ schimbe voca]ia familiei: 

impresionat de lupta lui Khavak-tat\l cu leul, i-a propus s\ `nve]e s\ hipnotizeze 

crocodili. 

A[a c\, atunci c‚nd s-a n\scut Khavak, `n 1939, tat\l lui deja lucra de 

c‚]iva ani cu marile reptile. Iar mama, tot artist\ de circ, dansa cu 

clenched. The heavy tails are still. 

Wearing a turban and clad in a 

shiny oriental costume, master 

Karah Khavak stands in the middle 

of the stage in front of a table where 

the largest of the crocodiles, 

Headtrick, lies motionless. Following 

a specific routine, he opens the 

reptile’s immense jaws and sticks 

his head between them. After 

® ® 

~n fiecare zi, Khavak car\ crocodilii spre bazinele unde au c\ldur\ [i mâncare / Every day, Khavak carries the crocodiles to the tanks where they have warmth and food


Bunicii lui Khavak / Khavak’s grandparents 

O întâlnire istoric\ / A historical meeting 

® [erpii. La doar un an, p\rin]ii l-au a[ezat pentru prima oar\ pe un crocodil. 

Khavak-tat\l a `nceput s\-l `nve]e pe junior `nc\ de la doi ani s\ hipnotizeze 

un pui. 

Via]a de circ a purtat familia prin Germania - chiar `n timpul celui deal 

doilea r\zboi mondial, apoi prin Cehoslovacia, Fran]a, Olanda... Timp 

de patru ani au locuit `n cinci ]\ri diferite. Trenul ducea vagoanele de ® 

® several tense moments, he stands 

up, safe and sound, and makes for 

the other reptiles aligned on the 

edges of the arena, while Headtrick 

is led off the stage. With several simple 

gestures, he wakes them all up 

and the audience rips into applause. 

“Oh! Master, didn’t you forget 

something“ asks the presenter. 

Acting surprised, Khavak returns to 

recover the last crocodile left on the 

stage. 

THE WORK DAY OF THE 

COLD-BLOODED PARTNERS 

Now, after an extended series of 

shows attended by crowned heads 

of state and international stars, reptile 

hypnotist Karah Khavak, 68, is 

still presenting his act, this time at 

the Globus Circus in Bucharest, 

where he will remain until March. 

He was born in Hungary, into a 

family with a long tradition in the 

circus. His grandmother comes 

from Arad, in the west of Romania. 

Since his earliest days he has spent a 

great deal of time traveling the 

world. Now he lives in Germany 

but spends most of his time in other 

countries where he has circus contracts. 

Khavak ends his work day at 

the same time as his animals, at the 

end of each show. He maintains a 

day when they again commence 

their shows. 

After ensuring that his partners 

are accommodated comfortably, 

Khavak sits down and begins his 

story. “There is no secret. You learn 

everything just like in school. I hypnotize 

them with my hands. I use 

my energy and think: “Sleep! 

Sleep!“ he says in English infused 

with German and Italian words. 

“But you can’t learn this from one 

day to the next.“ 

He slips out of his stage costume 

for a simple gown, but continues to 

wear the make-up. His eyes, contoured 

with black, are fascinating. 

Quickly passing from one idea 

to the next, Khavak tries to squeeze 

sixty-eight years of life experiences 

into less than an hour. 

His mysterious talents were passed 

on to him by his father, who in 

turn learned them from his father, a 

famous lion tamer. Some members 

of Khavak’s family chose to work 

with elephants, others with horses, 

while Khavak’s father chose to continue 

the work with lions. But after 

an unfortunate incident in the arena, 

in which a lion bit his face, a wealthy 

Indian spectator would change the 

vocation of the family. Impressed by 

his father’s struggle with the lion, he 

{edin]\ de hipnoz\ / Hypnose session 

close watch on the assistants who 

take the reptiles in their arms and 

carry them out of the arena. Two 

burly men struggle to carry each 

crocodile a distance of only several 

meters and when its fierce tail moves 

from one side to the other they 

struggle to hold on. The animals are 

enclosed in enormous barred cages. 

Once the doors are locked, the 

assistants push the wheeled cages to 

the trailer in the circus’ inner yard, 

the real home of the performing 

crocs. Two small tanks are placed 

here in which they idle until the next 

told him he should learn to hypnotize 

crocodiles. So, when Khavak 

was born in 1939, his father had already 

spent several years working 

with the reptiles. And his mother, 

also a circus artist, danced with snakes. 

When he was barely a year old, 

his parents sat him down for the 

first time on a crocodile. Khavak - 

the father - began to teach his son to 

hypnotize young crocodiles when 

Khavak was only two. 

Circus life led the family to 

Germany during the Second 

World War, then to Cze- ®


® circ de la un ora[ la altul, de la o grani]\ la alta. „Abia `nv\]am s\ scriu 

[i s\ citesc `ntr-o limb\, c\ trebuia s\ plec\m `n alt\ ]ar\“. Khavak-fiul continu\ 

[i azi `n acela[i ritm. Chiar dac\ re[edin]a sa e `n Germania, `[i petrece 

mai tot timpul pe drumuri. C‚teodat\ `ncheie contract cu un circ pentru 

opt luni, alt\dat\ pentru un an. 

Acum are opt crocodili, dar `n vremurile bune a avut [i 14. Fiecare 

dintre ei m\n‚nc\ patru-cinci kilograme de carne o dat\ la trei zile, plus 

vitamine. Nu au nevoie de mult spa]iu, dar trebuie s\ m\n‚nce de 

ajuns, s\ aib\ ap\ cald\ [i lumin\. Headtrick, cel mai mare, este singurul 

`ntre f\lcile c\ruia `[i bag\ Khavak capul. L‚ng\ el, pu]in ridicat, st\ 

Papa, crocodilul care a fost atins de papa Ioan Paul al II-lea c‚nd era 

pui, pe vremea c‚nd Khavak [i viitoarea lui so]ie d\deau un spectacol 

la Vatican. 

Reptilele stau nemi[cate pe scen\ / The reptiles sit still on the stage 

„TR|IESC CU RISCUL ZILNIC“ 

Khavak este de mult prea b\tr‚n [i prea bolnav ca s\ mai hipnotizeze 

crocodili. Dar nevoia de a-[i `ntre]ine reptilele nu-i las\ prea multe op]iuni. 

Fiecare spectacol presupune ast\zi, cu at‚t mai mult, un risc asumat. ~ns\ 

pentru artist, riscul a fost `ntotdeauna o parte a vie]ii de zi cu zi. P‚n\ acum 

a fost mu[cat de bra]e de mai multe ori. Odat\, un crocodil l-a mu[cat de 

cap. De fiecare dat\ a sc\pat cu via]\. 

Riscul i-a adus `ns\ lui Khavak momente [i prieteni de neuitat. Dintr-o 

map\ neagr\ cu amintiri, scoate poza actorului Anthony Quinn. ~l cunoa[te 

din tinere]e, tocmai din ‘54. Pe vremea aceea munceau am‚ndoi la 

studiourile Cinnecita din Roma. Khavak lucra la filmul „La Cortigiane di 

Babilonia“. „~ntotdeauna venea s\ vad\ crocodilii, iar noi mergeam s\ ì 

vedem filmele“. Dar poza nu este una din tinere]ea celor doi arti[ti, ci una 

mult mai recent\. A fost f\cut\ `n 2000, `ntr-o zi c‚nd Quinn a venit la circ 

cu familia. „Este una dintre ultimele fotografii cu el. A murit un an mai 

t‚rziu“, spune Khavak. 

C‚teva amintiri mai `ncolo, poveste[te despre actorul francez Gerard 

Depardieu, al\turi de care a lucrat pentru filmul „Asterix et Obelix contre 

Cesar“. Au petrecut dou\ luni `mpreun\, `ntr-un studio din Munchen. 

Khavak `[i aduce aminte c\ actorului francez ì era foarte fric\ de crocodili. 

P‚n\ la urm\, cu ajutorul lui, Depardieu a reu[it s\ filmeze cea mai temut\ 

scen\ din film - `n care, legat cu o funie, a s\rit peste apa unde mi[unau 

crocodilii. 

Fiecare fotografie este pentru Khavak un cr‚mpei dintr-o via]\ foarte 

zbuciumat\. At‚t de multe drumuri [i at‚]ia ani `n care a hoin\rit cu crocodilii 

s\i, dintr-un loc `n altul, [i-au spus cuv‚ntul. G‚ndul la necuv‚nt\- 

toarele care depind de el `l convinge `ns\ pe b\tr‚nul artist s\ ias\ `n fiecare 

sear\ `n aren\, sub lumina reflectoarelor. 

Khavak mai are contract cu Circul Globus din Bucure[ti p‚n\ `n martie. 

Apoi, nici el nu [tie unde `l vor mai purta pa[ii... ∫ 

Khavak [i tat\l s\u 

Khavak and his father 

® choslovakia, France and Holland. 

In four years they lived in five 

countries. A train would carry 

the circus wagons from one city to 

the next, from border to border. “I 

had just learnt to read and write in 

a language then we had to go to 

another country.“ Khavak continues 

in the same manner. Even 

though his residence is in Germany, 

he spends most of the time 

on the road. Sometimes his contract 

with the circus lasts for eight 

months, sometimes for an entire 

year. 

Now he has eight crocodiles, 

but there were times when he had 

as many as fourteen. Each of them 

eats four to five kilograms of meat 

once every three days, in addition 

to taking vitamin supplements. 

They do not need much space 

but they require food, warm water 

and light. Headtrick is the only one 

between whose jaws Khavak puts 

his head. Next to him, with his 

snout up, is Papa, a crocodile 

which as a baby was touched by 

Pope John Paul II, when Khavak 

and his wife were in the Vatican. 

“I LIVE WITH RISK EVERY DAY“ 

Khavak has been for long too 

old or too ill to continue hypnotizing 

crocodiles. But the need to 

maintain his reptiles does not give 

him many options. Each show 

entails a risk, today even more than 

ever. But for the artist, risk has 

always been a part of his day-to-day 

life. Until now he has been bitten on 

the arms several times. 

Once, a crocodile bit his head. 

Each time he has managed to get 

out alive. But the risks associated 

with his job have also brought 

Khavak cherished moments and 

friends. From a black scrapbook full 

of memories, he takes out a picture 

of him with actor Anthony Quinn. 

He met the actor as a young man, in 

1954. At that time they were both 

working in the Cinnecita Studios in 

Rome. Khavak was working on the 

movie “La Cortigiane di Babilonia.“ 

“He always came to see the crocodiles 

and we always went to see his 

movies.“ But the picture was not 

taken during the two artists’ youth; 

it is a more recent one. It was taken 

in 2000 when Quinn spent a day at 

the circus with his family. “This is 

one of the last pictures taken of him. 

He died a year later,“ says Khavak. 

Moments later, he recalls his relationship 

with French actor Gerard 

Depardieu, with whom he worked 

on the movie “Asterix et Obelix contre 

Cesar.“ They spent two months 

together in a studio in Munich. Khavak 

remembers the French actor was 

terrified of the crocodiles. But eventually, 

with his help, Depardieu managed 

to shoot a scene in which, tied to 

a rope, he jumped over a watery pit 

swarming with crocodiles. 

Each picture is for Khavak a fragment 

of a life full of torment. So many 

travels and so many years spent wandering 

from one place to another 

have taken their toll. However, the 

thought of the fate of the animals that 

depend on him so dearly convinces 

the aging artist to go on stage and into 

the spotlight every evening. His contract 

with the Bucharest Globus 

Circus will only last until March. 

After that, not even he knows where 

the road will take him... ∫

COVER STORY 44 

„Am vrut s\ `napoiez Rom‚niei 

ceea ce mi-a dat I Wanted to 

Return the Gift Romania Made Me“ 

Damian Dr\ghici 

Muzic\, tradi]ie [i realitate / Music, tradition and reality 

By Andreea Pocotila 

Photo: Constantin Ciocan, arhiva personal\ 

AI COPIL|RIT ~N BUCURE{TI, ~NTR-O FAMILIE ~NDR|GOSTIT| 

DE MUZICA L|UT|REASC|. CÂND TE-AI APROPIAT PRIMA OAR| 

DE UN INSTRUMENT 

La trei ani, de ]ambal. Dar m\ plictiseam foarte repede. Am schimbat 

[ase sau [apte instrumente: de la ]ambal la pian, de la pian la tobe, de la 

tobe la contrabas, apoi la acordeon. Pe la 10 ani, bunicul mi-a zis: „N-ar 

fi bine s\ c‚n]i la nai“ Pentru c\ `n familie, Damian Luca, unchiul meu, 

[i F\nic\ Luca, str\bunicul meu, au fost nai[ti. 

Pe la 12 ani, un mic hop: mergeam la un ansamblu folcloric, dar la un 

moment dat ceilal]i au abandonat [i am r\mas singur. Nu c‚ntam prea 

bine, drept care am studiat `n urm\torii doi ani c‚te 12 ore pe zi. Am 

`nceput s\ c‚[tig „C‚ntarea Rom‚niei“, s\ colaborez cu Orchestra Radio, 

cu mari arti[ti de muzic\ popular\ precum Ionel Budi[teanu. P‚n\ la 18 

ani, sus]ineam concerte, imprimam, ap\ream la televiziune. 

{I LA 18 ANI AI DECIS S| PLECI DIN }AR|. 

N-am mai avut r\bdare s\ a[tept `n Rom‚nia, aveam impresia c\ stau 

YOU SPENT YOUR CHILD- 

HOOD IN BUCHAREST, IN A 

FAMILY THAT HAD A LOVE OF 

MUSIC. WHEN DID YOU FIRST 

MEET AN INSTRUMENT 

When I was three; it was a 

dulcimer. But I used to get bored 

very quickly. I changed six or 

seven instruments: from dulcimer 

to piano, from piano to 

drums, from drums to contrabass, 

then to the accordion. When 

I was three, my grandfather told 

me: „Wouldn’t it be a good idea 

for you to play the pan flute“ 

Because, in our family, Damian 

Luca, my uncle, and Fanica Luca, 

my great-grandfather, were pan 

flute players. 

When I was 12, there was a 

minor incident: I used to play in a 

folk ensemble and at a certain point 

the other guys all stopped playing 

and I was on my own. I did not 

play very well, which is why for 

the next two years I studied for 12 

hours a day. I started winning the 

prominent contest “Cantarea Romaniei“, 

I collaborated with the Radio 

Orchestra, with great Romanian 

folk musicians, such as Ionel Budisteanu. 

By the age of 18 I had 

held concerts, performed on television 

and released tapes.


Damian Dr\ghici. Ipostaze / Situations 

CÂNT| LA NAI DE CÂND 

AVEA 10 ANI. TALENTUL 

S|U A VR|JIT CAPITALELE 

LUMII. A EVOLUAT 

AL|TURI DE JOE COCKER, 

JAMES BROWN, GYPSY 

KINGS. CELEBRUL NAIST 


UIME{TE {I ROMÂNIA, CU 

UN NOU PROIECT MUZI- 

CAL - O TRUP| DE 

L|UTARI AL|TURI DE 

CARE SIMTE C| SE 

~NTOARCE ACOLO DE 

UNDE A PORNIT. 

HE HAS BEEN PLAYING 

PAN’S FLUTE SINCE HE 

WAS 10. HIS TALENT HAS 

CHARMED THE WORLD’S 

CAPITALS. HE HAS PER- 

FORMED ON THE SAME 

STAGES WITH JOE 

COCKER, JAMES BROWN 

AND THE GYPSY KINGS. 

CELEBRATED PAN 

FLUTIST DAMIAN 

DRAGHICI NOW AMAZES 

ROMANIA WITH A NEW 

MUSICAL PROJECT - A 

BAND OF “LAUTARI“, 

ALONGSIDE WHOM HE 

FEELS HE HAS RETURN 

TO HIS ORIGINS. 

pe loc [i mor `ncet, `ncet. Mai bine `mi iau via]a `n m‚ini. Am fugit doar 

eu singur, cu naiul. Am trecut grani]a `n Iugoslavia, apoi am ajuns `n 

Grecia... 

~n primul an nu mi-am g\sit de munc\, c‚ntam pe la mese. Vremurile 

acelea m-au marcat, nu-mi pl\cea ce f\ceam, dar trebuia s\ supravie]uiesc. 

Apoi cineva m-a `ntrebat dac\ [tiu s\ c‚nt [i la pian [i am fost angajat 

la un club. Dup\ vreo doi ani eram unul dintre cei mai buni piani[ti 

din Grecia, studiam ne`ncetat. C‚[tigam 400-500 de dolari pe noapte, 

bani foarte mul]i, [i eu aveam 21-22 de ani. Dar nu era expresia, vocea 

mea artistic\, aveam nevoie de ceva mai mult. Am trimis un demo `n 

Olanda, la un prieten, [i dup\ dou\ s\pt\m‚ni f\ceam acolo primul meu 

CD, `ntr-un studio mare. 

Apoi m-am `ntors `n Grecia [i am studiat jazz nonstop. A venit un tip 

[i mi-a spus c\ cei de la Berklee College of Music din Boston au un fel de 

vizionare, vin `n Europa [i dau burse tinerilor talenta]i. Le-am c‚ntat la 

nai John Coltrane, Charlie Parker, Miles Davis. Mi-au zis „ne vedem `n 

septembrie“. Nu i-am crezut. Dar dup\ dou\ s\pt\m‚ni, o scrisoare: 

„Felicit\ri, domnule Dr\ghici, a]i c‚[tigat o burs\ integral\“. Mi-am zis 

c\ prietenii mi-au f\cut o fars\ [i-am aruncat-o la gunoi. Peste c‚teva zile, 

`mi dau telefon de la Conservator: „Damian, ai c‚[tigat bursa, nu te 

® 

AND AT 18 YOU DECIDED TO 

FLEE THE COUNTRY. 

I did not have the patience to 

wait in Romania; I felt I was not 

progressing and that I was slowly 

dying. I thought I had to take my 

life in my own hands. I ran by 

myself, with the pan flute. I passed 

the border into Yugoslavia, then I 

arrived in Greece ... 

I could not find work in the 

first year, I was playing at tables. 

Those times visibly marked me, I 

didn’t enjoy what I was doing, but 

I had to survive. Then someone 

asked me if I knew how to play the 

piano and I was hired at a club. 

After about two years I was one of 

the best pianists in Greece, I was 

studying without rest. I was earning 

400-500 dollars a night, a lot of 

money, and I was only 21 or 22. 

But I felt that was not my artistic 

voice, I needed something more. 

I sent a demo to a friend in the 

Netherlands and in two weeks I 

was making my first CD at a 

known studio. Then I returned to 

Greece and I studied jazz nonstop. 

A guy came to me and told me the 

Berklee College of Music in Boston 

had some sort of recruitment in 

Europe and was offering scholarships 

to talented young musicians. 

