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IN THE MYTHOLOGY of ancient peoples, the sphinx is known as a fabulous monster with the head of a man or various animals (aries, bird etc.), with the body of a lion and the wings of an eagle (Gellner, 2021). As etymology, the word “sphinx” comes from the Greek “sphíngō” (σφíνγō), meaning “to squeeze” or “to strangle”. On the other hand, in Egyptian culture it is known as “shepsepankh” , which would translate as “living image”, referring to the wonderful Statue of Giza (Rodriguez, 2019). There are several types of sphinxes, each with a legend with a certain symbolism: In ancient Egypt, the famous statue of the Great Sphinx was built at Giza near the royal tombs. It has the appearance of a seated lion with a human head and a royal helmet above its head. The Egyptian Sphinx symbolises the power and supremacy of the ancient pharaohs who ruled throughout history. Returning to the statue itself, it dates back to the time of Pharaoh Khafre and there are several theories as to why it was built: the first is that it was built by the king’s older brother to commemorate their father, Khufu. Certain aspects (the fact that the statue looks more like their father than Khafre) have led to speculation that Khufu himself built the Great Sphinx (Tikkanen, 2017). Mark Lehner, professor of Oriental languages at the University of Chicago, floats another theory that the miraculous statue was built during Khafre’s reign. Lehner says that the syllable “Khaf” is carved between the Sphin’x front legs, proving the pharaoh’s contribution in bulding it. However, this argument is not very tangible, as the names of the pharaoh’s were written in closed cartouches and the inscription is not quite clear. At the same time, there are scholars who date the Great Sphinx to before the reign of this pharaoh. For example, John Anthony West claims that the statue is much older than it is said to be. Egypt’s climate is known to be arid and yet the american scientist has found evidence of erosion caused by water. He concluded that they were not caused by a flood, but by rain, as the lower part of the Sphinx shows no sign of erosion, only on the body. According to West, 12 000 years ago it rained on the great statue (oocities, 2009). In Greek mythology the Sphinx is not perceived as a fantastic creature (they generally had eagle wings and claws). The Greek Sphinx had the body of a lion, the head of a woman and a tail resembling a snake. Unlike the Egyptian Sphinx, the Grekk Sphinx signifies a destructive vanity, as it has murderous thoughts (Enigmatica, 2021). This is the origin of the famous legend of the creature from Thebes, who was summoned by a deity to Boeotia to bring terror upon the residents of the city. So the Sphinx moved in a cave on Mount Phicium and asked passers-by to answer a riddle: “What animal walks on four legs in the morning, two at noon, and three in the evening?” Many tried to solve the mistery, but failed. Even worse, those who gave a wrong answer were immediately killed, as the creature devoured them (Greek Legends and Myths, fără an). The hero of this story is Oedipus, who uncovers the mistery and gives a very simple answer: man. “He is the one who crawls on all fours in infancy, walks on two feet when grown, and leans on a staff in old age.” (Rodriguez, 2019). In rage, the Sphinx threw himself off the side of the mountain and collapsed, taking his own life (Greek Legends and Myths, fără an). Perhaps due to Egyptian influence the Sphinx became known in Asia, but it was not given a clear enough meaning. In terms of construction, it had wings attached to its body. In the 15th century BC. the Sphinx began to appear on seals, ivories or on metal objects, but as a female figure, often associated with a lion (Rodriguez, 2019). For example, Tibetan sculptors made a Sphinx with a bizzare

KEYWORDS: SPHINX, ARTS, ANTIQUITY

ABSTRACT: In the present study I set out to detail how the Sphinx is perceived in other cultures and how it was included in the arts. I want to bring to the fore both the legends that were created with the appearance of this mysterious character, and the imagination of the artists who dedicated certain works to the myth of Oedipus. I will also talk about his presence in the opera “Oedipus” by George Enescu, explaining the connotations given to him by the composer of this being, and at the end I will focus on some of the most famous performers who played the role of the Sphinx.

NATIONAL UNIVERSITY OF MUSIC, BUCHAREST

SARAH RIZESCU

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The Sphinx appears in many paintings from different eras (Cosma M. , Oedip and the Arts, 2011): Jean-Auguste-Dominique Ingres: Œdipe explique l’énigme du Sphinx (Figure 4)

Figure 3

Figure 2

Figure 1

Sphinx statue in front of the Hungarian State Opera in Budapest

2016)

appearance: half of its body was feline that was signifying strength and the other half was female. The head was representing the face of a man that was symbolising intelligence and knowledge. In addition to these things, the Tibetan Sphinx was also an emblem of fatality (Enigmatica, 2021). In Romania we also have a Sphinx that formed in a long time to its actual shape. The Sphinx of Bucegi is a cause of a wind erosion and represents a block of stone roughly similar in size to the statue of Giza. It is associated with a spiritual being who protects the surroundings with his powers (Descoperă locuri, fără an). People were so fascinated by this wonder of nature, that in 1900 someone even thought to take a photo of the megalith, back in the days when photography was in its infancy and buying a camera was quite expensive. Apart from the one in Bucegi Plateau, there are other megalith formations in our country which, over time, acquired the appearance of sphinxes: the Sphinx of Stânișoara in Vâlcea county, the Sphinx of Topleț in Banat, the Sphinx of the Măcinului Mountains in Tulcea, the Sphinx of “Solomon’s Stones” in Brașov (Turist de Romania, 2012). Below I have compiled a list of statues that have survived through the time: Statue of the Great Sphinx of Tanis at the Louvre Museum in Paris (Figure 1) Statues of the Sphinxes in the Belvedere Palace Garden in Vienna (Figure 2) The Sphinx Statue of the Embankment of London The Sphinx of August statue at the National Museum of Archaeology in Madrid Statue of the Sphinx in Piazza del Popolo, Rome Statue of the Sphinx on the Island of Capri, Italy Sphinx on the building of Colței Street (Bucharest) The two Sphinxes on Iulia Hașdeu’s grave (Figure 3) Statue of Sphinx of Naxos at the Archaeological Museum of Delphi, Greece The Quai with Sphinxes in Sankt-Petersburg, Russia Sphinx statue in Zadar, Croatia – the largest Sphinx statue in Europe (Ancient Code Team,

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In literature and theatre: Edgar Allan Poe: “The Sphinx” – a short horror story (Biblioklept, 2015) Ralph Waldo Emerson: “The Sphinx” – poem (Library of America, n.d.) Anna Garréta: “Sphinx” – novel (Ramadan, 2015)

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Figure 5

Figure 4

Gustave Moreau: Œdipe et le Sphinx Gustave Moreau: Œdipe voyageur Francis Bacon: Oedipe and the Sphinx – after Ingres (Figure 5) Annie Cassez: Oedipe and the sphinx Alfred Courmes: Oedipe and the Sphinx (Figure 6) Francois Xavier Fabre: Oedipe and Sphinx

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According to Edmont Fleg’s libretto, the Sphinx asks the question “What is stronger than destiny?”. The answer remaines the same, man, but the context and the weight of the statement changes. This philosophical approach underlines the humanist values promoted by Fleg, back in the time when philosophy was strongly influenced by the French sages of the previous generation. At this point we can talk about Descartes and Rousseau, who highlighted the importance of man and the control he has over his own life (Ponder, 2009). From a musical point of view, we can consider that the scene in which the Sphinx appears is an essence of the whole score. To highlight the creature’s dominance over the city of Thebes, the composer uses exotic compositional techniques and approaches – for example, the Turkish-influenced percussion and orchestration of Beethoven’s Ninth Symphony. Moreover, these features of Oedipus’ music play an important role in the connection with Romanian folklore (Ponder, 2009). I have further searched the long list of performances of Enescu’s Oedipus for the names of the performers who played this role. I discovered the following (Cosma V. , 2004): Jeanne Montfort – Opera Garnier in Paris, 1936 (opera premiere) Micheline Cortois – La Monnaie Theatre in Brussels, 1956 Zenaida Pally – Bucharest National Opera, 1958 (national premiere) Zenaida Pally – Saarbrücken Opera, 1971

Because of its wealth of mysteries and meanings, we can also find him in music, in various operas such as Oedipus à Colonne by Antonio Sacchini (1786), Edipo Re by Ruggiero Leoncavallo (1920), the opera-oratorio Oedipus Rex by Igor Stravinsky (1927), the one-act musical-choreographic drama Oedipus by Harry Partch (1952) and even an opera-parody by Peter Schickle under the pseudonym “P. D. Q. Bach” (Cosma M. , Oedipe - Libret , 2007). Another example is the opera by Mark-Anthony Turnage, Greek, which is in fact an update of the Oedipus myth. The confrontation with the Sphinx is an interesting part of he opera because no one can imagine how such a creature can sing, so the composers must be quite creative here. In this case, Turnage represented the Sphinx by two women who often sang together, but it’s very interesting how he managed to do this part: one of them had to be the echo of the other. In the staging I’m reffering to, the actresses held cardboard cutouts in their hand like masks in order to show how the Sphinx might have been seen through the eyes of Oedipus (Stearns, 2018). In Romania we had a rock band back in the 70’s called “Sphinx” and it was one of the most famous rock bands – besides Phoenix – of that period. Octav Zemlicka, the band’s guitarist and lead singer, was the one who came up with the idea, so the band formed in 1963. They were first heard on the radio three years later with the song I Love Music and the eponymous song, Sphinx. Basically, they played covers of various songs by The Beattles, Jimi Hendrix, The Doors and in 1972 they recorded their first single disc – Șir de cocori – that is said to be inspired by an arrangement of a lied by George Enescu (***, Sfinx (band), 2020). In the 90’s a band split off from the original grup and called themselves “Sphinx experience”, whose album Sfixtambul was successful at that time (***, Sfinx Experience, 2021). George Enescu was fascinated not so much by the appearance of the Sphinx, but by the meaning of this character. The myth of Oedipus was a challenge for him, because he wanted to have an “Oedipus of his own” after watching Sofocles’ Oedipus Rex, starring Mounet-Sully, which impressed George Enescu with her delightful performance (Falcan, n.d.). On the one hand, the Sphinx itself has no particular symbol because it is a monster and eventually the hero of the story defeats him (how every villain in a legend ends up). On the other hand, his riddle is full of meaning: it describes something almost impossible, an animal whose limbs change in number, this thing depending of the time of day, but metaphorically, it makes sense. The riddle is a good example of “the part equals the whole”, Oedipus being both king and tyran, but also saviour and scapegoat. Thus, he becomes with no intention his mother’s husband and his children’s brother (Turner, 2020).

We should not be surprised of the fact that the Sphinx has also interfered with the seven art, since the character appeared in different movies: The Sphinx, directed by Phil Rosen, 1933 (IMDb, 2004) The Dacians, directed by Sergiu Nicolaescu, 1967 (***, Dacii, 2005) Șaptecai’s Outlaws, directed by Dinu Cocea, 1971 (IMDb, 2016) Sphinx Genesis, short film directed by Christian Pichler (Pichler, n.d.) The Misteries of the Sphinx in the Carpathians, a documentary film by Oana Ghiocel and Robert Schoch, 2020 (Ghiocel, 2019)

Constantin Obadă: “The Sphinx Whistles in the Wilderness! “ – poetry (Right Words, 2021) Sophocles: Oedipus Rex (Storr, n.d.) Eugenio Deriada: The Riddle of the Sphinx (Lunes, 2015)

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I have chosen as examples some of the names above, belonging to well-known musicians, three from Romania and three from abroad, who have relevant international careers. Zenaida Pally Lucia Cicoară Sorana Negrea Marjana Lipovsek Daniela Denschlag Katarina Bradić About Zenaida Pally we can retain the following biographical and career data: she was born in the Republic of Moldavia and studied painting at the Academy of Fine Arts in Bucharest. When she enrolled at the Conservatory, she began her musical studies in the singing department with Elena Saghin. In 1945 the mezzo-soprano became a soloist of the Bucharest National Opera, where she achieved great success with the roles of Amneris (Aida), Carmen (Carmen), Dalila (Samson and Dalila), Eboli (Don Carlo), Sphinx (Oedipus), etc. She was also a permanent collaborator of the George Enescu Philharmonic, being invited to give concerts and performances with several opera houses (Ichim, 2019).

