VIDEO | Beit Olam from Valcinet. The history of the Jews, written on the tombs

The Jewish cemetery in the village of Valcineț, Ocnița district, known as Beit Olam, is a sanctuary of silence and oblivion. Spread over an area of ​​3.5 hectares on the outskirts of the village, this resting place houses tombs dating back to the 17th century. Although the last burial took place around 2000.

The first mentions of this Jewish cemetery, according to the archives, were in the 17th century, when the first burial took place. The last person was buried here in the year 2000. Unfortunately, we do not have any financial support. I tried to reach out to the Jewish community so that we could, in some way, however small, have funding to be able to maintain this cemetery.

Alexandru Grosu, mayor of Vălcineț commune

The cemetery in this village is an open-air museum, where visitors who know Hebrew or Yiddish can read from the tombstones the fate and history of those buried here.

We are at the Jewish cemetery in Vălcineț village, Ocnița district, a place which, although it has great historical importance, has been abandoned for many years. Lack of resources and interest makes this cemetery increasingly difficult to maintain. Thus, the entire history of the Jewish community was buried here.

Denis Chirtoca, NordNews journalist

Funeral plaques in the form of obelisks, trees without branches, and others are some of the vestiges that the Filipciucs take care of with dedication in the second generation.

The last Jewish man collected all the books in a sack and buried them in a separate grave. Sarti is buried next to his wife. This man did funeral services for the dead, he owned many books. Nothing remained except their prayer under the glass in Hebrew

Natalia Filipciuc, the caretaker of the cemetery

Most of the graves in the cemetery are inlaid with the Star of David, an ancient six-pointed symbol. Adopted in the 19th century as a national symbol by emancipated Jews, the Star of David equates to the Christian cross and has become a common emblem on synagogues, Jewish institutions, monuments, tombstones, documents, and religious and household objects.

The synagogue serves as the primary place of prayer for the Jewish community and often includes additional spaces for study, socializing, or offices. 5 km from the commune of Vălcineț, in the town of Otaci, there is such a place of worship which today is a ruin.

Until 1940, this building served as a synagogue for the local community of Otaci. Later, it became the House of Culture, a function it fulfilled until the 90s. Today, the edifice is occasionally visited by the descendants of Jews who emigrated, either to Europe and America, or to Israel.

My aunt, great-grandmother and great-grandfather are buried in this cemetery. A lot of abandoned graves because people have left, the time is already not the same as before, very few people can come and visit this cemetery and only two people are left to take care of this place

Larisa Turcman, resident of Vălcineț commune

Representatives of the Jewish community in the Republic of Moldova indicate that approximately 15,000 Jews currently live in the country. Their number decreased significantly over time: in 1897, the Jewish population numbered 228,668 people, falling to 65,672 in 1989.

VÍDEO | Beit Olam de Valcinet. La historia de los judíos, escrita en las tumbas.

 El cementerio judío del pueblo de Valcineț, distrito de Ocnița, conocido como Beit Olam, es un santuario del silencio y el olvido. Distribuido en una superficie de 3,5 hectáreas a las afueras del pueblo, este lugar de descanso alberga tumbas que datan del siglo XVII. Aunque el último entierro tuvo lugar hacia el año 2000.

Las primeras menciones de este cementerio judío, según los archivos, fueron en el siglo XVII, cuando tuvo lugar el primer entierro. La última persona fue enterrada aquí en el año 2000. Lamentablemente no contamos con ningún apoyo financiero. Intenté acercarme a la comunidad judía para que pudiéramos, de alguna manera, por pequeña que fuera, tener financiación para poder mantener este cementerio.

Alexandru Grosu, alcalde de la comuna de Vălcineț

El cementerio de este pueblo es un museo al aire libre, donde los visitantes que saben hebreo o yiddish pueden leer en las lápidas el destino y la historia de los enterrados aquí.

Nos encontramos en el cementerio judío del pueblo de Vălcineț, distrito de Ocnița, un lugar que, aunque tiene una gran importancia histórica, lleva muchos años abandonado. La falta de recursos y de interés hace que este cementerio sea cada vez más difícil de mantener. Así, aquí quedó enterrada toda la historia de la comunidad judía.