I played John Coltrane, Charlie 

Parker, Miles Davis for them. They 

told me “see you in September.“ I 

did not believe them. But after two 

weeks, a letter: “Congratulations, 

Mr. Draghici, you have won a full 

scholarship.“ I thought my friends 

were playing a trick on me and 

intereseaz\“ ®

COVER STORY 

46 

„Am sim]it o fericire anume... / I felt a certain happiness...“ 

® I threw the letter in the garbage. 

In a few days, I got a phone call 

from the Conservatory: “Damian, 

you won the scholarship, aren’t 

you interested“ 

AND THAT’S HOW YOU ARRIVED 

IN THE UNITED STATES. 

I arrived at Berklee in September 

1997. The program normally 

lasts four years and I graduated 

from it in nine months, with 

place where I was born. I wanted 

to give back to Romania what it 

had given to me. I wanted to share 

with Romanians a little bit of my 

happiness, through my music. 

Then I returned to the United 

States and edited the concert. I 

toured throughout America for 

two years, for PBS, which has 348 

affiliates. 

In 2004, a promoter from 

Belgium contacted me, from the 

La noaptea balurilor / The Ball’s Night: James Brown, Joe Cocker, Damian Dr\ghici [i/and Shaggy 

® {I A{A AI AJUNS ~N STATELE UNITE. 

Am ajuns la Berklee `n septembrie 1997. Programul normal este de 

patru ani [i eu l-am terminat `n nou\ luni, cu Magna cum Laudae. Am 

f\cut cd-uri la New York, `n Olanda, c‚ntam la festivaluri de jazz [i 

„world music“. M-au contact cei de la American Public Television [i 

m-au `ntrebat dac\ vreau s\ fac un show. Le-am spus c\ singurul loc `n 

care a[ vrea s\-l fac e Rom‚nia, unde m-am n\scut. M-am mutat aici [i 

am preg\tit „Damian’s Fire“, un mare succes, 72.000 de oameni, cea mai 

mare scen\, cele mai multe lumini. 

NU MAI CÂNTASE{I ~N FA}A ROMÂNILOR, AI AVUT EMO}II 

Nu venisem acas\ de 12 ani. Pentru mine, a fost foarte important nu 

numai din punct de vedere muzical, dar [i emo]ional. Am concertat f\r\ 

bani, un cadou f\cut locului unde m-am n\scut. Am vrut s\ `napoiez 

ceea ce mi-a dat mie Rom‚nia. S\ `mpart cu rom‚nii pu]in din fericirea 

mea, prin muzica mea. Am plecat `n Statele Unite [i trei luni am editat 

concertul. Apoi am f\cut un turneu `n toat\ America, timp de doi ani, 

pentru PBS, care are 348 de canale. 

~n 2004, m-a contactat un promotor din Belgia, de la Noaptea 

Balurilor, cel mai mare tur din Europa, peste 120 de concerte. M-a `ntrebat 

dac\ n-a[ vrea s\ fiu cap de afi[, al\turi de James Brown, ® 

Magna cum Laude. I made two 

CDs in New York and the Netherlands, 

I played in jazz and world 

music festivals. PBS contacted me 

and asked me if I wanted to have a 

show. I told them the only place I 

would like to have the show was 

Romania, where I was born. I moved 

back here and made the preparations 

for Damian’s Fire, a big 

success, with 72,000 spectators, the 

biggest stage, the best lights. 

YOU HADN’T PLAYED ON A 

ROMANIAN STAGE BEFORE, 

WERE YOU NERVOUS 

It hadn’t been home for 12 

years. It was very important for 

me not only from a musical standpoint, 

but also emotionally. I 

played for free, as a gift to the 

Balls’ Nights, the biggest tour of 

Europe, with over 120 concerts. He 

asked me if I would like to headline 

concerts together with James 

Brown, Joe Cocker, Cindy Lauper 

and Shaggy in Belgium, the Netherlands, 

Germany and France. In 

France the performances were 

held by me, Zucchero, Gypsy 

Kings, Natasha Saint-Pier and Chimene 

Badi. Every evening I performed 

in huge concert halls in 

front of 25,000-30,000 people. It 

was a dream of a lifetime. 

THE REASON YOU CAME TO 

ROMANIA THIS YEAR WAS 

THE FILM... 

I am working on a documentary 

about gypsies, about the talent 

of this ethnic group. The action ®

COVER STORY 

48 

18 oameni / 18 people: Damian and Brothers 

® Joe Cocker, Cindy Lauper [i Shaggy, pentru 

c‚te 30 de concerte `n Belgia, Olanda, Germania 

[i Fran]a. ~n Fran]a se schimba componen]a, 

eram eu, Zucchero, Gypsy Kings, 

Natasha Saint-Pier [i Chimene Badi. ~n 

fiecare sear\ c‚ntam `n fa]a a 25.000-30.000 de 

oameni, `n s\li uria[e. A fost visul vie]ii mele. 

ANUL ACESTA TE-A ADUS ~N ROMÂNIA 

FILMUL... 

Lucrez la un documentar despre ]igani, 

despre talentul acestei etnii. Se `nt‚mpl\ `n 

nou\ ]\ri [i `n fiecare petrec c‚te trei sau 

patru zile cu un l\utar. ~i aleg pe cei virtuo[i, 

la bas, acordeon, ]ambal, vioar\ [i observ 

via]a lor personal\: ce fac, cum se comport\, 

tot ce li `nt‚mpl\. C‚nd pun m‚na pe instrument, 

sunt uimitori. Am ales Rom‚nia, Ungaria, 

Spania, Fran]a, Bulgaria, Iugoslavia, 

Grecia, Rusia [i India. Dar `n Rom‚nia am 

sim]it ceva ce nu mai sim]isem to]i anii ace[- 

tia, de c‚nd eram plecat. Ceva care `mi pl\- 

cea foarte mult. Am `nceput s\ c‚nt [i eu cu 

ei la o tob\. Dup\ c‚teva zile, nu m-am mai 

b\rbierit. Dup\ alte c‚teva zile mi-am l\sat 

p\rul mai lung, apoi am `nceput s\ m\n‚nc 

cu m‚na... Am sim]it o fericire anume [i 

mi-am zis „n-o las s\ plece“. 

Am str‚ns 18 oameni, am trimis filmule]e 

cu ei coproduc\torilor mei din America 

[i c‚nd m-au `ntrebat cine sunt, le-am 

zis c\ sunt fra]ii mei. Ne-am numit „Damian 

and Brothers“. 

A[a s-a n\scut proiectul „R\d\cini“... 

Ministerul de Externe voia s\ schimbe imaginea 

romilor `n Europa. Am avut concerte 

la Viena, Londra, Roma, Dublin. Nu facem 

altceva dec‚t s\ transport\m publicul `ntr-o 

alt\ dimensiune. S\-i transmitem ceea ce 

sim]im noi pe scen\... ∫ 

„Am început s\ cânt [i eu cu ei la tob\“ / “I started playing the drum by their side“ 

® takes place in nine countries and 

in each I spend three or four days 

with a “lautar“ (a traditional gypsy 

musician). I choose the most talented 

musicians who play the bass, the 

accordion, the dulcimer, the violin, 

and I observe their personal life: 

what they do, how they behave, 

everything that happens to them. 

When they started playing the 

instruments. They are amazing. I 

chose Romania, Hungary, Spain, 

France, Bulgaria, the former Yugoslavia, 

Greece, Russia and India. 

But in Romania I felt something I 

had not felt all the years since I had 

left. Something that I enjoyed very 

much. I started playing the drum by 

their side. After a few days, I 

stopped shaving. After a few more 

days I let my hair grow longer. 

Then I started eating with my 

hands. ...I felt a certain happiness 

and I told myself, “I won’t let it go.“ 

I gathered 18 people, I sent tapes 

with their music to my coproducers 

in the United States and when they 

asked me who they are, I told them 

they are my brothers. So we named 

ourselves “Damian and Brothers.“ 

That’s how the “Roots“ project 

came to life. ... The Foreign Affairs 

Minister wanted to change the image 

of Roma people in Europe. We 

had concerts in Vienna, London, 

Rome, Dublin. We are only trying 

to take the public in another dimension. 

To share with the audience 

what we experience while on the 

stage... ∫

BUCURE{TIUL REDESCOPERIT Bucharest Rediscovered 50 

By Lelia Zamani 

Photo: Constantin Ciocan 

Frumoasele case 

ale Bucure[tilor 

The Beautiful 

Houses of Bucharest 

Parfum de 

Cupola s\lii de concerte, pictat\ de G. D. Mirea 

vremuri Flavor of Times 

The Dome of the concert hall, painted by G. D. Mirea 

Muzeul „George Enescu“ se afl\ înscris pe Lista Patrimoniului European 

The George Enescu Museum was included in the European Heritage List 

Un veritabil palat, realizare a arhitectului Ion Berindei 

A veritable palace, designed by architect Ion Berindei 

MUZEUL NA}IONAL „GEORGE ENESCU“ 

La num\rul 141, pe Calea Victoriei, r\sare zvelt [i monumental Muzeul 

Na]ional „George Enescu“, odinioar\ frumoasa cas\ ridicat\ de 

unul dintre cei mai boga]i rom‚ni ai timpului s\u, Gheorghe Grigore 

Cantacuzino, poreclit Nababul, datorit\ imensei sale averi. Construc]ia, 

important\ realizare a arhitectului I. Berindei, a ap\rut `n primul deceniu 

al secolului al XIX-lea. Casa, un veritabil palat, este structurat\ pe patru 

niveluri: un subsol `nalt, parterul cu ferestre `n arc de cerc [i balustrade 

de piatr\, un etaj cu ferestre drepte [i balcona[e de fier forjat, iar sus, o 

mansard\ cu ferestre bogat ornamentate. Intrarea se face pe trepte ample, 

din marmur\, av‚nd de-o parte [i de alta doi lei din piatr\, iar deasupra, 

ocrotitoare, o copertin\ `n form\ de scoic\. Deosebit\ este sala de concerte, 

av‚nd cupola pictat\ de G. D. Mirea. Pe vremuri, se organizau acolo 

serate str\lucitoare [i audi]ii muzicale, unul dintre obi[nui]ii locului fiind [i 

George Enescu. Mai t‚rziu, `n 1939, prin c\s\toria cu Maruca, fosta nor\ a 

Nababului, el a devenit proprietarul palatului, dar a preferat s\ tr\iasc\ `n 

casa cea mic\ din spatele imensului edificiu. ~n 1956, Palatul Cantacuzino a 

devenit un muzeu dedicat lui Enescu. Cele trei s\li expun obiecte ale ®


Paznicii Casei Enescu 

The guardians of the Enescu House 

PE TOT CUPRINSUL ~NTINDERII 

SALE, DAR MAI CU SEAM| 

~N CENTRU, BUCURE{TII 

DEZV|LUIE EXISTEN}A UNOR 

CL|DIRI MINUNATE, 

ADEV|RATE COMORI DE 

ARHITECTUR| {I ART|. 

THROUGHOUT THE CITY, BUT 

ESPECIALLY IN THE CENTER, 

BUCHAREST IS HOME TO 

SOME WONDERFUL BUILD- 

INGS, TRUE ARCHITECTURAL 

AND ARTISTIC TREASURES. 

THE GEORGE ENESCU 

NATIONAL MUSEUM 

At 141 Victoriei Avenue, we 

see the slender and monumental 

George Enescu National Museum, 

built to serve as the beautiful home 

of one of the wealthiest Romanians 

of his time, Gheorghe Grigore 

Cantacuzino, nicknamed Nababul 

(The Big Shot) because of his 

immense fortune. 

The construction, a significant 

achievement of architect I. Berindei, 

was erected in the first decade 

of the 20th century. The house, a palace 

really, encompasses four levels: 

a high basement, the ground floor, 

with its circular windows and stone 

banisters; a second floor, with rectangular 

windows and wroughtiron 

balconies; and at the top, an 

attic, with its richly decorated windows. 

At the entrance, there are 

grand marble stairs, with two stone 

lions on each side and a protective 

shell-shaped glass canopy above. 

A special place in the building 

is the concert hall, with a dome 

painted by G.D. Mirea. In those 

days, the hall was the host of extravagant 

soirees and music recitals, 

one of the frequent guests being 

famed Romanian composer 

George Enescu. Later on, in 1939, 

through his marriage to Maruca, 

the Big Shot’s former daughter in 

law, Enescu became the owner of 

the palace, but he chose to live in a 

small house behind the immense 

building. 

In 1956, the Cantacuzino Palace 

became a museum dedicated to 

Enescu. The three halls exhibit objects 

that belonged to the composers: 

musical scores, diplomas, family 

photos, medals and decorations, 

paintings, his uniform as 

member of the Academy, the 

death mask, a mold of his hands, 

his desk and work chair, as well as 

the Cantacuzino family’s paintings 

and photos, old furniture and 

valuable bronze works. 

VERNESCU HOUSE 

Just down the road from the 

Enescu Museum, at 133 Victoriei 

Avenue, you will find Casa 

Vernescu. Its story begins in 1821, 

when Filip Lens built this palace, 

offering it - as an expression of his 

love - to his wife, Lisaveta Balotescu-Carpinisanu, 

as a wedding gift. 

Filip Lens was the son of a Romanian 

woman and a French nobleman 

from Marseille, Jean-Baptiste 

Linche, who had come to Romania 

in 1763; however, Lens was a more 

accessible name for Bucharest residents. 

The building was a victim 

of the fire of 1821, but it was quickly 

rebuilt and was known as ®


Casa Oamenilor de {tiin]\, fosta Cas\ Assan / The Scientists House, ex Assan House 

building. Mincu gracefully and 

skillfully, from 1887 to 1889, 

remodeled the entire building. 

Having a distinct splendor and 

brilliance, the house, which has 

since been called Vernescu, 

opened its doors to the famous 

balls and soirees of high society. 

Gold-encrusted marble, a different 

pattern of wallpaper in each room, 

huge mirrors, columns, an 

immense dome that bears the initials 

of the owner and stained 

glass windows on the ground floor 

give this place the unrivaled richness 

of a palace. 

® compozitorului: partituri, diplome, fotografii de familie, medalii [i decora]ii, 

tablouri, costumul de academician, fracul, masca mortuar\, mulajul 

m‚inilor, biroul [i scaunul de lucru, ca [i tablouri de familie ale Cantacuzinilor, 

mobilier de epoc\, bronzuri valoroase. 

CASA VERNESCU 

Ceva mai `ncolo, la num\rul 133, se afl\ Casa Vernescu. Istoria ei `ncepe 

la 1821, c‚nd Filip Len[ ridic\ acest adev\rat palat, oferindu-l apoi, 

cu nepre]uit\ dragoste, ca dar de nunt\, so]iei sale Lisaveta Balotescu- 

C\rpini[anu. Acest Filip Len[ a fost fiul unei rom‚nce [i al unui nobil 

francez din Marsilia, Jean-Baptiste Linche, venit la noi `n 1763. 

Cl\direa a cunoscut [i ravagiile incendiului din 1821, dar iute ref\cut\ 

a devenit una dintre cele mai frumoase case bucure[tene ale timpului. 

La 1853, Filip Len[ se stinge din via]\, iar casa, odat\ cu `nceperea r\zboiului 

Crimeei, a ad\postit pe r‚nd Colegiul Militar, Ministerul de R\zboi 

[i Statul Major al armatei ruse[ti. Dup\ ce edificiul a fost cuprins din nou 

de fl\c\ri, `n 1882, mo[tenitorii lui se hot\r\sc, patru ani mai t‚rziu, s\ o 

v‚nd\ lui Gu]\ Vernescu, avocat [i politician, fondator al Partidului Liberal. 

Vernescu, un adev\rat estet, dar [i un ins foarte bogat, a dat casa 

`n grija cunoscutului arhitect Ion Mincu. Acesta, cu har [i pricepere, a ref\cut 

`ntreaga cl\dire `ntre anii 1887 [i 1889. ~ntr-o splendoare [i o str\lucire 

aparte, casa, numit\ de atunci Vernescu, [i-a deschis por]ile vestitelor 

baluri [i serate mondene. Marmura cu decora]ii aurite, tapetul 

diferit din fiecare camer\, oglinzile masive, coloanele, cupola imens\ 

purt‚nd ini]ialele proprietarului, vitraliile parterului confer\ acestui 

spa]iu fastul inegalabil al unui palat. 

® one of the most beautiful houses 

in Bucharest at the time. In 1853, 

Filip Lens died, while the house, at 

the onset of the Crimean War, 

hosted in turns the Military 

College, the Ministry of War and 

the Russian Army’s Chief of Staff. 

After the building again suffered 

damages during a fire in 1882, its 

inheritors decided, four years 

later, to sell it to Guta Vernescu, a 

lawyer and politician and founder 

of the Liberal Party. Vernescu, a 

real aesthete but also a very rich 

man, commissioned renowned 

architect Ion Mincu to restore the 

THE SCIENTISTS HOUSE 

Another beautiful building, 

located at 9 Lahovari Square, is the 

Assan House. Built in 1906, based 

on a design by architect Ion Berindei 

in the style of Louis XVI, the 

house was erected to serve as the 

residence of a rich resident of Bucharest, 

Bazil George Assan, the 

son of industrialist Gheorghe 

Assan. Incredibly wealthy, being 

the son of the man who built the 

first steam mill in Bucharest - 

known even today as Assan’s Mill, 

made between 1897 and 1898 a business 

trip around the world. ® 

CASA OAMENILOR DE {TIIN}| 

O alt\ frumoas\ cl\dire, `n Pia]a Lahovari, la num\rul 9, este Casa 

Assan. Construit\ `n anul 1906, dup\ planurile arhitectului Ion Berindei, 

`n stilul Ludovic XVI, casa, a fost `n\l]at\ ca re[edin]\ a unui bogat 

bucure[tean, Bazil George Assan, fiul industria[ului Gheorghe Assan. 

Cu adev\rat foarte `nst\rit, fiul celui care a ridicat prima moar\ cu aburi 

din Bucure[ti (Moara lui Assan) a `ntreprins, `n 1897-1898, o c\l\torie cu 

scopuri comerciale `n jurul p\m`ntului. Bazil a fost [i un `mp\timit al 

automobilismului. De altfel, primul automobil care a ap\rut `n Bucure[ti 

la 1900, rul‚nd cu ame]itoarea vitez\ de... 7-8 km pe or\, a apar]inut familiei 

Assan. Cl\direa, cu adev\rat impun\toare, amplasat\ `n mijlocul 

unei frumoase gr\dini, cuprinde mai multe saloane decorate cu picturi [i 

sculpturi ale unor arti[ti celebri: pictorul Octav B\ncil\, sculptorul italian 

Angello Vannelli. 

® 

Casa Vernescu / Vernescu House 

Stilul Ludovic XVI / The style of Louis XVI


Casa Melik ad\poste[te ast\zi Muzeul „Theodor Pallady“ 

The Melik House today hosts the Theodor Pallady Museum 

Interior tipic românesc / Traditional Romanian interior 

CASA MELIK 

® ~n alt\ parte a ora[ului, pe Strada Sp\tarului, la nr. 22, se afl\ casa 

Melik, una dintre cele mai vechi din Bucure[ti. A fost construit\, dup\ 

unele surse, pe la 1760, `n Mahalaua Armeneasc\ - cuprins\ `ntre Calea 

Mo[ilor [i Strada Armeneasc\, [i a apar]inut, se pare, unui mare boier, cu 

rang de sp\tar, de unde îi vine [i numele Str\zii Sp\tarului. La `nceputul 

secolului al XIX-lea, casa se afla `n proprietatea bogatului negustor Hagi 

Chevoc (Kevorc) Nazaretoglu, care o las\ apoi fiului s\u, Agop. La 1847, 

arhitectul Iacob Melik era unul din membrii de frunte ai comunit\]ii armene[ti. 

S-a c\s\torit cu Ana, fiica lui Agop Nazaretoglu, al\turi de care 

a tr\it `n casa socrului s\u, cas\ ce avea s\-i poarte numele p‚n\ ast\zi. 

Participant la evenimentele din vara anului 1848, arhitectul a fost 

nevoit s\ ia drumul exilului. Iacob Melik a pendulat `ntre Constantinopol 

[i Paris, re`ntorc‚ndu-se cu familia `n Bucure[ti la 1857. {i-a g\sit casa 

destul de ruinat\ de unit\]ile militare str\ine ce [i-au avut `n\untru ad\- 

post vremelnic. A reparat-o chiar `n acel an, p\str‚ndu-i stilul originar [i 

acolo [i-a tr\it lini[tit restul zilelor. 

Casa a ren\scut, `n decembrie 1971, ca Muzeul „Theodor Pallady“, `n 

interior fiind expuse cele mai de seam\ tablouri ale pictorului. Cl\direa, respect‚nd 

liniile arhitecturii tradi]ionale rom‚ne[ti, cu parterul `n\l]at deasupra 

pivni]ei, cuprinde o mare sal\ central\, `mp\r]it\ `n dou\ camere, `n jurul 

c\rora sunt dispuse celelalte `nc\peri. La venerabila ei v‚rst\, Casa Melik 

`[i `mbie oaspe]ii cu tr\s\turi de o fermec\toare originalitate: cerdacul 

a[ezat pe col], `nchis cu un geaml‚c, la etajul `nt‚i, o scar\ de lemn interioar\, 

fa]ade decorate cu pila[tri clasici `n stil doric, corni[\ bogat\, strea[in\ 

lat\, iar `n interior un tavan de lemn cioplit, decor‚nd sufrageria. ∫ 

® Bazil was also a passionate of 

motoring. In fact, the first motor 

vehicle to appear in Bucharest, in 

1900, which was able to reach the 

remarkable speed of ... 7 to 8 kilometers 

per hour, belonged to the 

Assan family. 

The truly remarkable building, 

located in the center of a beautiful 

garden, has several parlors decorated 

with paintings and sculptures 

by famous artists: painter 

Octav Bancila, Italian sculptor 

Angello Vannelli. 

MELIK HOUSE 

In a different part of the city, at 

22 Spatarului Street, stands Casa 

Melik, one of the oldest houses in 

Bucharest. It was built, according 

to some sources, around 1760 in 

Mahalaua Armeneasca (the Armenian 

Neighborhood), between Calea 

Mosilor and Armeneasca 

Street. It is said the house belonged 

to an important boyard (a 

member of a former privileged 

class in Romania) who had the 

rank of sword bearer, the apparent 

namesake of the street, Spatarului 

(Sword Bearer). At the beginning 

of the 19 th century, the house was 

owned by the successful businessman 

Hagi Chevoc (Kevork) Nazaretoglu, 

who bequeathed it to his 

son, Agop. In 1847, architect Iacob 

Melik was one of the prominent 

members of the Armenian community. 

He married Ana, the daughter 

of Agop Nazaretoglu, and lived 

with her in the house of his 

father in law, a house that to this 

day bears his name. 

As he participated in the revolution 

of the summer of 1848, the 

architect was forced to leave the 

country in exile. The police even 

tried to arrest Agop, but Major 

Locustenu, who had the task of 

catching him, could not elicit from 

any Armenian where his house 

was located. Iacob Melik split his 

time between Constantinople and 

Paris, and returned to Bucharest in 

1857. After nine years of neglect, 

Melik found his house quite ruined 

by the foreign military units that 

had temporarily lived there. He 

repaired it that very year, keeping 

its original style and lived there 

quietly until the end of his life. 

The house was brought to life 

again in December 1971 as the 

Theodor Pallady Museum, hosting 

inside its walls the painter’s most 

important works. The building, 

which follows the lines of traditional 

Romanian architecture, with 

the high-ceilinged ground floor 

above the basement, includes a big 

central hall divided into two 

rooms, with the other rooms built 

around them. With its respected 

age, the Melik House lures visitors 

with its charmingly original features: 

the enclosed balcony on the 

corner, an interior wooden staircase, 

facades decorated with classical 

Doric columns, a rich cornice, 

the wide eaves, and inside, a 

carved wooden ceiling that decorates 

the living room. ∫

OBICEIURI Customs 56 

Domni[oara [i cavalerul de onoare, nelipsi]i de la ceremonie 

The bridesmaid and the best man are “a must“ 

RITUAL COMPLEX, PRILEJ DE 

BUCURII {I OSPE}E F|R| 

NUM|R, NUNTA }|R|NEASC| 

~NCEPE CU MASA PE}ITO- 

RILOR, CONTINU| CU MASA DE 

LOGODN|, ATINGE O CULME 

AME}ITOARE CU MASA CEA 

MARE {I SE ~NCHIDE U{UREL 

CU MASA VORNICILOR {I A 

DRUSTELOR, CU CEA A 

SOCRILOR {I CU MASA 

COLACILOR. 

A COMPLEX RITUAL, AS WELL 

A MOMENT OF JOY AND 

NUMEROUS BANQUETS, 

THE TRADITIONAL PEASANT 

WEDDING STARTSWITH THE 

SUITOR’S CEREMONIAL 

DINNER, GOES ON WITH 

THE ENGAGEMENT FEAST, 

REACHES AN EUPHORIC PEAK 

DURING THE SO-CALLED BIG 

DINNER AND THEN SLOWLY 

HEADS TO THE END WITH THE 

FEASTS OF THE BEST MEN 

AND BRIDESMAIDS, THE 

PARENTS-IN-LAW’S DINNER, 

AND FINALLY THE CEREMONIAL 

OF THE KNOT-SHAPED BREAD. 

By Diana Marcu 

Ia-]i mireas\ 

Dear Bride, Say 

~n tradi]ia rom‚neasc\, nunta are un loc privilegiat, p\strat `n timp [i 

`ntre file de poveste, c‚nd osp\]ul dura o s\pt\m‚n\: de joi p‚n\ 

miercuri diminea]\. Trezi]i cu greu din mrejele lui Bachus [i cu stomacul 

probabil `ngreunat, rom‚nii au redus petrecerea la trei zile: „de 

s‚mb\t\ p‚n\ luni,/c-a[a beau oamenii buni“. 

Azi, pu]ine nun]i mai ]in o s\pt\m‚n\. Totul se concentreaz\ `ntr-o 

zi [i o noapte, scria Radu Anton Roman: „Diminea]a la prim\rie, la pr‚nz 

la biseric\ [i dup\-masa-seara-noaptea, la osp\]ul de nunt\; care, dac\ d\ 

Dumnezeu vreme bun\, se `ntinde [i prin curte, sub frunza nucilor [i 

r\coarea stelelor“. 

Participarea la cea mai mare bucurie a satului nu `nseamn\ doar simpla 

prezen]\, ci [i implicarea total\ a rudelor, a vecinilor, a celor dou\ 

lumi din care provin mirii, chiar [i `n preg\tirea meselor. ~n plus, 

m‚ncarea d\ruit\, vasele sau mobilele `mprumutate sunt dovezi ale 

rela]iilor sociale din satul tradi]ional. 

C\s\toria trece prin c‚teva momente speciale: pe]itul, strig\rile, 

chemarea la nunt\, ruperea turtei, masa miresei, jocul zestrei, aducerea 

miresei, iert\ciunea, cununia, masa mare, `nchinatul, `mbroboditul miresei 

[i... calea primar\. 

The Romanian tradition 

praises the wedding as a 

very special fairy-tale moment, 

as once upon a time the wedding 

meant a week-long banquet: 

it started on Thursday and ended 

the next Wednesday. 

But as afterwards they could 

barely wake up because of 

Bacchus’s spells and the full stomach, 

the Romanians decided the 

wedding party should continue 

for only three days and nights: 

“from Saturday to Monday/as this 

is the way to drink“. 

Today only few weddings last 

a whole week. Everything happens 

during one day and one 

night, Radu Anton Roman used to 

say. “Early in the morning at the 

City Hall, at church at noon and 

then the wedding feast; and if God 

gives us a sunny weather, the feast 

takes place in the backyard, under 

the walnut trees and the stars.“ 

Sharing the village’s greatest 

joy doesn’t mean just attending 

the ceremony, but also taking part 

in the preparations that involve all 

the relatives and neighbors. 

Furthermore, giving food as a 

present and lending furniture or 

tableware are a proof of the affectionate 

relationships that are typical 

for the Romanian traditional 

village. 

The traditional wedding ritual 

comprises several sequences: the


ziua bun\... 

“Farewell“... 

PE}ITUL, ~N CASA MIRESEI 

~n cazul `n care doi tineri se pl\ceau sau interesele de familie o 

cereau, p\rin]ii b\iatului trimiteau un om mai h‚tru la p\rin]ii fetei pentru 

a anun]a inten]ia lor de a veni `n pe]it. Adesea, cel care sosea `n pe]it 

era chiar tat\l t‚n\rului. ~n ziua cu pricina, alaiul pe]itorilor pornea spre 

casa fetei, unde, la intrare, rosteau o scurt\ cuv‚ntare. Erau pofti]i `n 

cas\, unde, `n jurul mesei cu bucate stropite cu vin, se purtau discu]iile 

despre zestre, p\m‚nt [i se fixa ziua nun]ii. Se duceau tratative [i pentru 

g\sirea na[ului, care, de obicei, era na[ul de botez al b\iatului. Urmau 

preg\tirile de nunt\, care culminau `n s\pt\m‚na dinaintea evenimentului. 

Uneori, hot\r‚rea de a face nunta era deja luat\, pe]itul fiind doar o 

formalitate sau un prilej de petrecere. 

FEDELE{UL, CU DANS 

De regul\, este o petrecere la casa miresei, `n seara de dinaintea 

nun]ii, la care particip\ prietenii viitorilor miri, al]i invita]i. La `nceputul 

serii, tinerii lucreaz\ ornamentele ce vor fi puse `n brazii de nunt\, din 

materiale aduse de miri. Petrecerea nu `nseamn\ mult\ m‚ncare (se 

servesc cozonaci), ci mai degrab\ b\utur\ [i dans. 

asking-in-marriage, the “callings“ 

to the wedding, the splitting of the 

unleavened bread, the bride’s 

meal, the dowry dance, the bringing 

of the bride, the parents’ forgiveness, 

the religious service, the 

Big Dinner, the prayer, the moment 

when the bride wraps up her 

head with a scarf and... the primary 

path. 

THE “ASKING-IN-MARRIAGE“ 

When two young people liked 

each other or if the families’ interests 

called it, a trustful person of 

the groom’s part went to the bride’s 

parents to ask for their daughter 

in marriage on the groom’s behalf. 

Most often, the groom’s father 

was the suitor. When the day 

of the “asking-in-marriage“ came, 

the suitor went to the bride’s house 

accompanied by several others. 

Before entering the bride’s house 

they stopped and held a short 

speech. They were then asked to 

come in, invited to eat and drink 

while discussing about the dowry 

and finally set up the wedding 

day. Negotiations also took place 

when deciding who the spiritual 

father of the wedding should be. 

Usually, the groom’s godfather 

had the honor to also become the 

spiritual father of the new couple. 

Then the wedding preparations 

would follow. Sometimes the 

decision to go along with the wedding 

had been taken a long time 

before the “asking-in-marriage“ 

and the ritual was just an opportunity 

to party or a formality. 

BIND TIGHT WHILE DANCING 

The night before the wedding, 

there is usually a party at the bride’s 

house where all the couple’s friends 

are invited. When the evening 

comes, the young guests must prepare 

the ornaments that are to decorate 

the wedding firs. The party 

however does not mean eating a lot 

but rather drinking and dancing. 

A FIR FOR PROSPERITY 

In the morning of the big day, 

the groom and his friends decorate 

the firs with various objects, including 

fruits and bake rolls. Then some 

bachelors carry the decorated 

firs to the spiritual father’s house 

where one of the firs must be tide 

to the gate. The wedding procession 

goes then to the bride’s house 

where the last fir is placed. 

The fir is a symbol of vigor and 

youth and its decorations symbolize 

the prosperity of the new family. 

THE DRESSING UP OF 

THE BRIDE AND GROOM 

The music, the wedding guests 

and the wine bottle are the ingredients 

of the moments prior to the 

religious ceremony. The houses of 

the groom and bride are truly 

vivid. Two rituals take place at the 

same time in different places: the 

groom is shaved and the bride is 

dressed up. Both rituals symbolize 

the first steps towards the family 

life and they take place while the 

guests dance and sing. The 

® ®


BRADUL, PENTRU BEL{UG 

® ~n diminea]a nun]ii, ginerele [i prietenii 

s\i `mpodobesc brazii cu diferite 

obiecte, fructe [i chifle. Ni[te tineri 

nec\s\tori]i ì poart\ p‚n\ la casa na[ului, 

unde unul dintre brazi este legat `n fa]a 

por]ii. Apoi alaiul `[i continu\ drumul spre 

casa miresei, loc `n care r\m‚ne [i celalalt 

brad. Bradul este simbolul vigorii [i al 

tinere]ii, iar `mpodobirea lui semnific\ via]a 

`mbel[ugat\ a viitoarei familii. 

B|RBIERITUL MIRELUI {I G|TITUL MIRESEI 

Muzica, nunta[ii [i plosca plin\ cu vin 

sunt ingredientele momentelor ce preced 

ceremonia religioas\. La casele viitorilor 

miri, forfota nu contene[te. Dou\ obiceiuri se 

desf\[oar\ `n paralel: b\rbieritul mirelui [i 

g\titul miresei. Ambele simbolizeaz\ ini]ierea 

tinerilor pentru via]a de familie [i se desf\[oar\ 

sub ochii nunta[ilor, cu c‚ntec [i 

martori. ~n timp ce viitorul ginere e b\rbierit 

simbolic de c\tre cel mai bun prieten, 

mireasa este acas\ la ai s\i, `mpreun\ cu 

na[a, mama [i cele mai bune prietene. Ele o 

ajut\ s\ se `mbrace, urm‚nd ca na[a s\-i prind\-n 

p\r voalul [i coroni]a. 

~n vechime, la acest ritual luau parte mai 

mul]i din partea miresei. Cum g\titul era 

destul de laborios - se foloseau cele mai bune 

haine, se f\ceau `mpletituri complicate ale 

p\rului, fetele c‚ntau. 

HORA MIRESEI 

Cunoscut\ [i ca Nuneasca, hora miresei 

se danseaz\ acas\ la viitoarea nevast\, prilej 

cu care soacra mic\ `mparte daruri na[ilor, 

socrilor [i, uneori, rudelor apropiate. ~n timpul 

horei, oaspe]ilor li se prind `n piept cocarde. 

Via]a în doi / Life as a couple 

RUPEREA TURTEI 

Dup\ dans, na[a `nchin\ un pahar cu vin [i fr‚nge `n patru un colac 

ori o turt\ `mpodobit\ cu ornamente [i `mpletituri. C‚teva buc\]i sunt 

azv‚rlite `n cele patru puncte cardinale, `ncep‚nd cu r\s\ritul. Simbolic, 

turta este rupt\ deasupra capului miresei, buc\]i din ea fiind oferite celor 

prezen]i. Potrivit obiceiului, p\strat din vremea romanilor, cei care m\- 

n‚nc\ din turt\ au noroc sau se c\s\toresc repede. 

CUNUNIA {I MASA 

Cu miri, na[i [i invita]i, alaiul pornea spre biseric\. Dup\ el se arunca 

p‚ine [i sare, `n semn de bel[ug. Pe drum, copiii ie[eau cu g\le]i pline 

cu ap\ [i flori, `n semn de noroc, [i primeau `n schimb bani de la mire. 

~n timpul cununiei, mirii `ncorona]i [i na[ii erau „b\tu]i“ cu bomboane 

[i bani, la „Isaia d\n]uie[te“, fapt ce simboliza dorin]a nunta[ilor ca viitorul 

cuplu s\ aib\ parte de bel[ug. Dup\ terminarea slujbei, alaiul, cu lum‚n\rile 

aprinse `nainte, se `ndreapt\ spre locul de desf\[urare a petrecerii. Aici, 

nunta[ii sunt `nt‚mpina]i cu p‚ine [i sare sau cu dar de colaci. Ast\zi, la ora[, 

pi[coturile au luat locul colacilor, dar miezul simbolic este acela[i. ® 

® groom must be shaved by his 

best friend, while the bride is at 

her house with her mother and 

girlfriends, who must help her 

dress up and put on the wedding 

veil. 

THE BRIDE’S ROUND DANCE 

Also known as the “Nuneasca“, 

the bride’s round dance takes 

place at the future wife’s house. 

While the guests are dancing, the 

bride’s mother gives small presents 

to the godfathers, the in-laws 

and to other close relatives. The 

dancers also receive cockades. 

After the round dance, the 

godmother makes a toast and 

splits into several pieces a knotshaped 

bread or an unleavened 

bread decorated with ornaments. 

Four pieces of bread are thrown in 

four different parts symbolizing 

the four points of the compass. The 

first piece is always thrown to the 

East and the bread must be divided 

over the bride’s head. Some of 

bread pieces are then served to the 

guests as it is believed that those 

who eat it will become very lucky 

persons or will get married soon. 

THE RELIGIOUS SERVICE 

Afterwards the wedding procession 

heads to the church. Behind 

them, pieces of bread and salt are 

scattered for the new couple to 

have a prosper life. On the way to 

the church, children used to meet 

the groom and bride with flowers 

and buckets with water and in 

return the groom would give them 

money. During the religious service, 

the guests would throw candies 

and coins at the groom and 

bride. The gesture expresses the 

guests’ best wishes. 

After the religious service, the 

wedding procession, holding lit 

candles, goes to the party hall. All 

the guests are welcomed with 

bread and salt. Nowadays, the 

bread has been replaced with cookies, 

but the symbolic essence is 

the same. 

A traditional wedding feast 

attracts almost the entire community. 

The feast means music, special 

dishes, wine, and lots of presents. 

The bride must give presents 

to the spiritual parents of the 

wedding and then all the guests 

start presenting their gifts for the 

newly weds. The gifts usually 

comprised grains and money. 

The feast used to end in the 

morning, when the bride had to 

take off the wedding veil and replace 

it with a scarf. Then the guests 

would start drinking red “tzuica“. 

KIDNAPPING THE BRIDE 

The custom to kidnap de bride 

is still alive although no one 

knows where it comes from. 

During the wedding party some 

guests take advantage of the 

groom’s lack of attention and ®


® O mas\ tradi]ional\ de nunt\ e un osp\] care antreneaz\ o mare 

parte a comunit\]ii. Nu lipsesc muzica, bucatele alese, vinul, dulciurile [i 

schimbul de daruri. Na[ilor li se ofereau cadouri din partea miresei, apoi 

`ncepea darul, nunta[ii d‚ndu-le tinerilor bani [i produse agricole. 

Petrecerea ]inea p‚n\ diminea]a, c‚nd mireasa schimba voalul cu un 

batic. Na[ii erau condu[i acas\, iar ceilal]i nunta[i se amuzau b‚nd 

rachiu ro[u. Luni seara era masa stolnicilor - a prietenilor [i a rudelor 

care au servit la osp\]. Era r‚ndul lor s\ petreac\. 

FURATUL MIRESEI 

Obiceiul s-a p\strat, de[i nu i se mai cunosc originile. ~n timpul petrecerii, 

unii glume]i profit\ de neaten]ia mirelui [i fur\ mireasa. Mirele este 

dator s\ o caute sau s\ o r\scumpere. ~n unele zone, r\pitorii au obliga]ia 

de a nu l\sa mireasa pe jos, ea fiind purtat\ numai `n bra]e. ~n alte zone, 

se consider\ c\ dac\ a fost furat\ p‚n\ la miezul nop]ii, datoria o pl\te[te 

na[ul, iar dac\ a fost furat\ dup\ acea or\, atunci mirele trebuie s-o 

r\scumpere. De multe ori, spre hazul invita]ilor, mirele este pus s\ 

`ndeplineasc\ anumite sarcini. 

SCOSUL VOALULUI 

Aproape de finalul nun]ii, na[a scoate voalul de pe capul miresei [i ì 

acoper\ p\rul cu o e[arf\, ceea ce simbolizeaz\ trecerea de la starea de 

fat\ la cea de nevast\. Voalul miresei se prinde `n p\rul unei fete 

nem\ritate, despre care se spune c\ va fi urm\toarea ce se va c\s\tori. 

La ora[, r\m\[i]e ale acestor uimitoare obiceiuri de nunt\ rom‚ne[ti 

se `mpletesc `n zilele noastre cu „ceva nou, ceva `mprumutat, ceva vechi 

[i ceva albastru“... ∫ 

Ia-]i mireas\ ziua bun\ 

Dear bride, say farewell 

kidnap the bride. The groom’s duty 

is to search for her or to buy her 

back. In some regions, the „kidnappers“ 

must carry the bride in 

their arms until the groom gets her 

back. In other areas, if the bride 

was kidnapped before mid-night it 

is the godfather that has to pay the 

ransom. Sometimes the groom 

must also deal with all sorts of 

pranks in order to get back the 

wife. 

TAKING OFF THE VEIL 

When the party is about to 

end, the godmother has to take the 

bride’s veil off and replace it with 

a scarf. The gesture means the bride 

is no longer a maiden but a wife. 

The veil is then given to a maiden 

and it is said she is the next to 

become a wife. 

The urban life has replace some 

of these amazing ritual with 

what we call “something new, something 

borrowed, something old 

and something blue“... ∫

LOCURI DE POPAS 

Peaceful Retreats 

62 

~n plin\ explozie a S\rb\torilor de iarn\, întâlne[ti la tot pasul cete de colind\tori 

In the blistering time of the winter holidays, you will meet everywhere groups of carol singers 

By Danut Ungureanu 

BUCOVINA 

Peisaj de sub fruntea ]\rii Landscape 

Beneath the Country’s Brow 

O C|L|TORIE PRIN MIAZ|- 

NOAPTELE ROMÂNESC, 

DEPARTE DE AGLOMER|RILE 

URBANE ALE SUDULUI, SE 

PREFACE MIRACULOS ~NTR-O 

~NTOARCERE LA MIEZUL 

DE COZONAC AL COPIL|RIEI, 

PE CARE FIECARE 

~NC| ~L P|STREAZ|... 

~n orice manual de geografie, ori ca prim\ constatare a unui ghid destinat 

celor care-i calc\ `nt‚ia oar\ p\m‚nturile, ar trebui s\ scrie c\ Bucovina 

este o ]ar\ bogat\, cu oameni boga]i. Banal... Despre ce fel de 

bog\]ie este vorba e o alt\ discu]ie, dar trebuie [tiut din capul locului c\ 

ea `mbrac\ toate formele cunoscute, de la bun\starea gospodarilor [i a 

gospod\riilor ori comorile tr\itoare sub p\m‚nt, `n ape [i `n aer p‚n\ la 

tradi]ia pur\ [i sofisticat\, p‚n\ la generozitate, vrednicie, s\n\tate [i haz. 

Locuin]\ bucovinean\. Detaliu / Traditional Bucovina dwelling. Detail 

IARNA, CU Z|PEZILE... 

C‚nd spin\rile Obcinelor se `ngreuneaz\ de om\t alb-str\lucitor, `n 

el se `neac\ [i pasul, [i glasurile drume]ilor. Pe drum trece un alai de s\- 

nii, caii respir\ abur cald, sfor\itor, precum odinioar\ `[i slobozeau pe 

n\ri fierbin]eala str\mo[ii lor din basme, pofticio[i la j\ratec... „Pasagerii“, 

binedispu[i, c\ci au r\zbit deja primul p\h\rel de t\rie, pl\nuiesc genero[i 

`n decibeli osp\]ul care-i a[teapt\ undeva, `n `mprejurimi, sub cerul 

c‚nd albastru, c‚nd alburiu. Iarna, cu sania, „la om\t“, adic\ un gr\- 

tar stropit copios cu ]uic\ [i vin ro[u, vara, cu c\ru]a, la o margine de ®


Photo: Pierre Soissons 

Moldovi]a. Spiritualitate / Spirituality 

A JOURNEY ACROSS THE 

ROMANIAN NORTHWARD, 

FAR AWAY FROM SOUTH’S 

URBAN CLUSTERS, MIRACU- 

LOUSLY TURNS INTO A GO- 

BACK TO THE CHILDHOOD’S 

CHRISTMAS CAKE AROMA 

THAT IS STILL PRESERVED IN 

EVERYONE’S MIND... 

In any geography manual, or as 

a first observation of a guide 

for those who first step on its 

land, it should be written that Bucovina 

is a rich country, with rich 

people. Too common... What kind 

of richness are we talking about 

it’s another matter, but from the 

very beginning we should know 

that it comprises all the known 

forms, from the prosperity of the 

farmers and their farms and of the 

treasures living deep down, in the 

air and in the water, to the pure 

and complex tradition, to generosity, 

goodness of heart, sound 

spirit and humor. 

THE WINTER AND ITS 

SNOWS... 

When the backsides of the 

Obcine become heavy with whiteglittering 

snow, the steps and voices 

of the wanderers melt in it too. 

A procession of sledges comes 

down the road, the horses breathing 

loud and warmly, as their fairy 

tales ancestors once used to 

breathe out the braise they were 

craving for... “The passengers“, 

good-humored having just sailed 

through their first drink, plan with 

an abundance of decibels the feast 

that waits for them somewhere, 

nearby, under the sky which constantly 

changes blue and white. In 

the winter going by sledge “to the 

snows“, that is for a barbecue 

generously spiced with red wine 

and “tzuica“, and in the summer 

reaching a meadow by carriage, 

for the same noble and joy-bringing 

livelihood... 

And if you succeed in becoming 

the guest of one of those 

households of Bucovina people, 

“at he boarding house“ as they say 

nowadays, great challenge and 

danger will your figure face. For 

the hosts, the guest is no longer 

“the doctor“, “the professor“, the 

architect“, but simply a little older 

child whom you must please at all 

costs and whose whims they must 

satisfy, and even stir some new 

ones, unknown to urban dwellers. 

The “balmos“ - polenta boiled in 

sweet cream, the pork juicy meats, 

the sausages, the ham, the soup of 

Radautzi, like a gastronomic balm 

for mouth and stomach... Now, 

talking about that famous soup of 

Radautzi, many of its worshipers, 

charmed by its virtues and flavors, 

hurried to trace its gastronomic 

roots back to the banquets of the 

ancient age nobles or, who knows, 

maybe even to the court of Great 

Stephen himself. Cruel disappointment 

as the marvel is no 

older than a decade and it was invented 

by a proud housewife from 

the area. One way or another, its 

lack of experience (the soup’s!) 

means nothing in comparison with 

its symphony of taste sub- ® 

Casele Bucovinei stau coco]ate pe rotunjimile fertile 

The houses of Bucovina lay proudly poised on the fertile hills

LOCURI DE POPAS Peaceful Retreats 64 

® f‚nea]\, pentru acelea[i `ndeletniciri nobile [i aduc\toare de voie 

bun\... 

Iar dac\ ai apucat s\ devii oaspetele unei gospod\rii din acestea ale bucovinenilor, 

„la pensiune“, cum se poart\ vorba mai nou, `n zilele noastre, 

`n grea cump\n\ [i primejdie se afl\ silueta. Pentru gazde, oaspetele nu 

mai e nici dom’ doctor, nici dom’ profesor, nici dom’ arhitect, ci doar un 

copil oleac\ mai r\s\rit, c\ruia trebuie musai s\ i se fac\ toate hat‚rurile [i 

s\ i se mul]umeasc\ toate poftele, ba chiar s\ i se mai a]‚]e [i altele, 

necunoscute or\[eanului anchilozat. Balmo[ul - m\m\ligu]a fiart\ `n 

sm‚nt‚n\, c\rnurile suculente ale porcului, c‚rna]ii, caltabo[ul, sl\ninu]a, 

supa r\d\u]ean\, ca un balsam buc\t\resc pentru gur\ [i stomac... Acum, 

venind vorba despre aceast\ vestit\ sup\ r\d\u]ean\, mul]i adoratori ai 

s\i, fermeca]i de virtu]ile [i deliciile d‚nsei, s-au repezit s\-i g\seasc\ 

r\d\cinile gastronomice pe la chefurile boiere[ti ale veacurilor trecute ori, 

mai [tii, pe la curtea marelui {tefan. Crunt\ dezam\gire, minun\]ia nu e 

mai v‚rstnic\ de un deceniu [i-a fost scornit\ de o gospodin\ vrednic\ de 

prin partea locului. Fie ce-o fi `ns\, lipsa ei de experien]\ (a supei!) nu 

`nseamn\ nimic pe l‚ng\ simfonia de nuan]e a gustului, cobor‚t\ de-a 

dreptul din filarmonica zeiasc\ a gastronomiei bucovinene... 

... OAMENII, CU LINI{TEA... 

Dac\ ai nimerit t\r‚mul `n plin\ explozie a S\rb\torilor de iarn\, `nt‚lne[ti 

la tot pasul cete de copii [i adolescen]i, costuma]i `n personaje de mit 

s\tesc, m\[ti grote[ti, uniforme caricaturale, bumbi str\lucitori, straie mi- 

]oase [i panglici multicolore. Toba ]ine ritmul [i cizmele trop\ie pe caldar‚m. 

Dar dup\ g\l\gia vesel\ a drumurilor, oriunde-ai porni r\zbe[ti cu ochii 

[i cu sufletul `ntr-un sf‚nt l\ca[ bisericesc... M\n\stirile bucovinene trebuie 

c\lcate [i cercetate cu pasul, nu mai mult de una... hai, dou\ pe zi... Nu `ntr-un 

standardizat tur vilegiaturistic, ci `ntr-un pelerinaj molcom [i sincer, 

nu numai pentru fotografii, ci mai degrab\ pentru o or\ pe una din b\ncile 

din curte, cu privirea pe zugr\velile minunate ale me[terilor, `n lini[tea vindec\toare 

de toate bolile a marginii dintre lumea exterioar\ [i cea interioar\. 

O m\icu]\ nu mai `nalt\ dec‚t un copil `nconjoar\ pere]ii Moldovi]ei, f\c‚nd 

s\ r\sune toaca pe care o car\ pe um\r. B\t\ile reverbereaz\ `n coastele 

`n\l]imilor. De la f‚nt‚n\, oamenii beau pe r‚nd ap\ dintr-o can\ de tabl\. 

La intrare, `n chio[c, o m\icu]\ vinde iconi]e, lum‚n\ri [i m\t\nii, iar sfiala 

n-o las\ s\ ridice ochii nici c‚nd ì num\r\ restul cump\r\torului. Oamenii 

aprind lum‚n\ri, pentru cei mor]i, ca [i pentru cei vii. 

... VARA, CU P|DURILE... 

Vara, `ntinderea f‚ne]elor [i a p\[unilor se dezv\luie cople[itoare. ~]i 

vine greu s\ crezi c\ mai exist\ pe p\m‚nt spa]ii at‚t de vaste, verzi [i 

`nsorite, ne`ngr\dite cu beton [i fier forjat. Casele Bucovinei stau coco]ate 

m‚ndre nevoie mare pe rotunjimile fertile, parc\ mereu dornice de oaspe]i 

[i ospe]ii. Sunt `mpodobite cu dragoste, din cap p‚n\-n picioare. Cu at‚ta 

lemn `n jur, cald [i prietenos, confortul, a[a cum l-am `nv\]at `n „jungla 

urban\“, `[i pierde atrac]iile de mucava. St\p‚ne[te un altfel de confort `n 

aceste ]inuturi, unul care `ndulce[te sufletul mai degrab\ dec‚t ocrote[te 

spinarea. Pe uli]ele satului M\n\stirea Humorului, toat\ lumea d\ din cap 

a bine]e. E soare, ni[te femei vrednice au scos la privit [i ales cojoace, ilice, 

fe]e de mas\ brodate, c\m\[i de borangic. Un nene s-a coco]at pe coama 

acoperi[ului [i drege o sp\rtur\ `n [i]a neagr\ de vreme, boc\nind ritual. 

Munca l-a f\cut s\ lepede haina groas\ [i s\-[i descheie c\ma[a la g‚t, dar 

p\streaz\ pe cre[tet c\ciula de oaie. Totul p‚n\ la c\ciul\... 

P\durea a[teapt\ peste tot `n jur [i dac\ ai apucat pe unul din drumurile 

t\ietorilor de lemne, parc\ nu te-ai mai `ntoarce `napoi. Mii de brazi se 

`nfioar\ to]i odat\, la fiecare pal\ de v‚nt, cel mai mare cor din univers, de 

[oapte [i vorbe ne`n]elese, despre tot ce-a fost [i-o s\ mai fie. ∫ 

O m\icu]\ înconjoar\ pere]ii Moldovi]ei 

A nun circles around the walls of Moldivitza Church 

® tleties, descended right from the 

divine philharmonic of Bucovina’s 

cuisine... 

THE PEOPLE AND THEIR 

TRANQUILITY... 

If you just reached that realm 

in the blistering time of the winter 

holidays, you will meet everywhere 

groups of children and 

teenagers, dressed in the costumes 

of some countryside myths, furry 

gowns and multicolored ribbons. 

The drum marks the rhythm and 

the boots stump the pavement. 

But after the joyous racket of 

the streets, wherever you were 

heading you will reach with your 

eyes and your soul a sacred place... 

The monasteries of Bucovina must 

be visited by foot, no more then 

one, well, let’s say two a day... Not 

through a standardized agency 

tour, but by a slow and sincere pilgrimage, 

not only for photos, but 

rather for spending an hour on a 

church bench, eyeing the wonderful 

paintings of ancient craftsmen, 

in the all-healing silence of the 

border between outside and inner 

world. 

A nun no taller than a child circles 

around the walls of Moldovitza 

Church, making the bell 

board on her shoulder sound. 

The drumming reverberates 

on the hill slopes. People drink 

water from the well with tin mugs, 

one after another. At the gate, in a 

kiosk, a nun sells small icons, candles 

and rosaries, her shyness 

keeping her to look up even when 

counting the change. People light 

candles, for the dead and for the 

living alike. 

THE SUMMER AND ITS 

FORESTS... 

In the summer, a blending of 

meadows and pastures overwhelmingly 

reveals itself. It is 

hard to believe that there are still 

such vast surfaces, so green and 

sunny, unrestrained by concrete 

and iron. The houses of Bucovina 

lay proudly poised on the fertile 

hills, always eager to accustom 

guests. They are adorned with 

great care, from floor to the roof. 

With so much wood around, 

warm and friendly, the comfort, as 

we learned it from the “urban jungle“, 

loses its papier-mache charm. 

Another kind of comfort rules this 

land, one that rather soothes the 

soul than protecting the body. 

On the streets of Manastirea 

Humorului village everybody 

nods him or her “good day“. It’s 

sunny, a few industrious women 

expose for watching and buying 

sheepskin gowns, vests, embroidered 

table cloths, raw silk shirts. 

A man is poised on the ridge of his 

roof and fixes a hole in the wooden 

shingles blackened by time, ritually 

hammering. The work made 

him abandoning his thick coat and 

unbuttoning his collar, but he still 

keeps his sheepskin cap. Everything 

but the cap.... 

The forest waits everywhere 

around, and if you just took one of 

the lumberjacks paths you will never 

feel the desire to return. Thousands 

firs tremble in unique movements, 

at every breeze, the 

biggest choir in the Universe, of 

whispers and words hard to comprehend, 

about what it was and 

what is to be. ∫

ITINERARII BANI & AFACERI 

Air Treks Money & Business 

66 

Programul de eLearning al Rom‚niei, 

un program competitiv la nivel european 

Sub `naltul patronaj al Comisiei Europene [i al Reprezentan]ei 

Permanente a Rom‚niei la Uniunea European\ au fost organizate 

o serie de evenimente `n cadrul „S\pt\m‚nii Rom‚niei la Comisia 

European\“, ac]iuni care s-au desf\[urat la Bruxelles `n perioada 

15-19 Ianuarie 2007 [i au avut ca scop promovarea patrimoniului cultural 

[i a turismului rom‚nesc, prezentarea unor programe na]ionale de succes. 

Pe parcursul `ntregii s\pt\m‚ni, evenimentul Cre@tive Romania: Programul 

de eLearning al Rom‚niei, sus]inut de SIVECO Romania, a prezentat 

experien]a `n domeniul eLearning acumulat\ de ]ara noastr\ `n cadrul 

programului Sistem Educa]ional Informatizat, desf\[urat de Ministerul 

Educa]iei [i Cercet\rii [i SIVECO Romania SA. 

Evenimentul a inclus prezent\ri zilnice ale con]inutului educa]ional, 

AeL eContent, recunoscut ca fiind cel mai bun con]inut educa]ional din 

lume cu ocazia Summit-ului Mondial al ONU privind Societatea Informa- 

]ional\, Tunis, noiembrie 2005, fiind nominalizat [i anul acesta `n cadrul 

competi]iei ICT Prize, cea mai important\ competi]ie european\ care r\spl\te[te 

inova]ia `n domeniul tehnologiei informa]iei. 

Un moment special l-a reprezentat vizita la standul Rom‚niei a unui 

grup de elevi de la {coala European\ nr. 3 din Ixelles. Elevii au participat 

la o lec]ie, utiliz‚nd solu]ia AeL, sus]inut\ de c\tre profesorii Radu 

Jugureanu [i Hugh Murphy. Profesorul Hugh Murphy a apreciat caracterul 

inovativ al lec]iilor folosite `n 

cadrul [colilor din Rom‚nia [i a 

eviden]iat rolul important pe care 

`l joac\ elementele multimedia `n 

stimularea creativit\]ii elevilor. 

Evenimentul a ar\tat c\ AeL 

poate fi valorificat ca instrument 

de eLearning regional, fiind promovat\ 

nu doar educa]ia ca valoare 

european\, dar [i cre[terea `ncrederii 

[i dezvoltarea cooper\rii 

`n domeniul educa]iei. 

S-au eviden]iat beneficiile educa]ionale, 

sociale [i economice pe 

care proiectul SEI le are pentru 

PERSOANA DE CONTACT 

Anca CRAHMALIUC, Director Marketing SIVECO Romania SA, 

Bucure[ti, 011455, bdul Mare[al Averescu nr. 8-10; tel.: 4021-318.12.00; 

fax: 4021-318.12.02; e-mail: anca.crahmaliuc@siveco.ro 

Rom‚nia, precum [i importan]a continu\rii investi]iilor `n modernizarea 

[colilor din Rom‚nia, acestea beneficiind de avantaje semnificative, rezultate 

din valorificarea instrumentelor informatice, pentru transformarea 

procesului de `nv\]are `ntr-unul inovativ [i creativ. 

Sistemul Educa]ional Informatizat (SEI) reprezint\ o component\ 

cheie `n cadrul Reformei Educa]ionale din Rom‚nia [i sus]ine Strategia 

Na]ional\ de dezvoltare a Societ\]ii Informa]ionale [i Economiei bazate pe 

cunoa[tere. Programul a fost implementat `n conformitate cu planul de 

ac]iune „Europe 2010“, dezvoltat de Uniunea European\, obiectivul acestuia 

fiind valorificarea sistemelor informatice ca instrumente educa]ionale 

`n cadrul procesului de predare [i `nv\]are pentru elevii cu v‚rsta cuprins\ 

`ntre 11 [i 18 ani. Obiectivul SEI `l constituie promovarea unor metode de 

predare [i `nv\]are inovative [i de stimulare a creativit\]ii elevilor [i a profesorilor, 

sus]in‚nd procesul de dezvoltare a Societ\]ii Informa]ionale. 

Este o platform\ de eLearning `n continu\ dezvoltare, care asigur\ cadrul 

necesar pentru satisfacerea nevoilor educa]ionale moderne ale `nv\]\- 

m‚ntului rom‚nesc. 

Un alt moment important pentru sistemul educa]ional rom‚nesc `l reprezint\ 

lansarea programului Intel Teach `n Rom‚nia. 

Parte a ini]iativei Intel Education, programul Intel Teach este un program 

educa]ional global, lansat `n anul 2000 [i deja prezent `n 40 de ]\ri. Accesul 

la acest program ì va ajuta pe 

profesorii rom‚ni s\ `[i dezvolte abilit\]ile 

de predare cu ajutorul instrumentelor 

informatice, s\ se familiarizeze 

cu managementul de proiecte 

educa]ionale, s\ se apropie de elevi, 

concentr‚ndu-se pe nevoile [i a[tept\- 

rile acestora. Partenerul local pentru 

implementarea acestui proiect `n [colile 

din Rom‚nia este SIVECO Romania, 

ce de]ine o expertiz\ recunoscut\ 

pe plan interna]ional `n dezvoltarea 

de solu]ii de eLearning [i `n implementarea 

de proiecte complexe, de 

anvergur\ `n acest domeniu. ∫

BANI & AFACERI Money & Business ADVERTORIAL 

68 

Noile prevederi ale Codului fiscal 

New Provisions of the Fiscal Code 

Noile prevederi ale Codului fiscal, aplicabile `ncep‚nd cu 1 ianuarie 

2007, cuprind m\suri legislative care vizeaz\ `n special adaptarea 

legisla]iei fiscale române la noul context generat de aderarea 

Rom‚niei la Uniunea European\. 

Pe de o parte, se constat\ o tendin]\ de generalizare a aplic\rii cotei 

de impozit unice de 16% pentru toate tipurile de venituri (ex: cota unic\ 

de impozit pe venit se va aplica c‚[tigurilor din toate transferurile valorilor 

mobiliare `n societ\]ile `nchise [i a p\r]ilor sociale `n societ\]ile cu 

r\spundere limitat\, indiferent de durata de]inerii acestora). Pe de alt\ 

parte, impozitul pe veniturile din transferul propriet\]ii imobiliare s-a 

modificat prin `nlocuirea cotei unice aplicate la c‚[tig cu un procent aplicat 

la valoarea tranzac]iei la care se adaug\ o sum\ fix\. 

Impozitul pe veniturile unei micro`ntreprinderi a fost modificat de la 

3% `n anul 2006 la 2% `n anul 2007, 2,5% `n anul 2008, 3% `n anul 2009. 

Facilitatea creat\ aparent prin diminuarea impozitului cu 1% a fost `ns\ 

paralizat\ prin reducerea sferei societ\]ilor care pot fi considerate, din 

punct de vedere fiscal, micro`ntreprindere. A[adar, micro`ntreprindere 

va fi numai acea societate care realizeaz\ cel pu]in jum\tate din volumul 

veniturilor sale din alte activit\]i dec‚t cele de consultan]\ [i management. 

~n prezent, majoritatea micro`ntreprinderilor realizeaz\ venituri `n 

special din activit\]i de consultan]\ [i management, urm‚nd a fi supuse 

pe viitor impozitului pe profit (16%) `n condi]iile sus-men]ionate. 

Taxa pe valoarea ad\ugat\ beneficiaz\, de asemenea, de o reglementare 

adaptat\ contextului ader\rii Rom‚niei la Uniunea European\ 

prin desfiin]area barierelor vamale `ntre statele membre [i aplicarea unitar\ 

a normelor comunitare. No]iunile de export [i import de bunuri `n 

raporturile dintre statele membre sunt `nlocuite cu no]iunile de livrare [i 

achizi]ie intracomunitar\, fiind reglementate cazurile [i condi]iile `n care 

opera]iunile intracomunitare sunt supuse impozit\rii, precum [i documentele 

[i declara]iile ce trebuie `ntocmite. A fost reglementat\ no]iunea 

de grup fiscal, precum [i condi]iile implement\rii acesteia (facilitatea 

const\ `n aceea c\ grupul fiscal va pl\ti sau, dup\ caz, va solicita rambursarea 

taxei rezultate din decontul de tax\ consolidat con]in‚nd rezultatele 

deconturilor de TVA ale tuturor membrilor grupului fiscal). Alte 

modific\ri privesc „abolirea“ facturilor cu regim special, reglementarea 

unor forme diverse de facturi (facturi centralizatoare, simplificate etc.) [i 

a transmiterii acestora prin mijloace electronice. 

Regimul accizelor a fost, de asemenea, modificat ca urmare a necesit\]ii 

armoniz\rii legisla]iei fiscale cu cea prev\zut\ de directivele 

europene (pentru anumite produse, accizele au fost majorate, pentru 

altele reduse, noi produse au devenit accizabile etc.). Nu `n ultimul r‚nd, 

domeniul impozitelor [i taxelor locale a suferit modific\ri at‚t `n ceea ce 

prive[te cuantumul taxelor, c‚t [i datele de plat\ ale acestora. ∫ 

New regulations of the 

Fiscal Code, applicable 

starting with January 1 st , 

2007, include legislative actions 

mainly relating to the alignment of 

the Romanian fiscal legislation to 

the European legal framework. 

On one hand, it is noticed a prevailing 

tendency for generalizing 

the flat-rate tax of 16% for all types 

of incomes (i.e. the income flat-rate 

tax shall apply to capital gains 

related to all transfers of securities 

in closed companies and of shares 

in a limited liability company, irrespective 

of the period of their possession). 

On another hand, the 

income tax related to real estate 

transfers has changed, namely the 

flat-rate tax applied on the gain has 

been replaced by a percentage 

applied to the transaction value to 

which a flat amount is added. 

Tax on micro enterprises’ 

incomes was modified from 3% in 

2006 to 2% in 2007, to 2.5% in 2008 

and to 3% in 2009. The facility 

apparently created by the diminishing 

of tax with 1 percent was 

considerably paralyzed by reducing 

the companies’ area which 

can be considered from fiscal point 

of view as micro enterprise. In 

accordance with the new provisions, 

a micro enterprise shall be 

only that company achieving at 

least half of its incomes volume 

from other activities than consultancy 

and management activities. 

Currently, the incomes obtained 

by most of micro enterprises are 

mainly from management and 

consultancy activities, being subsequently 

subject to the profit tax 

(16%) under the aforesaid terms. 

The Value Added Tax benefits 

from a regulation adapted to the 

new context for Romania as member 

of the European Union as a 

result of customs barriers suppression 

between member states and 

as the European Norms shall be 

applied unitary. The import and 

export notions of goods between 

member states are replaced by the 

notions of intra-communitarian 

delivery and acquisition, being 

regulated the cases and conditions 

where the intra-communitarian 

operations are subject to taxation, 

as well as the documents and 

statements to be drafted. Also, the 

notion of fiscal group was regulated 

as well as the conditions for its 

implementation (the facility consists 

of the fact that the fiscal 

group shall pay or, as the case may 

be, shall request the reimbursement 

of the tax resulted from the 

consolidated tax deduction containing 

the VAT deductions’ results 

of all fiscal group’s members). 

Other amendments regard 

the “abolishment“ of special regime 

invoices, regulation of different 

forms of invoices (centralized, 

simplified invoices) and their 

transmission by electronic means. 

Excises’ regime was also amended 

as a result of the harmonization 

necessity of Romanian fiscal 

legislation with the European directives 

(for certain products the 

excises were increased, for other 

products they were decreased, 

new products became excisable 

etc.). Last but not least, the provisions 

related to the local taxes 

have been also amended, both 

regarding their amount and their 

payment date. ∫ 

CONTACT PENTRU INFORMA}II SUPLIMENTARE/FOR MORE INFORMATION: 

www.popovici-partners.ro

Focus 

71 

72 Parteneri code-share TAROM / TAROM Code-Share Partners 

72 H\r]i de rut\ / Route Maps 

78 Flota / The Fleet 

79 Câ[tiga]i mile! / Earn Miles! 

80 Ghidul c\l\torului / The Traveler’s Guide 

82 Cump\r\turi la bord / On Board Duty Free 

83 Zbura]i confortabil! / Fly Comfortably! 

84 Telefonie la bordul aeronavei / On Board Telephone 

86 Informa]ii [i rezerv\ri / Information and Booking 

88 Rezerv\ri online / Online Booking 

89 Birouri de cargo / Cargo Offices 

90 Sejururi cu TAROM / Weekend with TAROM 

Cuprins Focus Contents

ITINERARII FOCUS TAROM 

Air Treks 

72 

Zboruri directe din România 

Direct Flights from Romania 

Destina]ii operate 

de Compania TAROM 

Destinations Operated by TAROM 

Destina]ii operate 

împreun\ cu partenerii 

Code-Share Destinations 

FRANKFURT 

MUNCHEN 

VIENNA 

IA{I 

BUDAPEST 

CLUJ 

MILANO 

SIBIU 

BOLOGNA 

TIMI{OARA 

ADRIATIC SEA 

CONSTAN}A 

MEDITERANNEAN 

SEA 

MADRID 

AEGEAN 

SEA 

Partenerii 

Code-Share 

Partners 

Zborurile în regim code-share sunt operate de 

compania TAROM [i/sau de compania partener\. 

The code-share flights are operated by TAROM 

and/or the airline partner. 

Cod/Code: SN 

Cooperare/Cooperation: Brussels 

Sediu/Home base: Belgium 

Cod/Code: SU 

Cooperare/Cooperation: Moscow 

Sediu/Home base: Russia 

Cod/Code: AF 

Cooperare/Cooperation: Paris 

Sediu/Home base: France 

Cod/Code: AZ 

Cooperare/Cooperation: Milan, Rome 

Sediu/Home base: Italy 

Cod/Code: LO 

Cooperare/Cooperation: Warsaw 

Sediu/Home base: Poland 

Cod/Code: IB 

Cooperare/Cooperation: Madrid/Barcelona 

Sediu/Home base: Spain 

Cod/Code: 9U 

Cooperare/Cooperation: Kishinev 

Sediu/Home base: Republic of Moldova 

Cod/Code: MA 

Cooperare/Cooperation: Budapest 

Sediu/Home base: Hungary 

Cod/Code: RB 

Cooperare/Cooperation: Damascus, Aleppo 

Sediu/Home base: Syria 

Cod/Code: OS 

Cooperare/Cooperation: Vienna, New 

York, Washington, Toronto, Zürich, Geneve 

Sediu/Home base: Austria

FOCUS TAROM 

78 

Flota The Fleet 

Pe cursele interne [i externe, TAROM opereaz\ cu patru tipuri 

de avioane, având în dotare un num\r de 18 aeronave. 

TAROM operates four types of aircraft on its domestic 

and international flights. The fleet includes 18 airplanes. 

Boeing 737-700 

Boeing 737-300 

Avioane în dotare/Total in service 4 

Avioane în dotare/Total in service 5 

Capacitate Capacity 14B+102Y 

Vitezå de croazierå Cruising speed 837 km/h 

Anvergurå Wingspan 34.3 m 

Lungime Length 33.6 m 

Greutate max. la decolare Maximum takeoff weight 68 t/65.7 t 

Distan]a maximå de zbor Range 6,000 km 

Capacitate Capacity 16B+102Y/10B+114Y 




Greutate max. Maximum 56.472 t/60.1 t 

la decolare 

takeoff weight 

Dist. max. zbor Range 3,900 km/4,600 km 

ATR 42-500 

Airbus A 318 - 111 

Avioane în dotare/Total in service 7 Avioane în dotare/Total in service 2 





Greutate max. la decolare Maximum takeoff weight 18.6 t 

Distan]a maximå de zbor Range 1,778 km 



Anvergurå Wingspan 34,1 m 

Lungime Length 31,452 m 

Greutate max. la decolare Maximum takeoff weight 61.5 t 

Distan]a maximå de zbor Range 2,780 km


Câ[tiga]i mile! Earn Miles! 

SMART MILES Service Center 

17 Splaiul Independentei Bucharest, Romania, 

Bucharest helpline: 9361 

Tel.: +4021 316 04 18/ 303 44 11; Fax: +4021 303 44 12 

e-mail: smartmiles@tarom.ro 

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SMART MILES SUPER este nivelul destinat pasagerilor care acumuleazå 

peste 35.000 mile sau 40 de zboruri în 12 luni. 

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câ[tiga]i mile [i ave]i avantaje. 

SMART MILES advantages: 

∫ Just becoming a member gets you 1,000 miles bonus; 

∫ You can get additional miles for booking online; 

∫ Companion tickets and gift tickets; 

∫ Using the services of our partners TAROM Tours, Continental 

Hotels, Lac de Verde Golf Club in Breaza and AVIS brings you 

more miles and advantages. 

Avantaje suplimentare pentru SMART MILES SUPER: 

∫ Promovare de la clasa Economic la Business; 

∫ 10 kg bagaj suplimentar gratuit; 

∫ Prioritate pe lista de a[teptare; 

∫ Îmbarcare la ghi[eul Business. 

SMART MILES SUPER additional advantages: 

∫ Upgrading from Economy to Business Class; 

∫ 10 kg free supplementary luggage; 

∫ Waiting-list priority; 

∫ Check-in at the business counter.

FOCUS TAROM 

80 

FUMATUL 

SMOKING 

Fumatul este interzis pe toate cursele interne [i externe ale 

companiei TAROM. 

All TAROM flights on domestic and international routes 

are no-smoking. 

Ghidul c\l\torului 

The Traveler’s Guide 

Informa]ii utile 

pentru îmbarcare 

Check-in 

recommendations 

Recomand\ri la îmbarcare 

TAROM informeaz\ pasagerii care se îmbarc\ de pe Aeroportul 

Interna]ional Henri Coand\ Bucure[ti pe zboruri interna]ionale, c\ 

formalit\]ile de check-in se închid cu 45 de minute înainte de ora 

de decolare prev\zut\ în biletul de c\l\torie, iar pentru zboruri 

interne cu 30 de minute înainte de ora de decolare. Exist\ 

posibilitatea ca la zborurile code-share operate de alte companii, 

precum [i la zborurile operate de pe aeroporturile din str\in\tate, 

formalit\]ile de check-in s\ se închid\ cu 30 de minute înainte de 

ora de decolare. Pentru astfel de situa]ii, TAROM recomand\ 

pasagerilor s\ se informeze în momentul achizi]ion\rii biletului de 

c\l\torie în leg\tur\ cu timpul limit\ de prezentare la check-in. 

Check-in Recommendations 

TAROM informs all passengers boarding from Henri Coanda 

International Airport that check-in formalities will be closed 45 minutes 

before departure time for international flights and 30 minutes before 

departure time for domestic flights. For the code-share flights operated 

by other airlines as well as the flights operated from abroad airports, 

check-in formalities may be closed 30 minutes before departure time. 

In such cases, TAROM recommends that all passengers should require 

additional information, by the time of purchasing the flight ticket. 

Tarife 

speciale 

Copiii sub 2 ani care nu ocupå un 

loc individual [i au înso]itor beneficiazå 

de o reducere de 90%. 

Copiii între 2 [i 12 ani, precum [i 

copiii sub 2 ani care ocupå locuri 

individuale, beneficiazå de reduceri 

în func]ie de prevederile tarifelor 

aplicabile. Dacå mai mul]i 

copii sub 2 ani au un singur 

înso]itor adult, numai un singur 

copil beneficiazå de reducerea de 

90%, ceilal]i copii beneficiind de 

reducerea perceputå pentru copiii 

între 2 [i 12 ani, chiar dacå nu 

ocupå locuri individuale. De tarife 

reduse mai beneficiazå [i 

grupurile turistice sau de tineret. 

Special 

Fares 

Children under the age of 2 who 

do not occupy a separate seat and 

are accompanied by an adult may 

benefit from a 90% reduction. 

Children aged 2 to 12 and those 

under 2 who occupy a separate 

seat receive a fare reduction in 

accordance with the respective 

fares. If a single adult accompanies 

several children under the 

age of 2, only one child receives 

the 90% reduction, while the other 

benefit from the reduction offered 

to children aged 2 to 12, even if 

they do not occupy a separate 

seat. Tourist and youth groups 

may also receive reduced fares.