Zenaida Pally – Stockholm Philharmonic Mihaela Botez – Iași Romanian Opera, 1975 Irena Slifarska – Warsaw Grand Theatre, 1978 Adina Iurașcu – Cluj-Napoca Philharmonic Choir and Orchestra Galina Pandowa – Weimar Opera, 1984 Ecaterina Țuțu – Bucharest National Opera, 1991 Lia Kahler – Kassel Opera, 1992 Helga Wagner – Vienna Opera Theatre (Wiener Operbühne Orchestra and Budapest Philharmonic Choir), 1993 Ana Oros – Cluj-Napoca Romanian Opera, 1995 Lucia Cicoară – Bucharest National Opera, 1995 Kaja Borris – Deutsche Oper Berlin, 1996 Jane Hanschel – Concert in Amsterdam (Philharmonic Orchestra of the Dutch Broadcasting Corporation and Choir of the Romanian Opera of Cluj-Napoca), 1996 Marjana Lipovsek – Vienna State Opera, 1997 Marjana Lipovsek – Bucharest National Opera, 2001 Catherine Wyn-Rogers – Edinburgh Festival Concert with the BBC Scottish Symphony Orchestra, 2002 Laura Nykänen – Concert in Barcelona (Orquesta Simfonica de Barcelona, Cor del Gran Teatre del Liceu, Madrigal Choir), 2003 Daniela Denschlag – Bucharest National Opera, 2003 Cinzia De Mola – Teatro Lirico of Cagliari, 2005 Stephanie Chigas – Concert at the University of Illinois, Urbana Champaign, 2005 Elena Rosca – Iași Romanian Opera, 2005 Sonja Borowski-Tudor – Bielefeld Opera Theatre, 2006 Marie-Nicole Lemieux – Théâtre National du Capitole, Toulouse, 2008 Marie-Nicole Lemieux and Natascha Petrinsky – La Monnaie Theatre, Brussels, 2011 Sorana Negrea – Bucharest National Opera, 2011 Marie-Nicole Lemieux and Natascha Petrinsky – Teatro Colon, Buenos Aires, 2012 Katharina Magiera – Frankfurt Opera, 2013 Andrada Rosu – Bucharest National Opera, 2015 Marie-Nicole Lemieux – London Opera House, 2016 Christel Lötzsch – Gera Theatre, Thuringia/Germany, 2018 Violeta Urmana – Danish National Opera, Amsterdam, 2018 Julian Stephan – Altenburger Theatre, Thuringia, 2019 Ève-Maud Hubeaux – Salzburg Festival, 2019 Katarina Bradić – Berlin Komische Oper, 2021 Clémentine Margaine – Paris Bastille Opera, 2021

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Sorana Negrea was born in Ploiești, where she studied piano and classical canto, and after completing her master’s degree at the National University of Music in Bucharest she became a soloist at the Bucharest National Opera. Throughout her career she has performed numerous concerts and recitals and has also received various awards through participation in competitions. She has collaborated with several philharmonics in the country (Pitești, Ploiești, Bacău, Bucharest) and with conductors such as Adrian Morar, Christian Badea, Tiberiu Soare, Iurie Florea etc. Among the roles she has played are Maddalena in Rigoletto and Fenena in Nabucco by Verdi, Olga in Tchaikovsky’s Eugene Onegin, Tisbe in Rossini’s La Cenerentola (Cinderella), Suzuki in Puccini’s Madama Butterfly, Carmen and Mercédès in Bizet's Carmen (George Enescu Festival, n.d.).

Wherever she sang, she represented with honour the name of the Romanian country, achieving remarkable successes in important cultural centres. Thanks to her undeniable talent, she conquered even the most demanding audience, always astonishing with her impeccable performance. In addition to a rich opera repertoire, the mezzo-soprano has also performed vocal-symphonic works, such as Giovanni Battista Pergolesi’s Stabat Mater, Ludwig van Beethoven’s Ninth Symphony, Giuseppe Verdi’s Requiem, as well as Lieder by pre-classical and contemporary composers (S., 2009). The artist was also known abroad, being requested by different important cultural institutions such as Théâtre Royale de la Monnaie (Belgium), Belgrade National Opera, Paris Opera, Teatro Politeama Greco (Italy), etc. (Ichim, 2019). She remains to this day one of the most appreciated Romanian artists who performed at the Bolshoi Theatre in Moscow. The series of performers who played the role of the Sphinx continues with mezzo-soprano Lucia Cicoară. She has been passionate about music since childhood, when as a soloist in the church of Buziaș, her hometown, she was accompanied by her father on the organ. A few years later she attended the Faculty of Music in Brasov and the Academy of Music in Cluj-Napoca, at the directing department. In 1978 she debuted with the role of Azucena in Verdi's Il trovatore (The troubadour) at the Nae Leonard Music Theatre in Galați. She collaborated with various conductors such as Cornel Trăilescu, Leonard Dumitriu, Constantin Petrovici etc. For 20 years she was a soloist of the Bucharest National Opera, during which time she excelled in her career. The awards she received during these years are the proof of her brilliant career: Golden Trophy, Phenian 1997, “Role of the Year” Award offered by “Actualitatea Muzicală” magazine in 1999, National Order of Merit in the rank of Knight in 2002, 2nd Prize at Caltaniseta in 1994 (Bucovu, 2013).

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At the Bregenz Festival in Austria, she gave her first performance as Dalila in Camille SaintSaëns’ Samson and Delilah. The performance brought her remarkable success, so much that she was called to play the same role at the Vienna State Opera and the Paris Opera. She soon went on to perform on the stages of major cultural institutions – Chicago Lyric Opera, Zurich Opera House, Bavarian State Opera in Munich, La Scala Opera House in Milan etc. – each time impressing with her dedication to each role and her impeccable performance. Marjana Lipovsek has also paid particular attention to concerts and recordings, with a vast repertoire (from pre-classical to contemporary pieces). She has collaborated with significant orchestral ensembles such as the Berlin Philharmonic Orchestra, the New York Philharmonic, the Dresden State Orchestra (Germany), the Royal Concertgebouw Orchestra in Amsterdam and with outstanding conductors such as Daniel Barenboim, Sir Andrew Davis, Bernard Haitink, etc. She wanted to pass on her love of singing to the younger generation, so she organised masterclasses in Austria and abroad, and in the summer of 2010 she was the artistic director of the Young Singers Project at the Salzburg Festival (Hughes, 2012). Mezzo-soprano Daniela Denschlag was born in Worms, Germany and initially studied biology but eventually she chosed the path of music. She began her studies at the University of Music and Arts in Mannheim and, in order to define her vocal technique, attended masterclasses organised by Anna Reynolds, Christa Ludwig and Daniel Ferro. She made her debut at the 1997 Heidelberg Castle Festival as the third fairy in Antonín Dvořák’s opera Rusalka, and subsequently performed at the Mannheim National Theatre and the Baden-Baden Theatre in Germany in Maurice Ravel’s opera L'enfant et les sortilèges (Oron, Daniela Denschlag , 2006).

Contralta Marjana Lipovsek was born in Slovenia and initially studied piano in Ljubljana. She continued her musical studies at the Graz Conservatory, this time at the singing department, and after finishing them she was called to the Vienna State Opera. In this city she began her stage experience by playing small roles in various performances. At the Hamburg State Opera she defined herself as an alto in roles such as Oktavian in Der Rosenkavalier by Richard Strauss, Dorabella in Così fan tutte by Wolfgang Amadeus Mozart, Marina in Boris Godunov by Modest Mussorgsky and Ulrica in Un ballo in maschera by Giuseppe Verdi (Oron, Marjana Lipovšek (Contralto), 2004).

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***. (2005, iunie). Dacii. Retrieved from Sergiu Nicolaescu: http://sergiunicolaescu.ro/dacii1967-studioul-bucuresti-franco-london-film-franta/

BIBLIOGRAPHY:

The mezzo-soprano also excels on the concert stage, with a flourishing career as a soloist. She has performed Mozart’s Requiem in various cities in Russia, as well as at the Berlin Philharmonic, Beethoven’s Ninth Symphony in Tbilisi, Georgia and, recently, Bach’s Christmas Oratorio, Mahler’s Kindertotenlieder in Lisbon (Oron, Katarina Bradić, 2015). In conclusion, we may say that the Sphinx is a character full of symbols and has inspired many artists - from sculptors, to musicians, painters and so on. In his work, George Enescu gives it profound meanings, which can be seen in the special music and ingenious solutions given to the role of the Sphinx.

Between 2002 and 2008 she was a member of the Vienna State Opera, making her stage debut in roles such as Page (Salome, Richard Strauss), Annina (Der Rosenkavalier, Richard Strauss), Sphinx (Oedipus, George Enescu), Brangäne (Tristan and Isolde, Richard Wagner) etc. Her talent has also been noticed by other cultural houses, so she has been invited to sing at the Lyon National Opera, in Philadephia, the Stuttgart State Opera, the Hamburg State Opera and the Baden-Baden Opera Festival (Oron, Daniela Denschlag , 2006). She has also used her vocal technique in solo moments, singing several Mahler symphonies in Berlin, Vienna, Darmstadt, even at the Salzburg Festival. In a concert with the Vienna Philharmonic, she appears as Brigitte in Erich Wolfgang Korngold’s Die tote Stadt (The Dead City). The mezzosoprano also performed with the Israel Philharmonic Orchestra in Arnold Schönberg’s Gurre-Lieder with Zubin Mehta as conductor (George Enescu Festival, n.d.). Katarina Bradić is a Serbian-born mezzo-soprano who has enjoyed an international reputation since 2009, when she became a member of the Flemish Opera in Belgium. Here she debuted with roles such as Olga in Tchaikovsky’s Eugene Onegin, Suzuki in Puccin’'s Madama Butterfly and Medea in Francesco Cavalli’s Jason. It wasn't long before she became one of the most requested mezzo-sopranos by major opera houses, for example, Berlin State Opera, Teatro Real in Madrid, Oslo Opera, Deutsche Oper am Rhein. She has also made her debut at festivals: the Glyndebourne Festival as Ursula in Béatrice et Bénédict (Hector Berlioz), the Aix-en-Provence Festival where she played Bradamante in Alcina (Handel), and even at the BBC Awards where she sang Richard Strauss’ Elektra (Helmut Fischer Artists International, 2017).