Denis Chirtoca, periodista de NordNews

Placas funerarias en forma de obeliscos, árboles sin ramas y otros son algunos de los vestigios que cuidan con dedicación los Filipciuc en la segunda generación.

El último judío recogió todos los libros en un saco y los enterró en una tumba separada. Sarti está enterrado junto a su esposa. Este hombre hacía funerales por los muertos y poseía muchos libros. No quedó nada excepto su oración bajo el cristal en hebreo.

Natalia Filipciuc, la cuidadora del cementerio

La mayoría de las tumbas del cementerio tienen incrustadas la Estrella de David, un antiguo símbolo de seis puntas. Adoptada en el siglo XIX como símbolo nacional por los judíos emancipados, la Estrella de David equivale a la cruz cristiana y se ha convertido en un emblema común en sinagogas, instituciones judías, monumentos, lápidas, documentos y objetos religiosos y domésticos.

La sinagoga sirve como el principal lugar de oración para la comunidad judía y, a menudo, incluye espacios adicionales para estudiar, socializar u oficinas. A 5 km de la comuna de Vălcineț, en la ciudad de Otaci, se encuentra un lugar de culto que hoy está en ruinas.

Hasta 1940, este edificio sirvió como sinagoga para la comunidad local de Otaci. Posteriormente, pasó a ser Casa de la Cultura, función que cumplió hasta los años 90. Hoy en día, el edificio es visitado ocasionalmente por los descendientes de judíos que emigraron, ya sea a Europa y América, o a Israel.

En este cementerio están enterrados mi tía, mi bisabuela y mi bisabuelo. Muchas tumbas abandonadas porque la gente se ha ido, el tiempo ya no es el mismo que antes, muy pocas personas pueden venir a visitar este cementerio y solo quedan dos personas para cuidar este lugar.

Larisa Turcman, residente de la comuna de Vălcineț

Representantes de la comunidad judía de la República de Moldavia indican que actualmente viven en el país unos 15.000 judíos. Su número disminuyó significativamente con el tiempo: en 1897, la población judía ascendía a 228.668 personas, cayendo a 65.672 en 1989.

Beit Olam-ul din Vălcineț. Istoria evreilior, scrisă pe morminte

Cimitirul evreiesc din satul Vălcineț, raionul Ocnița cunoscut sub numele de Beit Olam, este un sanctuar al tăcerii și uitării. Întins pe o suprafață de 3,5 hectare la marginea satului, acest loc de odihnă veșnică găzduiește morminte datând din secolul al XVII-lea. Deși ultima înmormântare a avut loc în jurul anilor 2000. 

Primele mențiuni a acestui cimitir evreiesc, potrivit arhivelor, au fost în secolul al 17-lea, atunci a fost prima înmormântare. Ultima persoană a fost înmormântată aici în anii 2000. Din păcate nu avem vreun suport financiar. Eu am încercat să dau de comunitatea evreiască ca să putem, într-un mod oarecare, cât și de puțin, să avem o finanțare ca să putem întreține acest cimitir

Alexandru Grosu, primarul comunei Vălcineț

Cimitirul din acest sat este un muzeu în aer liber, unde vizitatorii care cunosc ebraica sau idișul pot citi de pe pietrele funerare destinul și istoria celor înhumați aici.

Noi ne aflăm la cimitirul evreiesc din satul Vălcineț, raionul Ocnița, un loc, care, deși are o importanță istorică deosebită, a devenit părăsit de mulți ani de zile. Lipsa de resurse și interes face ca acest cimitir să devină tot mai greu de întreținut. Astfel, toată istoria comunității evreiești a fost îngropată aici 

Denis Chirtoca, jurnalist NordNews

Plăcile funerare sub formă de obelisc, copaci fără ramuri, dar și altele sunt câteva dintre vestigiile pe care soții Filipciuc le îngrijesc cu dedicație în a doua generație.