INSIGHT TAROM Prim\var\/Spring 2007 

81 

NOUT|}I / NEWS (25 martie - 28 octombrie 2007) 

∫ Tel Aviv: 12 zboruri pe s\pt\m‚n\ 

∫ Istanbul: 14 zboruri pe s\pt\m‚n\ 

∫ Atena: 12 zboruri pe s\pt\m‚n\ 

∫ Salonic: 7 zboruri pe s\pt\m‚n\ 

∫ Sofia: 7 zboruri pe s\pt\m‚n\ 

∫ Sibiu - Munchen: 11 zboruri pe s\pt\m‚n\ 

∫ Bruxelles: 12 zboruri pe s\pt\m‚n\ 

∫ Cluj - Milano: 4 zboruri pe s\pt\m‚n\ 

∫ Cluj - Madrid: 3 zboruri pe s\pt\m‚n\ 

∫ Madrid: 10 zboruri directe pe s\pt\m‚n\ din Bucure[ti 

∫ Cluj - Bolonia: 3 zboruri pe s\pt\m‚n\ 

∫ Barcelona: 7 zboruri pe s\pt\m‚n\ 

∫ Valencia: 4 zboruri pe s\pt\m‚n\ 

∫ Craiova: 2 zboruri pe s\pt\m‚n\ 

∫ Ia[i: 20 zboruri pe s\pt\m‚n\ 

∫ Bac\u: 6 zboruri pe s\pt\m‚n\ 

∫ Tel Aviv: 12 flights per week 

∫ Istanbul: 14 flights per week 

∫ Athens: 12 flights per week 

∫ Thessaloniki: 7 flights per week 

∫ Sofia: 7 flights per week 

∫ Sibiu - Munchen: 11 flights per week 

∫ Brussels: 12 flights per week 

∫ Cluj - Milan: 4 flights per week 

∫ Cluj - Madrid: 3 flights per week 

∫ Madrid: 10 direct flights per week from Bucharest 

∫ Cluj - Bologna: 3 flights per week 

∫ Barcelona: 7 flights per week 

∫ Valencia: 4 flights per week 

∫ Craiova: 2 flights per week 

∫ Iasi: 20 flights per week 

∫ Bacau: 6 flights per week 

Bagaje 

Bagaje de calå. Bagaje admise gratuit la transport (pentru adul]i [i copiii peste 2 ani) 

- Clasa Business: 40 kg; Economic: 25 kg; pentru copiii sub 2 ani se admite transportul 

gratuit a 10 kg de bagaj. 

Bagajele de mânå. Este recomandabil så vå limita]i la un singur bagaj de mânå. 

Greutatea acestuia nu trebuie så depå[eascå 10 kg, iar suma dimensiunilor så nu 

depå[eascå 115 cm. 

DIN MOTIVE DE SECURITATE, NU ACCEPTA}I BAGAJE APAR}INÂND ALTUI 

PASAGER! 

Noile reguli ale Uniunii Europene privind 

securitatea pe aeroporturi 

Regimul lichidelor din bagajul de cabin\. Transportul lichidelor, aerosolilor, 

gelurilor, cremelor, pastelor etc. `n BAGAJUL DE CABINA al pasagerilor care tranziteaz\ 

sau au ca punct de plecare indiferent de direc]ie aeroporturi din interiorul Uniunii 

Europene este, acum, restric]ionat la o cantitate maxim\ de 1 litru, `n recipien]i de 

maximum 100 ml. Ace[tia trebuie s\ fie plasa]i `ntr-o pung\ transparent\, resigilabil\. 

Transportul medicamentelor, al alimentelor pentru nou-n\scu]i [i al unor alimente 

necesare unei diete speciale, pot fi acceptate `n bagajul de cabin\, f\r\ a fi introduse `n 

pungile speciale, transparente [i resigilabile. Articolele cump\rate `n zona de tranzit de 

pe aeroporturi din Rom‚nia, de pe alte aeroporturi din UE, ori de la bordul unei 

aeronave apar]in‚nd unei companii UE, trebuie s\ fie `nso]ite de chitan]\ sau factur\, 

care se p\streaz\ `n vederea controlului de securitate. Dac\ aceste m\rfuri sunt 

v‚ndute `n ambalaje speciale [i sigilate, nu le deschide]i p‚n\ la destina]ia final\ sau 

`nainte de controlul de securitate, efectuat pe aeroportul de transfer UE. 

Baggage 

Checked Bags. Free luggage allowance (for adults and children over 2 years of 

age) - Business Class: 40 kg; Economy: 25 kg; children under two have free luggage 

allowance for up to 10 kg. 

Hand luggage. We recommend that you carry only one piece of hand luggage 

whose weight should not exceed 10 kg and whose dimensions should be less than 

115 cm. 

FOR SAFETY REASONS, DO NOT ACCEPT BAGGAGE BELONGING TO ANYONE 

ELSE! 

New Security Regulations for Cabin Baggage 

The carriage of liquids, creams, pastes, gels, aerosols, etc on flights departing from 

within the EU is now restricted. The transportation of medications, baby food and 

special nutrition needed on board is permitted outside of the plastic bag. Items 

purchased within the transit area of Romanian Airports on other EU airports or on 

board of an EU aircraft must be accompanied by the apropriate invoice, kept for 

security control purposes. If the items were sold packed and sealed, they should not 

be open until you reach your final destination or before the security control at the EU 

transfer airport. 

∫ Volumul maxim 1 litru ∫ Punga de plastic trebuie s\ se poat\ resigila 

∫ Punga trebuie s\ fie transparent\ 

∫ Max. Volume 1L ∫ Re-sealable ∫ Transparent 

Animale de companie Transportul animalelor de companie se face 

obligatoriu în cu[ti speciale. Pentru a putea påråsi ]ara, animalele trebuie så aibå un certificat 

sanitar-veterinar de înso]ire. În cabinå se pot transporta animalele domestice a cåror 

greutate însumatå cu cea a cu[tii nu depå[e[te 8 kg. Pentru buna desfå[urare a zborului, 

pasagerii sunt ruga]i så nu scoatå animalele din cu[cå în timpul zborului. Animalele mai 

mari se transportå în cala de bagaje, în locuri special amenajate. Pentru detalii cu privire 

la condi]iile de acceptare [i transport pasagerii sunt ruga]i s\ se adreseze agen]iilor 

TAROM sau agen]ilor de vânz\ri. 

Pets The transportation of pets in the hull must be in special containers. In order 

to leave the country, the owner of the domestic animal must have a veterinary certificate 

for the pet. Domestic animals weighing no more than 8 kg in their cages may be 

transported in the cabin. Passengers are kindly asked not to let animals out of their 

cages during the flight. Bigger animals must be transported in the baggage hull, in 

assigned areas. For more informations regarding conditions of acceptance and transport, 

passangers are kindly asked to contact any TAROM agencies or sales agents. 

Dispozitive electronice la bord La bord este interziså aparatura 

care poate interfera cu echipamentele avionului. Aparatele electrice de ras, radiourile 

[i laptopurile pot fi folosite doar cu aprobare. Telefoanele mobile vor fi închise. 

Electronic Devices on Board It is forbidden to use electronic 

devices which may interfere with the equipment of the plane. Electric shavers, radios, 

and laptops may only be used with the crew’s approval. Mobiles are to be turned off.

FOCUS TAROM On Board 82 

Cump\r\turi la bord 

Duty Free on Board 

Nu ezita]i s\ v\ face]i 

cump\r\turile în avion. Pute]i 

pl\ti [i cu card de credit. 

Produsele duty- free sunt 

oferite numai pe 

cursele cu destina]ii non - UE. 

Feel free to do shopping 

on board! You can also pay 

with credit card. Duty - free 

products are provided only 

for destinations outside 

the EU. 

}IGÅRI/CIGARETTES 

Dunhill International Red box 13ƒ 

Dunhill International Blue box 13ƒ 

Benson&Hedges Special box 12ƒ 

Vogue Superslims Blue box 12ƒ 

Kent Deluxe 100’s box 12ƒ 

West Lights box 8ƒ 

Marlboro Red KSF box 15ƒ 

Marlboro Lights KSF box 15ƒ 

BÅUTURI/SPIRITS 

WHISKY 

Chivas Regal 18 YO 0,70L 35ƒ 

Chivas Regal 12 YO 0,70L 20ƒ 

Glenfiddich 12 YO 1L 22ƒ 

The Glenlivet 12 YO 0,70L 20ƒ 

Jack Daniel’s 1L 18ƒ 

Ballantine’s 1L 12ƒ 

100 Pipers 1L 10ƒ 

Jameson 

0,70L 10ƒ 

Johnnie Walker 

Red Label 

0,75L 10ƒ 

J&B Rare 

0,75L 10ƒ 

Grant’s 

0,70L 10ƒ 

COGNAC 

Martell VSOP 

VODKA 

0,70L 20ƒ 

Smirnoff Red 1L 8ƒ 

GIN 

Beefeater Dry Gin 1L 10ƒ 

VERMOUTH/APERITIF 

Martini Bianco 1L 7ƒ 

Ramazzotti Amaro 0,70L 7ƒ 

Campari 0,70L 9ƒ 

LIQUEUR 

Baileys 0,50L 9ƒ 

PARFUM/PERFUME 

BVLGARI 

Omnia, EDP Spray 40ml 40ƒ 

AQVA Pour Homme, 

EDT Spray 50ml 35ƒ 

CHANEL 

No. 5, EDP Spray 50ml 52ƒ 

Coco Mademoiselle, 

EDP Spray 50ml 52ƒ 

Egoiste Platinum, EDT Spray 100ml 45ƒ 

DAVIDOFF 

ECHO Woman, EDP Spray 50ml 35ƒ 

CHRISTIAN DIOR 

J’adore, EDP Spray 75ml 49ƒ 

Higher Energy, EDT Spray 75ml 35ƒ 

GUERLAIN 

Aqua Allegoria - Pamplelune, 


L’instant de Guerlain 

Pour Homme, EDT Spray 75 ml 35ƒ 

CALVIN KLEIN 

Euphoria EDP, Spray 50ml 40ƒ 

LANCOME 

Hypnose, EDP Spray 50ml 45ƒ 

ISSEY MIYAKE 

L’eau d’Issey, EDT Spray 50ml 45ƒ 

L’eau d’Issey Pour Homme, 


THIERRY MUGLER 

Angel, EDP Spray 50ml 55ƒ 

B*MEN, EDT Spray 50ml 32ƒ 

PACO RABANNE 

Ultraviolet, EDP Spray 50ml 40ƒ 

NINA RICCI 

Love in Paris, EDP Spray 50ml 38ƒ 

Prices are available at print time.


83 

Zbor pl\cut! 

Fly Comfortably! 

1 

Roti]i gleznele 

Cu picioarele ridicate, roti]i gleznele simultan, 

mi[când vârful unui picior în sensul acelor 

de ceasornic, iar pe celålalt, în sens invers 

(15 secunde). Repeta]i, schimbând sensul 

mi[cårilor. 

Ankle Circles 

Lift feet off the floor. Draw a circle with the 

toes, simultaneously moving one foot clockwise 

and the other foot counter-clockwise (15 

seconds). Reverse circles. Repeat if desired. 

Genunchii la piept 

Prinde]i genunchiul cu ambele mâini 

[i ]ine]i-l la piept 15 secunde. Cu mâinile pe 

genunchi, reveni]i la pozi]ia ini]ialå. Alterna]i 

cu celålalt picior. Repeta]i de 10 ori. 

Knee to Chest 

Bend forward slightly. Clasp hand around left 

knee and hug it to your chest. Hold for 15 

seconds. Keeping hands around knee, slowly 

let it down. Alternate legs. Repeat 10 times. 

6 

2 

Joc de c\lcâie 

Cu cålcâiele pe podea, întinde]i vârfurile picioarelor 

în sus; cu vârfurile picioarelor lipite 

de podea, ridica]i cålcâiele. Repeta]i la 

interval de 30 de secunde. 

Aplecare înainte 

Cu picioarele pe podea, apleca]i-vå u[or 

înainte, coborând mâinile pânå vå prinde]i 

gleznele [i råmâne]i astfel 15 secunde. 

Reveni]i la pozi]ia ini]ialå. 

7 

Foot Pumps 

With both heels on floor, point your feet 

upward as high as you can; with the tips of 

your feet on the floor, lift your heels. 

Repeat with continuous motion in 30-second 

intervals. 

Forward Flex 

With both feet on floor, slowly bend forward 

and walk your hands down the front of your 

legs toward your ankles. Hold stretch for 

15 seconds and slowly sit back up. 

3 

Îndoi]i genunchii 

Ridica]i piciorul cu genunchiul îndoit, 

în timp ce contracta]i mu[chiul coapsei. 

Repeta]i mi[carea [i la celålalt picior, 

cu o frecven]å de 20 - 30 de mi[cåri 

pentru fiecare picior. 

Knee Lifts 

Lift leg with knee bent while contracting 

your thigh muscles. Alternate legs. 

Repeat 20 - 30 times each leg. 

Ridica]i bra]ele 

Ridica]i ambele bra]e deasupra capului. 

Cu o mânå apuca]i încheietura celeilalte 

mâini [i trage]i u[or într-o parte. }ine]i strâns 

15 secunde [i repeta]i în cealaltå parte. 

Overhead Stretch 

Raise both arms straight up over your head. 

With one hand grasp the wrist of the opposite 

hand and gently pull to one side. Hold stretch 

for 15 seconds and repeat other side. 

8 

4 

Roti]i umerii 

Împinge]i înainte umerii, apoi înapoi, apoi 

în jos, într-o u[oarå mi[care circularå. 

Shoulder Roll 

Hunch shoulders forward, then upward, 

then backward, then downward, using a 

gentle circular motion. 

Dezmor]i]i-v\ umerii 

Duce]i mâna dreaptå cåtre umårul stâng. 

Pune]i mâna stângå pe cotul mâinii drepte 

[i presa]i u[or cåtre umår. }ine]i strâns 

15 secunde. Repeta]i în cealaltå parte. 

Shoulder Stretch 

Reach right hand over left shoulder. Place left 

hand behind right elbow and gently press 

elbow toward shoulder. Hold stretch for 

15 seconds. Repeat other side. 

9 

5 

Îndoi]i bra]ele 

}ine]i bra]ele într-un unghi de 90 de grade 

(coatele jos, mâinile înainte). Ridica]i mâinile 

la piept [i reveni]i, alternând ambele bra]e. 

Face]i acest exerci]iu la intervale de 30 de 

secunde. 

Arm Curl 

Start with arms held at a 90-degree angle; 

elbows down, hands up to chest and back 

down alternating arms. Do this exercise 

in 30-seconds intervals. 

Roti]i gâtul 

Cu umerii relaxa]i, apleca]i urechea cåtre 

umår [i apoi roti]i u[or gâtul înainte [i spre 

cealaltå parte, men]inând fiecare pozi]ie timp 

de cinci secunde. Repeta]i de cinci ori. 

Neck Roll 

With shoulders relaxed, drop ear to shoulder 

and gently roll neck forward and to the other 

side, holding each position about five seconds. 

Repeat five times. 

10

FOCUS TAROM On Board 84 

Telefonie 

la bordul aeronavei 

On Board Telephone 

Folosirea mobilelor 

la bord este interzis\, 

dar ave]i la dispozi]ie 

telefoane speciale. 

Mobiles are not allowed 

on board, but you can use 

our special phone. 

Cår]i de credit acceptate 

Accepted Credit Cards 

Instruc]iuni / Dialling Procedure 

1 

Apåsa]i butonul „ON“ aflat pe partea lateralå a telefonului. 

Press the “ON” button on the side of the telephone. 

2Trece]i cartea de credit validå prin fanta de citire [i forma]i numårul interna]ional complet, 

dupå cum este explicat în sec]iunea de mai jos. 

Slide a valid credit card through the slot and dial the full international number, 

as explained in the section below. 

3Apåsa]i butonul „LINE“. Dacå apare cuvântul „LINE“, pute]i forma numårul. Dupå ce a]i 

format numårul este nevoie de aproximativ 15 secunde pentru a se realiza legåtura. 

Press the “LINE” button. If the word “LINE” appears you can enter your number. 

After you have entered the number the system requires about 15 seconds before 

a connection is made. 

4Dacå apare în mod intermitent cuvântul „ERROR“, a[tepta]i un minut [i repeta]i 

opera]iunile de la punctele 2 [i 3. 

If the word “ERROR” starts to flash, wait a minute, and repeat points 2 and 3. 

5Pentru a sfâr[i convorbirea apåsa]i „CLEAR“ [i trece]i butonul aflat pe partea stângå pe 

pozi]ia „OFF“. Dacå apåsa]i butonul „OFF“ fårå a mai apåsa butonul „CLEAR“, taxarea 

apelului se va prelungi cu încå 10 secunde. 

To end the call press “CLEAR” and switch the telephone to OFF” using the switch on the 

left-hand side. If “OFF” is pressed without pressing “CLEAR”, charging will continue for 

another 10 seconds. 

Formarea num\rului / Dial 

LINE + codul ]\rii + codul ora[ului + num\rul apelat 

LINE + country code + area code + number 

Exemplu / Example 

Pentru a forma num\rul 1234567 din Bucure[ti, forma]i 

To call Bucharest 1234567, dial: 

LINE 00 40 21 1234567


85 

Prefixe 

interna]ionale 

International 

Dialling Codes 

Pute]i apela direct ]årile 

enumerate mai jos. Pentru ]årile 

care nu sunt men]ionate în lista de 

mai jos, vå rugåm så vå adresa]i 

înso]itorilor de bord. 

You can dial direct to the countries 

listed below. For countries 

not listed, please check with your 

cabin crew. 

