In its desire to connect people and worlds, music brought us together at the Thalia Hall, regardless of the rainy weather, one evening during the Enescu Festival in Sibiu, when pianist Alexandra Silocea, mezzo-soprano Patricia Notz, and actress-narrator Laëtitia Eïdo, all three internationally renowned artists, met us in a unique setting — the Klimt Meets Bösendorfer — Ver Sacrum (Sacred Spring) concept show, created by Alexandra. We found ourselves immersed in the fusion of diverse artistic spheres and performative forms, a vibrant mélange that carried us for an hour into a universe devoted entirely to beauty.
Alexandra Bene: What inspired you to bring together Gustav Klimt’s paintings, Schubert’s lieder, and poetry in a multisensorial concept? What artistic thread do you see connecting them?
Alexandra Silocea: My main aspiration was to bring audiences together — especially those from across the arts — into a shared space. As musicians, we often inhabit a particular niche, yet I wanted to create an opportunity, especially after the pandemic, for people from museums, theatres, and concert halls to reconnect. Living and performing in Vienna, the connection between Klimt and Bösendorfer felt almost inevitable to me, particularly as the Bösendorfer piano was on the verge of coming into existence — or, as I like to say, about to be born. It was a union that felt entirely natural.
You then asked me why Schubert’s lieder. Klimt was the starting point, followed by Bösendorfer, and I began to explore whether there was a deeper link between Klimt and music. Through my research, I discovered that the four lieder I included in the concert were among Klimt’s favorites — pieces he listened to constantly. That realization became the spark. From there, I sought poetry whose words could be transformed into sensations — feelings, energies, colors, or vivid images — that resonated with the music. The result was a synergy of artistic and sensory elements, which ultimately came together as a unified whole.
Alexandra Bene: What guided your selection of poets and texts — Joyce, Frost, Gibran, and others — for this performance?
Alexandra Silocea: With Ver Sacrum, my intention was to create something beyond a concert—an unfolding dialogue that transcends the boundaries of music and the visual arts, where words hold as much presence as sound. The choice of poets — Joyce, Frost, and Gibran — emerged almost instinctively: Joyce for his modernist intensity, Frost for his intimacy and attunement to nature, and Gibran for his universal, spiritual resonance. Their texts are not simply interludes, but mirrors of the music — poetic pauses that expand the audience’s imagination and prepare the ground for the next musical journey. I envisioned layers of emotion and meaning interwoven, so that the experience might be lived in multiple dimensions.
Alexandra Bene: Laëtitia, how did you receive the invitation to be the narrator of this concert, and what attracted you to the concept created by Alexandra?
Laëtitia Eïdo: We were introduced through another actress in Paris, and I immediately connected with her artistic universe and her vision of blending different forms of expression. As she remarked, audiences themselves embody many colors and diverse niches. Uniting a singer, a pianist, and an actress is something truly uncommon, and the journey this project has offered me has been nothing short of remarkable. From the very beginning, everything seemed to align perfectly, and I feel deeply grateful to have encountered such an extraordinary woman and artist.
Alexandra Bene: How was the transition for you — from the dramatic roles that made you widely known in cinematic productions such as Fauda or Dr. Shirin — to the lyrical and poetic universe of this show?
Laëtitia Eïdo: For me, everything is carried by words — their meaning, their vibration, and the emotion hidden within that vibration. It is the same when I embody a character: I place my trust first in the words, in the lines. Here too, I connect deeply with the energy of the words, even when performing in Romanian. It is difficult to explain, but I know that once I trust the words, the connection flows naturally — from me to the audience, and from the audience back to me. Experiencing this live, with people in front of me, is truly fascinating. On set, I can feel it as well, but there the camera mediates the exchange. In performance, the connection is more immediate, more vibrant, more intense.
Alexandra Silocea: It is truly an exchange: you offer something, and it comes back to you. As artists — I believe I can speak for all three of us — you can immediately sense whether the audience is connected or not. A few days before coming to Romania, while thinking of the poet Mihai Eminescu, I had the thought that Laëtitia could recite his poem “Somnoroase păsărele”…
Laëtitia Eïdo: And I said ”No!”.*laughing*
Alexandra Silocea: And I said “I’m sure you will be amazing!”. I’m very grateful that you’ve accepted this!
Alexandra Bene: The concept includes a limited edition Bösendorfer. What does it mean for you to work with this instrument?
Alexandra Silocea: For me, Bösendorfer has never been an instrument — it is a living partner, breathing with me on stage. The limited edition I played for this project possesses a sound of remarkable depth, unfolding in infinite nuances — from crystalline clarity to an almost orchestral gravity — while carrying an artistic aura that resonates visually and symbolically with Klimt’s universe. What I cherish most about Bösendorfer is the freedom it offers: the keyboard responds like a sensitive canvas upon which one paints with sound. This malleability is precisely what Ver Sacrum demands — a project woven from subtlety and the fusion of the arts.
Alexandra Bene: In performances of this kind, how essential are elements such as staging, lighting, and space to the overall experience?
Alexandra Silocea: For me, staging is never decorative, but part of the concert’s dramaturgy. Ver Sacrum has its roots in the Viennese Secession’s belief that all arts must come together in a Gesamtkunstwerk, a total work of art. So I thought of the lighting, the set design, and even the placement of the piano in the space as elements that converse with the music, not just accompany it. I want the audience to step into an artistic world where they feel enveloped. Where sight, hearing, and words support each other, creating an immersive experience.
Alexandra Bene: Patricia, you are acclaimed both for your operatic roles and your interpretations of lieder. How was it for you to perform on this stage tonight, and what does participating in the Enescu Festival and meeting the Romanian public mean to you?
Patricia Notz: First of all, it means a lot to me to meet the Romanian public, and to perform at the Enescu Festival—a festival of such renown, where only the finest musicians are invited — is a profound honor. It is especially meaningful to be welcomed by Romanian artists and to take part in this project. Usually, I appear on stage in lieder, opera roles, or recitals, so it was a new experience for me to become part of a larger mosaic. It proved to be an eye-opening journey, where multiple art forms intertwined — particularly in Bucharest, with the integration of an art installation, and again tonight, here, with young painters creating extraordinary works before our eyes.
These encounters showed me how many forms of art can move hand in hand, enriching not only the performance but also my own way of performing. Every day brought something unexpected, which is, after all, the essence of live performance. Whether in Bucharest or in Sibiu, I was deeply touched by the attentiveness and openness of the audiences to what was, in many ways, an experimental concept. I truly felt we succeeded in bringing everyone together, creating for one hour a shared space, almost like a bubble in which we all existed. To be part of that was a joy and a privilege.
Alexandra Bene: How do you manage to balance the two musical roles you embody? And regarding tonight’s performance with Alexandra and Laëtitia — how did you achieve such a seamless blend on stage?
Patricia Notz: The collaboration with Laëtitia and Alexandra was, in many ways, wordless. From the very first rehearsal we understood each other instinctively. Alexandra and I had already met in Vienna, since we both live there, yet the three of us first gathered in Bucharest. It was one of those rare collaborations where everything clicked immediately. The music simply took shape through shared timing, phrasing, and intuition. It was an absolute joy — and particularly meaningful for me — to experience an all-women project. Of course, I often perform with men and make no distinction in that regard, but being on stage together as three women brought a unique and powerful energy, one that felt entirely its own.
Alexandra Bene: Alexandra, looking back, which moment stands out to you as truly defining you as an artist?
Alexandra Silocea: There are a few key moments that have shaped me decisively. My first album, devoted to Prokofiev’s Sonatas Nos. 1–5, demanded the courage to embrace my own artistic identity and to carve out a personal path. My debut at the Enescu Festival in 2019 was another milestone, imbued with a profound emotional resonance for me as a Romanian artist. Yet perhaps the most intense episode remains 2020, when I was unexpectedly called to perform with the London Philharmonic Orchestra a work entirely new to me, with only five days to prepare. That plunge into the unknown — with all its pressure and adrenaline — revealed to me that resilience and trust in one’s own resources can open doors one never imagined.
Alexandra Bene: How do your roots — in Romania, Vienna, and Paris — shape your perspective and approach to interpreting music?
Alexandra Silocea: From Romania, I carry passion, fervor, and an unrestrained directness of expression. Vienna instilled in me discipline, rigor, and a reverence for tradition and structure. Paris revealed to me elegance, freedom, and the boundless power of imagination. My international journey constantly affirms that music knows no borders, and that every cultural encounter deepens both the inner self and the artistic voice. These roots intertwine within me and flow into my performances — a living fusion of authenticity, discipline, and openness to the new.
Alexandra Bene: What impact do you hope this project will have on the Enescu Festival, and in Sibiu in particular? What does the Enescu Festival represent for you as a place of encounter with the Romanian public?
Alexandra Silocea: The Enescu Festival holds an immensely important place in my heart. Returning home is always special, but returning home to the Enescu Festival feels like stepping into a unique bubble filled with extraordinary artists. It is both a profound honor and an incredible joy, and each time I think to myself that I am truly fortunate to be here. To have the opportunity to present this project and this concept within the Festival is something quite exceptional, and I am deeply moved by the invitation. I would also like to express my gratitude to Patricia and Laëtitia, because this collaboration has been truly remarkable.
What I hope most is that the public will continue to remain open to new ideas. It is extraordinary that people came to the concert without having a program in hand, not really knowing what to expect, yet still willing to take part. I was particularly touched to witness their reactions — to see them embrace the unknown simply because they felt it might resonate with them. That openness is, for me, one of the most rewarding aspects of this experience.
Alexandra Bene: What upcoming projects are you currently working on?
Alexandra Silocea: Beyond Ver Sacrum, I continue to pursue interdisciplinary projects, guided by the conviction that music must remain in dialogue with other art forms. The Klimt Meets Bösendorfer series will evolve through collaborations with symphony orchestras, while also branching into new concepts designed for young audiences — where imagination and interaction take center stage. Alongside these, I am preparing new recordings, recitals, and continuing my Piano Fortissimo podcast, a platform for conversations with artists from across the globe. What unites all these endeavors is a single aspiration: to craft living experiences that transcend listening and leave a lasting imprint on those who encounter them.
© The Enescu Festival in Sibiu