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***. (2009, octombrie). A theory by Hancock and Beauval. Retrieved from oocities: http://www.oocities.org/thetropics/shores/Shores/7037/hancock/mystery.htm ***. (2020, septembrie 12). Sfinx (band). Retrieved from Wikipedia - The Free Encyclopedia: https://en.wikipedia.org/wiki/Sfinx_(band) ***. (2021, septembrie 04). Sfinx Experience. Retrieved from Wikipedia - Enciclopedia liberă: https://ro.wikipedia.org/wiki/Sfinx_Experience Alfred Courmais anglais. (2014, aprilie 17). Œdipus and the Sphinx. 12th Issue. Retrieved from alfredcorumesenglish.hautetfort.com: http://alfredcourmesenglish.hautetfort.com/archive/2014/02/17/oedipus-and-the-sphinx-12th-issue5300625.html Ancient Code Team. (2016). Did you know? The Largest Sphinx in Europe is located in Zadar, Croatia. Retrieved from Ancient-code: https://www.ancient-code.com/the-largest-sphinx-in-europe-islocated-in-zadar-croatia/ Biblioklept. (2015, octombrie 2015). “The Sphinx” — Edgar Allan Poe. Retrieved from Biblioklept: https://biblioklept.org/2015/10/30/the-sphinx-edgar-allan-poe/ Bucovu, I.-I. (2013, septembrie 03). O doamnă de poveste - Lucia Cicoară Drăgan. Retrieved from Agenția „Izvor de cultură”: https://agentiaizvordecultura.wordpress.com/2013/09/03/o-doamnade-poveste-lucia-cicoara-dragan-ion-ionescu-bucovu/ Cosma, M. (2007). Oedipe - Libret . București: Editura Universității Naționale de Muzică București. Cosma, M. (2011). Oedip and the Arts. In R. C. Society, Proceedings of the George Enescu International Musicology Symposium (pp. 199-200). București: Editura Muzicală. Cosma, V. (2004). Oedipe de George Enescu - Dosarul premierelor 1936-2003. București: Institutul Cultural Român. Descoperă locuri. (n.d.). Sfinxul, chipul uman din Munţii Bucegi. Retrieved from descoperalocuri.ro: https://descoperalocuri.ro/atractii-turistice/sfinxul-chipul-uman-din-muntiibucegi.html# Enigmatica. (2021). Sfinxul in diferite culturi si simbolistica acestuia. Retrieved from enigmatica.ro: https://enigmatica.ro/sfinxul-in-diferite-culturi-si-simbolistica-acestuia/ Falcan, D. (n.d.). George Enescu, de la Jorjac la Oedip. Retrieved from Historia: https://www.historia.ro/sectiune/general/articol/george-enescu-de-la-jorjac-la-oedip Gellner, L. (2021, mai 08). Sfinx. Retrieved from Dex Online: https://dexonline.ro/definitie/sfinx George Enescu Festival. (n.d.). Daniela Denschlag. Retrieved from festivalenescu.ro: https://www.festivalenescu.ro/en/daniela-denschlag/ George Enescu Festival. (n.d.). Sorana Negrea. Retrieved from festivalenescu.ro: https://www.festivalenescu.ro/en/sorana-negrea/ Ghiocel, O. R. (2019, noiembrie 06). Trailer documentar Misterele Sfinxului din Carpați. Retrieved from Vimeo: https://vimeo.com/371337436 Greek Legends and Myths. (n.d.). The Sphinx in Greek Mythology. Retrieved from Greek Legends and Myths: https://www.greeklegendsandmyths.com/sphinx.html Helmut Fischer Artists International. (2017, decembrie). Biography. Retrieved from katarinabradic.com: http://katarinabradic.com/en/biography.html Hughes, J. E. (2012). Marjana Lipovšek. Retrieved from Contralto Corner: https://www.contraltocorner.com/marjana-lipovscaronek.html Ichim, T. (2019, aprilie). Zenaida Pally - o voce de aur a teatrului liric românesc . Retrieved from Akademos: http://www.akademos.asm.md/files/Akademos%204_2019_pp150-153.pdf IMDb. (2004, aprilie 27). The Sphinx. Retrieved from IMDb.com: https://www.imdb.com/title/tt0024605/ IMDb. (2016, decembrie 06). Haiducii lui Saptecai. Retrieved from IMDb.com: https://www.imdb.com/title/tt0129980/ Library of America. (n.d.). The Sphinx. Retrieved from Poets: https://poets.org/poem/sphinx Lunes, H. (2015, iulie). Theater Review: The Riddle of the Sphinx- An Artist Playground Production. Retrieved from icemagehigh.blogspot.com: https://icemagehigh.blogspot.com/2015/07/theater-review-riddle-of-sphinx-artist.html oocities. (2009, octombrie). A theory by Hancock and Beauval... Retrieved from oocities: http://www.oocities.org/thetropics/shores/Shores/7037/hancock/mystery.htm Oron, A. (2004, octombrie). Marjana Lipovšek (Contralto). Retrieved from Bach Cantatas: http://www.bach-cantatas.com/Bio/Lipovsek-Marjana.htm Oron, A. (2006, noiembrie). Daniela Denschlag . Retrieved from Bach Cantatas: https://www.bach-cantatas.com/Bio/Denschlag-Daniela.htm

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Proceedings of the „George Enescu“ International Musicology Symposium Proceedings of the „George Enescu” International Musicology Symposium