Afghanistan 93 

Albania 355 

Algeria 213 

Andorra 376 

Angola 244 

Anguilla 1264 

Antigua 1268 

Argentina 54 

Armenia 374 

Aruba 297 

Ascension Island 247 

Australia 61 

Austria 43 

Azerbaijan 994 

Azores 351 

Bahamas 1242 

Bahrain 973 

Bangladesh 880 

Barbados 1246 

Belarus 375 

Belgium 32 

Belize 501 

Benin 229 

Bermuda 1441 

Bhutan 975 

Bolivia 591 

Bosnia-Hercegovina 387 

Botswana 267 

Brazil 55 

Brunei 673 

Bulgaria 359 

Burkina Faso 226 

Burundi 257 

Cambodia 855 

Cameroon 237 

Canada 1 

Canary Islands 34 

Cape Verde Islands 238 

Cayman Islands 1345 

Central African 

Republic 236 

Chad 235 

Chile 56 

China 86 

Christmas Islands 61 

Cocos Islands 61 

Colombia 57 

Comoro Islands 269 

Congo 242 

Cook Islands 682 

Costa Rica 506 

Croatia 385 

Cuba 53 

Curaçao 599 

Cyprus 357 

Czech Republic 420 

Denmark 45 

Diego Garcia 246 

Djibouti 253 

Dominica 1767 

Dominican Republic 1809 

Dutch Antilles 599 

Ecuador 593 

Egypt 20 

El Salvador 503 

Equatorial Guinea 240 

Eritrea 291 

Estonia 372 

Ethiopia 251 

Faeroe Islands 298 

Falkland Islands 500 

Fiji 679 

Finland 358 

France 33 

French Guinea 594 

French Polynesia 

(Bora-Bora, 

Moorea, Tahiti) 689 

Gabon 241 

Gambia 220 

Georgia 995 

Germany 49 

Ghana 233 

Gibraltar 350 

Greece 30 

Greenland 299 

Grenada 1473 

Guadeloupe 590 

Guam 671 

Guatemala 502 

Guinea 224 

Guinea Bissau 245 

Guinea Equatorial 240 

Guyana 592 

Haiti 509 

Honduras 504 

Hong Kong 852 

Hungary 36 

Iceland 354 

India 91 

Indonesia 62 

Iran 98 

Iraq 964 

Ireland 353 

Israel 972 

Italy 39 

Ivory Coast 225 

Jamaica 1876 

Japan 81 

Jordan 962 

Kazakhstan 7 

Kenya 254 

Kiribati 686 

Korea North 850 

Korea South 82 

Kuwait 965 

Kyrgyzstan 996 

Laos 856 

Latvia 371 

Lebanon 961 

Lesotho 266 

Liberia 231 

Libya 218 

Liechtenstein 41 

Lithuania 370 

Luxembourg 352 

Macao 853 

Macedonia 389 

Madagascar 261 

Madeira 351 

Malawi 265 

Malaysia 60 

Maldives 960 

Mali 223 

Malta 356 

Mariana Islands 1670 

Marshall Islands 692 

Martinique 596 

Mauritania 222 

Mauritius 230 

Mayotte 269 

Mexico 52 

Micronesia 691 

Moldavia 373 

Monaco 377 

Mongolia 976 

Montserrat 1664 

Morocco 212 

Mozambique 258 

Myanmar 95 

Namibia 264 

Nauru 674 

Nepal 977 

Netherlands 31 

New Caledonia 687 

New Zealand 64 

Nicaragua 505 

Niger 227 

Nigeria 234 

Niue Island 683 

Norfolk Islands 672 

North Korea 850 

Norway 47 

Oman 968 

Pakistan 92 

Palau 680 

Panama 507 

Papua New Guinea 675 

Paraguay 595 

Peru 51 

Philippines 63 

Poland 48 

Portugal 351 

Puerto Rico 1787 

Qatar 974 

Reunion 262 

Romania 40 

Russia 7 

Rwanda 250 

Samoa American 684 

Samoa Western 685 

San Marino 378 

Sao Tome 

and Principe 239 

Saudi Arabia 966 

Senegal 221 

Serbia Montenegro 381 

Seychelles 248 

Sierra Leone 232 

Singapore 65 

Slovakia 421 

Slovenia 386 

Solomon Islands 677 

Somalia 252 

South Africa 27 

South Korea 82 

Spain 34 

Sri Lanka 94 

St. Christopher-Nevis 1869 

St. Helena 290 

St. Lucia 1758 

St. Pierre 

and Miquelon 508 

St. Vincent 1784 

Sudan 249 

Suriname 597 

Swaziland 268 

Sweden 46 

Switzerland 41 

Syria 963 

Taiwan 886 

Tajikistan 7 

Tanzania 255 

Thailand 66 

Togo 228 

Tonga 676 

Trinidad & Tobago 1868 

Tunisia 216 

Turkey 90 

Turkmenistan 993 

Turks and Caicos 

Islands 1649 

Tuvalu 688 

Uganda 256 

Ukraine 380 

United Arab 

Emirates 971 

United Kingdom 44 

United States 

of America (USA) 1 

Uruguay 598 

Uzbekistan 7 

Vanuatu 678 

Vatican City 396 

Venezuela 58 

Vietnam 84 

Virgin Islands UK 1284 

Virgin Islands US 1340 

Wallis and Futuna 681 

Yemen 967 

Yugoslavia (Serbia & 

Montenegro) 381 

Zaire 243 

Zambia 260 

Zimbabwe 263 

Serviciul de asisten]\ clien]i 

Customer Service Center 

Pentru asisten]å sau informa]ii, vå rugåm så trece]i cartea 

de credit prin fanta de citire [i forma]i: 12#. Asisten]a este 

disponibilå în mai multe limbi, inclusiv românå [i englezå. 

Apelul dumneavoastrå este gratuit. 

For assistance or information, please swipe your credit 

card and simply dial: 12#. Assistance is available in most 

languages, including Romanian and English. Your call will 

be free of charge. 

Taxe / Charges 

Taxa pentru utilizatori este de 10,00 $/minut (sau frac]iuni 

de minut), apel taxabil din momentul în care este realizatå 

conexiunea (inclusiv pentru apelurile cåtre robot telefonic). 

Charge to customer is USD10.00 per minute (or fraction 

thereof), payable from the moment the caller is connected 

(including calls made to answerphones). 

Responsabilit\]i / Liabilities 

În eventualitatea unei func]ionåri defectuoase a sistemului, 

råspunderea AIRCOM va fi limitatå la contravaloarea 

convorbirii. AIRCOM nu va fi responsabil pentru o eventualå 

pagubå indirectå sau neplåcere. Compania TAROM nu 

va fi responsabilå pentru nici o pagubå directå sau ulterioarå, 

indiferent dacå este legatå sau cauzatå de folosirea 

telefonului. 

In the event of a failure of the system, the liability of AIR- 

COM shall be limited to the cost of the call. AIRCOM can 

accept no responsibility for indirect damage or inconvenience. 

TAROM shall not be responsible for any damage 

whatsoever for direct or consequential damage arising 

out of or in connection with the use of the phone. 

Restric]ii / Restrictions 

Apelurile cåtre numerele netaxabile sau serviciile de informa]ii 

telefonice interna]ionale nu sunt posibile. În sistemul 

de telefonie de la bordul aeronavei nu se pot primi apeluri 

telefonice. 

Toll free numbers and international directory inquiries are 

not available. The system cannot accept incoming calls. 

Informa]ii / Information 

Pentru orice întrebåri sau nelåmuriri legate de serviciul 

AIRCOM, vå rugåm så contacta]i / If you have any questions 

or queries regarding the AIRCOM Service, please 

contact: 

AIRCOM Service Passenger Support Group 

P.O. Box 518, Station B, Montreal, 

Quebec, Canada H3B 3K3 

Fax: 1 (514) 982-36 43 

E-mail: aircom@sita.aero

FOCUS TAROM 86 

Informa]ii 

[i rezerv\ri 

Information 

and Booking 

Pentru rezerv\ri v\ pute]i 

adresa agen]iilor TAROM, 

agen]iilor de turism sau 

pute]i accesa 

www.tarom.ro. 

One can book tickets at 

any TAROM office, through 

any travel agent, or online 

(www.tarom.ro). 

Rezervarea locurilor 

Rezervarea poate fi fåcutå pe Internet (www.tarom.ro), la agen]iile TAROM sau la 

agen]iile de turism. Dacå în rubrica „Reservation Status“ apare codul „OK“, locul 

este confirmat ferm. Codul „RQ“ indicå faptul cå nu s-a confirmat încå. 

Se poate întrerupe cålåtoria în orice punct de pe rutå, dacå este indicat pe bilet. 

Cålåtoria trebuie så se efectueze în limita perioadei de valabilitate a biletului. 

Booking Tickets 

You can book tickets online at www.tarom.ro, through all TAROM agencies or other 

travel agencies. “OK” in the “Reservation Status” column on the ticket shows the seat 

is confirmed, “RQ” indicates the seat has not yet been confirmed. 

Postponing along the route is allowed if noted on the ticket, but only during the ticket 

validity period. 

Birouri în România/Domestic Offices 

BACÅU 

agbacau@tarom.ro 

1 Nicolae Balcescu St. 

Tel: + 40234 511 462; Fax: + 40234 206 171 

BAIA MARE 

agbaiamare@tarom.ro 

5 Bucuresti Blvd Tel./Fax: + 40262 221 624 

BISTRI}A 

agbistrita@tarom.ro 

Coroana de Aur Hotel, 4 Petru Rares Sq. 

Tel/Fax: + 40263 216 465 

BOTO{ANI 

agbotosani@tarom.ro 

13 Revolutiei Sq. Tel: + 40231 518 222 

Fax: + 40231 518 222 

BRA{OV 

agbrasov@tarom.ro 

22 Muresenilor St. Ap. 6, 

Tel: + 40268 406 373, Fax: + 40268 406 373 

BUCURE{TI 

17 Splaiul Independentei St 

Tel: +4021 303 44 44/303 44 00 

Fax: + 4021 316 44 44/316 20 36 

59 Buzesti St. 

Tel: + 4021 204 64 64/316 90 44/45 

Fax: + 4021 204 64 24/27 

Henri Coanda Airport, Calea Bucurestilor nr.224F, etaj2 

Tel: + 4021 204 13 55/204 27 25 

Helpline: 9361 (calling from Bucharest) 

Online Booking: technical.assistance@tarom.ro 

CARANSEBE{ agcaransebes@tarom.ro 

3-5 Mihai Viteazu St. 

Tel: + 40255 516 325; Fax: + 40255 516 325 

CLUJ-NAPOCA 

agcluj@tarom.ro 

11 Mihai Viteazu Sq. Tel: + 40264 530116/432669 

Fax: + 40264 432 524 

CONSTAN}A 

agconstanta@tarom.ro 

15 Stefan cel Mare St. 

Tel: + 40241 662 632; Fax: + 40241 614 066 

CRAIOVA 

agcraiova@tarom.ro 

2 Calea Bucuresti, Unirea Shopping Center 

Tel: + 40251 411 049; Fax: + 40251 411 049 

IA{I 

agiasi@tarom.ro 

3-5 Arcu St. 

Tel: + 40232 267 768; Fax: + 40232 217 027 

ORADEA 

agoradea@tarom.ro 

2 Regele Ferdinand Sq. 

Tel: + 40259 431 918; Fax: + 40259 431 918 

PIATRA NEAM} agpiatraneamt@tarom.ro 

18M Stefan cel Mare St. 

Tel: + 40233 214 268; Fax: +40233 214 268 

PLOIE{TI 

agploiesti@tarom.ro 

141 Republicii Blvd., Bloc 31 C1/C2 

Tel: + 40244 595 620; Fax: + 40244 595 620 

RE{I}A 

agresita@tarom.ro 

4, 1 Decembrie 1918 St. 

Tel: + 40255 215 151; Fax: + 40255 215 151 

SATU MARE 

agsatumare@tarom.ro 

9, 25 Octombrie Sq. 

Tel.: +40261 712 033; Fax: + 40261 712 795 

SIBIU 

agsibiu@tarom.ro 


Tel: + 40269 211 157; Fax: + 40269 211 157 

SUCEAVA 

agsuceava@tarom.ro 


Tel: + 40230 214 686; Fax: + 40230 214 686 

TÂRGU MURE{ agtargumures@tarom.ro 

6-8 Trandafirilor Sq. 

Tel: + 40265 236 200; Fax: +40265 250 170 

TIMI{OARA 

agtimisoara@tarom.ro 

3-5 Revolutiei 1989 Blvd. 

Tel: + 40256 493 563/200 003; 

Fax: + 40256 490 150 

TULCEA 

agtulcea@tarom.ro 

M1 Isaccei St. 

Tel: + 40240 510 493; Fax: + 40240 511 227


87 

Agen]ii externe 

International 

Booking Offices 

Ä 

Ä 

Ä 

Ä 

Ä 

Ä 

AUSTRIA 

Vienna 

Schwechat (18 km) 

TAROM Office 

21 Opernring, 1010 Wien 

+43 15818800/5818801 

+43 1581880016 

A/P: +43 1700732728 

tarom@aon.at 

BELGIUM 

Brussels 

National (13 km) 

TAROM Office 

34 Adolphe Max Blvd. 1000 

+32 22186382 

+32 22198046 

A/P: +32 27233331 

financial@tarom.be 

BULGARIA 

Sofia 

Vrazhdebna (10 km) 

Concorde International 

1000 Sofia 44 Vitosha Blvd. 

+3592 9331055/66 

+3592 9331040 

CYPRUS 

Nicosia 

New Marathon Aviation ltd. 

2 Naxos St. 1st Floor,1070 

28099, CY 2090 

+3572 2375266 

+3572 2374905 

Larnaca 

Larnaca International (8 km) 

New Marathon Aviation ltd. 

Larnaca International Airport 1st. 

Floor Off. 86 

+3574 643266 

+3574 643268 

taromcy@newmarathon.com 

EGYPT 

Cairo 

International (24 km) 

Red Sea Tours 

8-A, Kasr El Nil Str., 

+202 5766655 

+202 5766622 

A/P: +202 2653954 

Ä 

Ä 

Ä 

Ä 

Ä 

Ä 

Ä 

FRANCE 

Paris 

Charles De Gaulle (26 km) 

TAROM Office 

12 Rue des Pyramides 75001 

+331 47422542/42654366 

+331 42654367 

A/P: +330 174372981 

GERMANY 

Frankfurt 

International (12-km) 

TAROM Office 

13 Zeil St., 60313 Frankfurt/Main 

+4969 295270 

+4969 292947 

A/P: +4969 69025231 

frankfurt@tarom.de 

Munich 

Franz Josef Strauss (37 km) 

TAROM Office, 37 Dachauerstr 80335 

Munich 

+4989 5155380 

+4989 51553838 

A/P: +4989 97591140 

A/P: +4989 97591141 

tarom-munich@t-online.de 

GREECE 

Athens 

Eleftherios Venizelos (35 km) 

Airport Office 

190 19 Spata, Greece 

Office 3/H18 2nd floor 

Main Terminal Building 

+30 210 353 04 05 

+30 210 353 23 23 

TAROM Office 

80-88 Syngrou Ave, 11741 

+30 210 921 88 00 

+30 210 921 80 44 

tarom@athensairport.gr 

QATAR 

Doha 

Trans Orient Travel & Tourism 

Centre 

Rajan St. PO Box 363 

+974 458458/4423496 

+974 4321099 

HUNGARY 

Budapest 

Ferihegy 2B (16-km) 

TAROM Office 

Bajcsy Zsilinszky UT 12, 1051 

Budapest 

+361 235 08 09 / 2350810 / 

235 08 11 

+361 317 23 07 

A/P: +361 296 86 61 

tarom.hu@axelero.hu 

ISRAEL 

Tel Aviv 

Ben Gurion (19-km) 

TAROM Office 

5, Gordon 

Tel Aviv 63458 

+9723 5275526/13/22 

+9723 527 55 32/24 

help@taromtlv.co.il 

Ä 

Ä 

Ä 

Ä 

Ä 

Ä 

Ä 

Ä 

ITALY 

Milan 

Malpensa (46 km) 

TAROM Office 

11 Piazzale Cadorna, 3-rd Floor 

20123 Milan 

+3902 864 672 05/869 100 52 

+3902 86917505 

A/P:+3902 58581245 

A/P:+3902 58589266 

tarom.milano@gmx.net 

Rome 

Fiumicino (36 km) 

TAROM Office 

Via Alessandro Scarlatti 5 

int 2 

+3906 85305045 

+3906 85305114 

A/P:+3906 65954033 

A/P:+3906 65010876 

tarom.roma@virgilio.it 

JORDAN 

Amman 

Queen Alia (35 km) 

Petra Travel and Tourism 

Shmeisani Abdulhamid Sharaf St. 

+9626 5620760/ 

5620754/5694765 

+9626 5686684 

KINGDOM OF SAUDI ARABIA 

Riyadh 

King Khaled (35 km) 

United Travel Agency 

Sitten Str., Malaz P.O. BOX 6265 - 

Riyadh 11442 

+9661 4787272 

+9661 4793811 

A/P: +9661 2221080 

KUWAIT 

Kuwait 


Al-Athla Travel 

Al Homaizi Bldg., Al. Soor St., Al. 

Salheih 

+965 2441041/ 

2441042/2426847/2426846 

+965 2428671 

LEBANON 

Beirut 


Al Sawan Co. S.A.R.L 

Al Sawan Building St., No. 62, 

Corniche, Rawce, Ain El Tineh 

+9611 797430/810375 

+9611 797431 

REPUBLIC OF MOLDAVIA 

Kishinev 

Kishinev (14 km) 

TAROM Office 

3 Stefan cel Mare Blvd. 

+37322 541254 

+37322 272618 

tarom@moldtelecom.md 

ROMANIA 

Bucharest 

Otopeni (16,5 km) 

TAROM Head Office 

Calea Bucurestilor nr.224F, 

floor 2 

Henri Coanda Intl Airport 

+4021 2041355/204 2725 

+4021 2014761 

Ä 

Ä 

Ä 

Ä 

Ä 

Ä 

TAROM Office at 

Henri Coanda Intl Airport 

+4021 2041355 / 2042725 

TAROM Sales Offices: 

17 Splaiul Independentei, 

+4021/3034444/3034400 

+4021 3164444/3162036 

E-mail: rezervari@tarom.ro, 

technical.assistance@tarom.ro 

59 Buzesti St 

+4021 2046464/3169044/45 

+4021 2046424/2046427 

reservationvictoria@tarom.ro 

agvictoria@tarom.ro 

SPAIN 

Madrid 

Barajas (13 km) 

TAROM Office 

112 5/B Calle Principe De Vergara, 

Mad 28002 

+34 915641883 

+34 915641901 

A/P: +34 0913055078 

madrid@tarom.es 

SYRIA 

Damascus 

International (29km) 

Alsham Travel and Tourism 52 

Fardoss Street P.O. BOX 248 

+96311 2223630/ 2223332 

+96311 2222920/ 2247003 

SUA 

300 Lanidex Plaza, 3rd floor 

Parsippany, NJ 07054 

+1 (973) 884 3254 

Toll Free (within USA): 

1 877 FLY TAROM (359 8276) 

+ 1 (973) 428 8060 

tarom@rep-northamerica.com 

SWITZERLAND 

Zurich 

Zurich (12 km) 

TAROM Office 

8058 Flughafen Zurich, Terminal 1, 

Room 2-271, P.O. BOX 2512 

+41 442529040/8132414 

+41 442529080 

taromzurich@bluewin.ch 

TURKEY 

Istanbul 

Ataturk (24 km) 

TAROM Office 

Ataturk International Airport 

Room IDL 9403 

+90212 4653777 

+90212 4653778 

tarom@superonline.com 

UNITED ARAB EMIRATES 

Dubai 


Al Majid Travel Agency & Tourism 

Al Maktoum St., 

PO-BOX 1020, Deira 

+9714 2211176/2211849/ 

- 2222007 

+9714 2276748 

UNITED KINGDOM 

London 

Heathrow (24 km) 

TAROM Office, Town Office, 

27 New Cavendish St., W1G 9TX 

+44207 2243693 

+44207 4872913 

Airport Office 

Heathrow A/P Office, Terminal 2, 

Office Block, Room 223, Hounslow, 

Middlesex TW6-1JW 

+44208 7455542 

+44208 8974071 

lonoffice@taromuk.co.uk

FOCUS TAROM 

88 

Rezerv\ri online 

Online Booking 

Contact: 

www.tarom.ro 

e-mail: 

technical.assistance@tarom.ro 

Bucharest helpline: 9361 

Tel: (+4021) 317 44 44 

(+4021) 316 20 37 

Rezerva]i online dac\ pleca]i din ora[ele de mai jos 

Bookonline if your travel starts from the cities below 

Athens 

Constan¡a 

Madrid 

Sibiu 

Bacau 

Dubai 

Milan 

Suceava 

Baia Mare 

Frankfurt 

Munich 

Targu Mures 

Brusseles 

Iasi 

Oradea 

Timi[oara 

Bucharest (Henri Coanda) 

Istanbul 

Paris (Charles de Gaulle) 

Tel-Aviv 

Budapest 

Larnaca 

Rome 

Vienna 

Cluj 

London (Heathrow) 

Satu Mare 

Sistemul de rezervare prin internet disponibil 

la adresa www.tarom.ro este rapid, sigur 

[i comod, ajutându-v\ s\ economisi]i 

timp. În doar câteva minute, pute]i rezerva 

bilete de acas\, de la serviciu sau de oriunde 

ave]i acces la un computer conectat 

la internet. Ave]i posibilitatea de a lua biletul 

direct de la aeroport, de la agen]ia 

TAROM din ora[ul de plecare a cursei pe 

care s-a f\cut rezervarea sau s\ îl primi]i 

prin po[t\ (adresa trebuie s\ fie în aceea[i 

]ar\ în care se afl\ ora[ul de plecare în 

c\l\torie [i, în acest caz, rezervarea trebuie 

f\cut\ cu cel pu]in 7 zile înainte de data plec\rii). 