Ultimul bărbat evreu a strâns toate cărțile într-un sac și le-a îngropat într-un mormânt aparte. Сărțile sunt îngropate lângă soția lui. Acest bărbat făcea slujbe de înmormântare pentru morți, el deținea multe cărți. Nu a rămas nimic, înafară de rugăciunea lor sub sticlă în limba ebraică  

Natalia Filipciuc, îngrijitoarea cimitirului

Pe majoritatea mormintelor din cimitir este încrustată Steaua lui David, un simbol antic cu șase colțuri. Adoptat în secolul al XIX-lea ca simbol național de către evreii emancipați, Steaua lui David echivalează cu crucea creștină și a devenit un emblemă comună pe sinagogi, instituții evreiești, monumente, pietre funerare, documente și obiecte religioase și casnice.

Sinagoga servește ca loc principal de rugăciune pentru comunitatea evreiască și adesea include spații suplimentare pentru studiu, socializare sau birouri. La 5 km de comuna Vălcineț, în orașul Otaci, se află un astfel de lăcaș de cult care astăzi este o ruină.

Până în 1940, această clădire a servit ca sinagogă pentru comunitatea locală din Otaci. Ulterior, a devenit Casa de Cultură, funcție pe care a îndeplinit-o până în anii ’90. Astăzi, edificiul este vizitatat ocazional de descendenții evreilor emigrați, fie în Europa și America, fie în Israel.

În acest cimitir este înmormântată mătușa, străbunica și străbunelul meu. Foarte multe morminte părăsite, deoarece oamenii au plecat, timpul deja nu este acela de cândva, foarte puține persoane mai pot veni și vizita acest cimitir și au rămas doar două persoane care mai au grijă de acest loc 

Larisa Turcman, locuitoarea comunei Vălcineț

Reprezentanții comunității evreiești din Republica Moldova indică faptul că în prezent în țară locuiesc aproximativ 15.000 de evrei. Numărul acestora a scăzut semnificativ de-a lungul timpului: în 1897, populația evreiască număra 228.668 de persoane, scăzând la 65.672 în anul 1989.

Eugen Gorean: „Cada cuadro es como los Juegos Olímpicos, sólo tienes una oportunidad”

Eugen Gorean, un joven originario de Chisinau, convirtió su pasión por la pintura en una carrera de éxito. Comenzó con obras al aire libre y exploró diversas técnicas artísticas, centrándose finalmente en la acuarela. Participa en diversas exposiciones internacionales y tiene como objetivo seguir desarrollando la técnica de la acuarela, representando con orgullo a su país en eventos culturales. "Creo que es vital para un artista descubrir algo nuevo, mantener la curiosidad y aportar algo nuevo a su pintura", dice Eugen para Ziarul de Gardă.

„Para un artista es vital descubrir algo nuevo”

Tiene pasión por el arte desde pequeño. Como estudiante universitario, se dio cuenta de que quería desarrollarse especialmente en esta actividad. Poco a poco, convirtió su pasión en una carrera destacada. Dice que si no se hubiera hecho pintor, habría sido enólogo. "El vino es tan complicado como la acuarela”, dice Eugen.

Nació en Chisinau, en una familia de profesores. Estudió en la Facultad de Bellas Artes „Alexandru Plămădeala" y posteriormente en la Academia de Música, Teatro y Bellas Artes de Chisinau. Su trayectoria artística estuvo inicialmente influenciada por sus maestros, pero una vez alcanzó cierto nivel de madurez, buscó inspiración fuera de los límites habituales. 

„Es natural que un artista se deje influenciar por sus maestros. A mí me pasó lo mismo, pero cuando llegas a cierto nivel e incluso superas al profesor, entonces buscas inspiración en otra parte. Empecé a dejarme influenciar desde muy temprano por grandes acuarelistas reconocidos internacionalmente. Después expuse junto con ellos”, cuenta el pintor.

El pintor Eugen Gorean en su estudio. Foto: archivo personal

En un principio realizó trabajos al aire libre. Captaron paisajes de diferentes países europeos. Con el tiempo, los temas abordados se han diversificado.

"Las Hermanas", cuadro de Eugen Gorean. Foto: archivo personal

„También intenté desarrollar otros estilos. Durante la pandemia, la gente desapareció de mi cuadro y en su lugar aparecieron animales. Esto sentó las bases para una gran serie de pinturas. Creo que para un artista es vital descubrir algo nuevo, seguir siendo curioso y aportar algo, algo nuevo a su pintura”, dice Eugen.

„Es muy importante centrarse en lo que tienes que hacer”

Aunque experimentó con diversas técnicas, