Adrian Orlea, famous singer from Sibiu (II) – Ziarul Messagerul de Sibiu

We continue the discussion with Adrian Orlea, one of the most popular, if not the most famous Sibiu singers from the 1970s to the 1980s. The master has a lot to say, and the dialogue with his lordship can only be a frothy one.

So, the teachers, in the first part of our discussion, told us something about the competitions you participated in. Give us more details about this.

“About the seventies, I participated as a representative of Sibiu in many light music festivals. National festivals. And the first festival where I won third place was the Lotus Flower Festival in Oradea. There were 40 contestants.

I was there alone, not with the band. I had such a route, both with a stereo range and individually. She took third place in the country, among the participants was Angela Ciuchina who took first place when she took third place, and after that there were some young ladies who were already in the interest of those of Steaua Pomo Nomi.

And I well remember that I was with some gentile in the city of Pietro Groza, Doctor Pietro Groza, who was near Oradea, and is now called Ștei. I was there and heard on the radio that the next day there would be a pre-selection in Sibiu for the Nameless Star. I traveled all night by personal train and arrived in Sibiu at half past six to be present at eight o’clock in the High School of Music, and in the amphitheater there was a pre-selection of Nameless Star. I was then in my third year of active high school. I stood up and said to them, “Please hear me, I’m coming from the road” but where you were, they asked me. I come from the festival of the lotus flower. And got the third prize. Director Grigorescu asked me: “What are you doing?” “I am a specialized high school student, energetic.” “And what do you want to do in this life, what do you want to become?” To which I answered bluntly: “I want to be a soloist, like Dan Spotaro,” I pray, that many soloists were at the time.

Then I sang them two or three songs, told Simon Patrolia, the programme’s editor, to write me down, and asked me to come to Bucharest in two weeks. This is how we come to the Nameless Star, a real starting point for artists.

You have the opportunity after the third stage, if you win it, to take the cup, and the composer will give you a piece. And so I became a vocal soloist, which is exactly what I dreamed of. I became famous because of this song.

But back to the festivals. I have participated in a lot. Aside from the lotus flower that I talked about, I also went to the others and among them all I came back with a prize. See, for example, in Piatra Neamț, the UTC award, in Râmnicu Vâlcea, the popularity award, in the Amara I participated many times, participated in a very large festival, in Constanța, Steaua Litoralului. I have happy memories of this festival, I received a special jury award. And without being humble, when she sang the second song, “De ai fi tu salcie la mal,” the hall rose with applause. So this was a great thing.

Another important and valuable prize was at the Brasov festival, I think it was called Primol Gyossel, in 1975. There, together with the troupe, we took first place in the country. And they were very good teams. It was ranked number one in the country with a composition composed by Adrien Ordian.

And these will be just a few festivals, as I said, in which I represented Sibiu with honor.”

Have you been employed in other places in your life or just as a singer?

When I finished high school in 1972 I wanted to get a job. My parents said to me, “Child, you’ve already finished high school, you have to participate.” And through interventions and relationships, I was able to get a job in Libertatea, with technical painters. In high school I was very good at technical drawing and I also had very beautiful handwriting. Well, a month before I was hired, there was HCM where all of the TESA employees that were taken out of production were back in production. They could no longer hire me as a painter and hire me for electricians and maintenance. This was a period, I don’t know how to say it, I was a TV collaborator at the time, I was going back from the shooting sets, with ballerinas, pretty and cool stuff, and I’d come to Libertatea…I only worked there for four months and then joined the army.

How did you end up playing at the seaside?

In 1973 she began singing on the seashore. On the coast, the first contract was with Eric Moniak, he was a music teacher, for a long time flirted with jazz in Sibiu, had the band “Dixieland”

As you know, when you do good you find good. I mean when he took Ordean into the army, Ordean signed the contract with Eric Moniak. And he suggested that I go to the seashore in his place, because he had to go to the army. It was a return for the good I did when I took it in stereo formation.

And as I said, in 1973 I started playing Eric Moniak, bassist, Eddie, from TJ. Mureș, with another drummer, Turi I’ve been calling, and I’m a guitarist. We started playing in a restaurant in Cape Aurora. The voices harmonized beautifully, and we were singing with three voices. And any song that wears vocals sounds unusual. I played in Cătun in Cap Aurora, it doesn’t exist anymore…

I remember that I sang in 1977 in the restaurant Olymp International, since at that time not everyone could get there. I played there with Patrici’s band, it was a great show.

How did you end up in Radu Ghizășan?

I woke up one day with Radu Ghizășan who told me that his old band was breaking up, and that he wanted to form a new band. He suggested that I sing in it.

I get along well with shaping, so it has become practically irreplaceable. Almost everyone came to Transylvania to listen to us, the repertoire was prepared according to my taste at that time, and we had many engagements, at weddings, weddings were also organized in Transylvania.

We also had 8 weddings a month. People ended up scheduling their wedding according to our schedule.

I also sang with them on the seashore. In the summer of ’82, we played on the seashore and I think we were the most successful live band at the moment. We played in Neptun in the restaurant of Marea Neagră. What I mean, the band sounded pretty good. composition was Jimmy CiglaroForgive me for being dead, on the bass, on the keyboards, Andre ColombarUnfortunately, he is also no longer guitar, soloist, and acoustic. Adrian Orliadrums Lucien FabroRadu Ghizășan saxophone, as well as soloist Adina Elijah. I was doing a duet with this girl when the news came out. Well, after 1982 we broke up, this girl went to Progresiv TM, and we lasted from 1982 to 1989 with the same success.

How long have you actually been singing in restaurants?

We used to sing in restaurants until the revolution, so from 1975 there’s been 15 straight years in Transylvania, and I don’t think there’s any sippy who doesn’t remember the former Transylvania restaurant Mama Leone, because we sang this song here a piece. I learned it on Litoral, in a nightclub. It wasn’t on the radio yet, and I was playing it 4-5 times a night.

In those days, did you have problems with party and censorship?

We suffered from censorship. I remember that there was a day on June 1 or March 8 when the first secretary of the party at the time, Elena Nye, gave a huge show that all of Sibiu’s artistic troupes were capable of. And dancers and dancers, they also called us from Restaurant Transylvania. They called us from 8am, so to speak, to stay there until it was our turn. Well, we were professionals, what should we repeat? We went crazy and left rehearsals. Aoleu, what did Mrs. Nye do to us… We stayed on the hook for three days until we were allowed to sing again, because they took our diplomas. Fortunately, Jizan’s wife worked at the party and stepped in for us.

The same thing happened with the head of the culture committee. It was the Culture Committee that gave you a visa to sing, here it was actually censorship. Often times some silly things were imposed, at the wedding for example, we went with repertoire to the Culture Committee for approval. Well, you kind of mocked the culture committee. We’d write some nicknames there from the belly, get approval and then sing whatever we want.

That’s how I stayed with Gizan, the head of the band, I was on vacation, and they got our diplomas because we sing in foreign languages. You are not allowed to sing in English or any other language. 80% were Roman pieces and 20% foreign pieces. Now who sat down to weigh?

Do you have any regrets from those glory days that I might say?

Yes, I really regret not recording everything I sang. Unfortunately at that time we had very good compositions that we sang, but if you do not record them, unfortunately they are lost and this is the biggest regret, because many songs are lost and it is very difficult if not impossible to get them back. .

Sir, thank you.

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