Dac\ sunte]i membru SMART MILES 

primi]i 500 mile bonus la prima rezervare 

online [i 100 mile bonus pentru fiecare din 

rezerv\rile online ulterioare. Sistemul de 

rezerv\ri online se poate accesa de pe 

pagina principal\ a TAROM: www.tarom.ro 

Pentru moment pute]i s\ face]i rezerv\ri 

online numai pe zborurile cu plecare din 

ora[ele listate în tabelul de mai sus. În 

viitor, vom extinde num\rul de destina]ii. 

Plata biletului se face cu o carte de credit 

American Express, Eurocard, MasterCard, 

Visa sau UATP. 

Toate tranzac]iile prin internet sunt securizate. 

TAROM folose[te protocolul SSL 

(Secure Socket Layer) pentru a asigura 

securitatea informa]iilor furnizate de dumneavoastr\. 

The online booking system available at 

www.tarom.ro is fast, secure and comfortable, 

sparing a great deal of your time. In 

just a few minutes, you can make your 

reservation at home, at work or anywhere 

you have a computer connected to the 

Internet. You have the possibility to get 

your ticket directly at the airport, at the 

TAROM offices located in the city of your 

flight departure or by mail (your address 

must be in the same country as the city of 

departure - in this case, the reservation 

must be done before, at least, 7 days from 

the time of departure). If you are a SMART 

MILES member, you get 500 miles bonus 

at your first online reservation and 100 

miles bonus for each following reservations. 

You can access TAROM’s Internet 

booking facility by using the quick search 

form located at www.tarom.ro. Currently, 

you can book online only if your trip starts 

from one of the cities included in the table 

above. We plan to expand the number of 

cities available for booking online over the 

coming months. Payment is made by credit 

card (American Express, Eurocard, 

MasterCard, Visa, UATP). 

Your transactions on www.tarom.ro are 

secured. TAROM uses Secure Socket 

Layer (SSL) encryption technology to 

ensure security and protect your personal 

data. 

ALTE FACILIT|}I 

Pute]i rezerva online [i pl\ti în numerar la orice agen]ie TAROM (în termen de 48 de ore). 

Prin sec]iunea SuperSpecials@TAROM ave]i acces la cele mai noi oferte speciale 

disponibile pe zborurile TAROM. 

Pe pagina noastr\ de internet www.tarom.ro la sec]iunea REZERV|RI HOTEL pute]i rezerva 

camere la hotel, excursii [i transferuri, iar la sec]iunea REZERV|RI MA{IN| pute]i 

închiria ma[ini la destina]ie, prin Octopus Travel, la cele mai bune pre]uri. 

OTHER FEATURES 

You can book online and pay by cash at any TAROM office (within 48 hours). 

You may have access to the newest special offers available on TAROM flights throught 

the section SuperSpecials@TAROM. 

On our web page www.tarom.ro at BOOK A HOTEL section you may book hotel rooms, 

trips or transports and at RENT A CAR section you may rent a car at your destination, 

with Octopus Travel, at the best price you can get.


Birouri de cargo 

Cargo Offices 

Birouri în Romania 

Offices in Romania 

Birouri interna]ionale 

International Offices 

DELAMODE ROMANIA SRL 

111-115 Timisoara Blvd., sect. 6, Bucharest 

Phones: + 402 1 077411, 4077412, 4077413, 4077400 

Fax: + 402 1 407 74 57 

Otopeni, Henri Coanda Intl. Airport, 

224E Calea Bucurestilor 

BICC Building 2nd. floor, Room 13 th 

Phone: + 402 1 201 46 00, Fax: + 402 1 201 46 52 

DHL LOGISTIC SRL 

57, Blvd. Unirii, bl. E4, P, sect. 3, Bucharest 

Phone: +402 1 322 02 15, Fax: +402 1 308 30 83 

Otopeni, Henri Coanda Intl. Airport 

9 Aurel Vlaicu St., Frans Maas Bldg., 

2nd Cargo Terminal, Room 4 

Phones: + 402 1 300 75 40 / 42 / 43, Fax: + 402 1 300 75 41 

EASI LOGISTIC SRL 


9 Aurel Vlaicu St., Frans Maas Bldg., 

2nd Cargo Terminal, Room 16 

Phone: + 403 1 405 92 02, Fax: + 402 1 351 90 31 

EXPEDITOR PREST SRL 

11 Arcului St, sect. 2, Bucharest 

Phones: + 402 1 210 96 66 / 210 97 38 Fax: +402 1 210 95 85 

EXPRESS SPEDITION SRL 

35 Muresului St., Ap. 2, Cluj-Napoca 

Phones: + 402 64 433 605 / 406 512 Fax: +402 64 414 736 

INTERNATIONAL ROMEXPRESS SERVICE LTD 

License of Federal Express Corporation 

155, Calea Victoriei, Bl. D1 tronson 5, 2nd floor, Bucharest 

Phones: + 402 1 311 73 76 / 77, Fax: + 402 1 311 73 78 

Otopeni, Henri Coanda Intl. Airport, 13 „C“ Fermei st. 

Phones: + 402 1 201 48 22 / 25, Fax: + 402 1 201 48 27 / 28 

ROMTRANS S.A. 

196 Calea Rahovei, P.O. BOX 13-11, Bucharest 

Phones: + 402 1 317 61 86, 317 61 59 

Fax: + 402 1 317 61 73, 317 61 74 

KUEHNE&HAGEL TRANSPORT SRL 


224 E, Calea Bucurestilor 

BICC Building 2nd floor, Room 2-3 

Phone: + 402 1 201 46 40, Fax: +402 1 201 48 58 

SERBAN INTERNATIONAL TRANSPORTS 

9 Batistei St., sect.1, Bucharest 

Phones: + 402 1 211 03 80 / 81 / 82 / 83, Fax: +402 1 201 45 06 

SDV SCAC ROMANIA SRL 

2-4 Gara Herastrau St., sect. 1, Bucharest 

Phones: + 402 1 232 10 32 / 232 10 52, Fax: +402 1 232 10 11 


224E, Calea Bucurestilor, Frans Maas Bldg., 

1st. Cargo Terminal 

Phone: + 402 1 201 47 59, Fax: + 402 1 201 47 84 

TNT ROMANIA SRL 

1st A, Bucuresti-Ploiesti Road, sect. 1, Bucharest 

Bldg. Business Park (BBP) 

Phone: + 402 1 303 45 02, Fax: + 402 1 303 45 80 

WORLD MEDIA TRANS 

16 Vasile Parvan St, Timisoara 1900 

Tel.: + 402 56 497 916, Fax: +402 56 20 23 80 

GO TRANS INTERNATIONAL SERVICES 2005 SRL 


224E, Calea Bucurestilor, Building ATR 

Phones: + 403 1 228 28 00 / 228 28 02, 

Fax: + 403 1 228 28 01 

VRK EXPEDITION 

Otopeni, Henri Coanda Intl. Airport 224, Calea Bucurestilor 

BICC Building floor #1, Room 11-13 

Phone: + 402 1 201 46 20, Fax: + 402 1 201 46 19 

Traian Vuia Airport Timisoara, 2 Aeroportului st. 

Phone: + 402 56 38 60 70, Fax: +402 56 38 60 66 

UPS SCS ROMANIA SRL 

42 Simion Barnutiu St, et. 4, ap. 404, Timisoara 

Phone: + 402 56 28 72 70, Fax: + 402 56 28 72 40 


3 Sulfinei St. 

Phone: + 402 1 350 92 03, Fax: + 402 1 350 92 05 

UNIMASTER AIR & OCEAN SRL 

7-9 Tudor Stefan St., Bucharest 

Phone: + 402 1 231 46 23 / 231 41 00, Fax: + 402 1 231 52 32 

TEEN TRANS RO SRL 

2 Gheorghe Sincai St., bl. 4, ap. 92, Bucharest 

Phone: + 402 1 330 20 00 Fax: + 402 1 330 34 95 

Otopeni, Henri Coanda Intl. Airport, 3 A, Fermei A st. 

Phones: + 402 1 350 37 20 / 21, Fax: + 402 1 350 27 23 

TRITON INTERNATIONAL CARGO 

37, Maguricea St, Bucharest 

Phones: + 402 1 266 50 61 / 62, Fax: + 402 1 266 50 63 

Otopeni Henri Coanda Intl. Airport, 224E, Calea Bucurestilor, Frans Maas 

Bldg., 1st Cargo Terminal 

Phone: + 402 1 204 19 10, Fax: + 402 1 201 45 02 

AUSTRIA 

BRAINWAY AIRLINESERVICES Gemb H 

International Cargocenter Objekt 263, Gate 3, A-1 300 

Flughafen Wien 

Tel.: +43 1 700 733 362/3 

Fax: +43 1 700 733 361 

BELGIUM 

AIR SUPPORT BELGIUM 

Brucargo Building 709, room 123, B-1931 

Zaventem 

Tel.: +32 2 752 86 80 

Fax: +32 2 752 86 86 

DENMARK 

SCANPARTNERS INTERNATIONAL APS 

Fuglebzekvej 14, DK-2770 Kastrup, Copenhagen 

Tel.: + 45 32 527 676, Fax: + 45 32 511 412 

FRANCE 

GLOBE AIR CARGO SYSTEM 

BP 10524, 95709 Roissy CDG Cedex 

Tel.:+33 1 48 623 564, Fax: +33 1 48 625 335 

GERMANY 

GLOBE AIR CARGO GmbH 

Waldecker Strasse 9 D-64546 Moerfelden-Walldorf 

Tel.: +49 6105 406 646, Fax: +49 6105 406 690 

P.C. AIRLINE SERVICES GmbH 

Flughafen Schonefeld, D-12521 Berlin 

Tel.: +49 30 60 913 550/52 

Fax: +49 30 60 913 551/53 

GREECE 

GOLEMIS AIR SERVICES CO SA 

15 Panepistimiou 10564, Athens 

Tel.: +201 325 50 63/65, Fax: +201 323 12 05 

HUNGARY 

AIR LOGISTIC TRADING AND CONSULTING LIMITED 

LIABILITY COMPANY 

2220 Vecses, Ulloi ut 809/A 

Tel.: + 36 1 235 78 58, Fax: + 36 1 235 78 59 

IRELAND 

NORZEL Ltd. T/A AIRLINE CARGO SERVICES 

La Verne, Kilkishen, Co. Clare 

Omega House, Callinstown Cross, 

Dublin Airport 

Tel.: +353 61 478 011, Fax: +353 61 478 012 

ISRAEL 

LIKA BERKOWITZ INTERNATIONAL 

TRANSPORT LTD. 

P.O. BOX 3216 Rishon Le Zion, 75131 

Tel.: +972 3 950 25 93, Fax: +972 3 950 25 94 

ITALY 

CISMAT COMPAGNIA ITALIANA SERVIZI 

MARITIMI AEREI TERRESTRI SRL 

Malpensa Cargo City-Gate A, 3rd. floor 

21010 Somma Lombardo (VA) 

Tel.: +39 025 858 12 43, Fax: +39 025 858 13 48 

New Cargo City- Bldg.333/A,1st., floor 

00050 Fiumicino Airport 

Tel.:+39 06 650 109 07; Fax.: +39 06 652 90 19 

REPUBLIC OF MOLDAVIA 

BALMUS TRADE SRL 

Str. Chi[in\ului 14, ap. 28 

Tel.: +373 225 24 102, Fax: +373 225 29 341 

SPAIN 

CRS AIRLINE REPRESENTATIVE 

Calle Violant D’Hongria 82-88 H.O. Barcelona 

Tel.: +34 93 490 41 45/301 17 82 

Fax: +34 93 490 39 24/301 10 63 

Centro de Carga Area, Edificio Servicios 

Generales, Off. 509, Madrid 

Tel.: +34 91 393 74 02, Fax: +34 91 393 74 03 

SWITZERLAND 

AIRNAUTIC AG 

Freight Building, West 1-360, P.O. BOX 53, 

CH-8058 Zürich - Airport 

Tel.: +4143 816 38 44, Fax: +4143 816 38 45 

TAIWAN 

GLOBAL AVIATION SERVICE INC. 

11/F2, 103, Nan-King E Road Sec. 4 Taipei 

Tel.: +886 2 87 122 113, Fax: +886 2 87 123 151 

TURKEY 

CARGOJET KARGO HIZEMTLERI Ltd.STI 

Kartaltepe Mahallesi Sukru Kanalti Sok Sema 

A.P No. 40/4 Istanbul 

Tel.: +90 212 660 85 28 

Fax: +90 212 660 29 55 

UNITED KINGDOM 

SKYCAPACITY LTD. 

Unit 16 Gatwick Metro Centre, Balcombe Road, 

Horley Surey RH6 9GA 

Tel.: +44 1293 821 822 

Fax: +44 1293 776 300 

UNITED STATES 

SUNSHINE SERVICE INTL. INC. 

147-29 183 Street Jamaica NY 11413 

Tel.: + 01 718 656 15 15 

Fax: + 01 718 244 13 24

FOCUS TAROM 

90 

Contact: 

TAROM Tours 

17 Splaiul Independentei, 

Bucharest, Romania 

Tel: +4021 3184444 

+4021 3034414/21/37 

Fax: +4021 3034439 

e-mail: tours@tarom.ro 

Ofertele sunt valabile per persoan\, pentru 

sejururi cu weekend inclus. Cuprind transport 

cu avionul dus-întors, cazare cu mic 

dejun (sau alt tip de serviciu, conform men- 

]iunii) [i nu includ asigurarea medical\, 

taxele de aeroport [i de viz\ (acolo unde 

este cazul, transferurile la/de la hotel). 

Offers are valid per person, for stays over 

the weekend. 

They include round trip flight ticket, 

Bed&Breakfast (except when mentioned 

otherwise) and do not include airport taxes, 

medical insurance and visa tax (where 

needed, airport transfers). 

Sejururi cu TAROM Prim\var\ / Spring 07 

Weekend with TAROM 

ATHENS - 2 nights (BB) 

DORIAN INN 3 _ 

de la/from: sgl 306 ƒ, dbl 243 ƒ, trp 240 ƒ 

JASON INN 3 _ 


ESPERIA PALACE 4 _ 


BARCELONA - 3 nights (BB) 

APSIS ARANEA 3 _ 


CATALONIA MIKADO 3 _ 


SENATOR 4 _ 


BUDAPEST - 2 nights (BB) 

WIEN 3 _ 


IBIS BUDAPEST VACI UT. 3 _ 


CORINTHIA AQUINCUM 5 _ 


Tarifele sunt valabile la data public\rii [i pot suferi modific\ri `n perioadele de 

t‚rguri, expozi]ii, s\rb\tori locale etc. Rezerv\rile la hotelurile din aceast\ ofert\ se 

vor confirma `n func]ie de disponibilitatea la data lans\rii comenzii.


LONDON - 2 nights (BB) 

CENTRAL PARK 3 _ 

de la/from sgl 387 ƒ, dbl 299 ƒ, trp 292 ƒ 

BAYSWATER INN 3 _ 


IMPERIAL 3 _ 


FRANKFURT - 2 nights (BB) 

LUXOR 3 _ 


AMBASADOR 3 _ 

de la/from sgl 302 ƒ, dbl 221 ƒ, trp NA 

ISTANBUL - 2 nights (BB) 

AKGUN 3 _ 


AKSARAY 3 _ 


NANDA 4 _ 


MÜNCHEN - 2 nights (BB) 

IMPERIAL 3 _ 


GERMANIA 3 _ 


K&K AM HARRAS 4 _ 


MADRID - 2 nights (BB) 

REGINA 3 _ 


CLARIDGE 3 _ 


GRAN ATLANTA 4 _ 


DUBAI - 3 nights (BB) 

LORDS 3 _ 


AL KHALEEJ 3 _ 

de la/from: sgl 628 ƒ, dbl 535 ƒ, trp NA 

CARLTON TOWER 4 _ 


TAJ PALACE 5 _ - 3 room only 


PARIS - 2 nights (BB) 

CLASSICS TOUR EIFFEL 3 _ 


JARDINS DE PARIS NATION BERCY 3 _ 


RESIDENCE RENOIR 4 _ 


TEL AVIV - 2 nights (BB) 

AMI 2 _ 


OLYMPIA 3 _ 


MARINA 4 _ 


ROME - 2 nights (BB) 

GIOTTO 3 _ 


NIZZA 3 _ 


GIOBERTI 4 _ 


VIENNA - 2 nights (BB) 

HARMONIE 3 _ 


PRINZ EUGEN 4 _ 


ALBATROS 4 _ 


Tariffs are available at print time and they do not aplly for: fair and international 

exhibition periods, local holidays etc. The reservation to the hotels mentioned 

in this offer will be confirmed subject to availability at booking order time. 

BRUSSELS - 2 nights (BB) 

VAN BELLE 3 _ 


QUEEN ANNE 3 _ 


LEOPOLD 4 _ 


SALONIC - 2 nights (BB) 

B.W. VERGINA 3 _ 


HOLIDAY INN 4 _ 


LEGEND| 

LEGEND 

4_ Hotel ____ BB Cazare, mic dejun / Bed & Breakfast 

sgl Single/single 

3_ Hotel ___ dbl dubl\/double 

2_ Hotel __ trp tripl\/triple 

NA nu este posibil / Not available

Untitled - Tarom

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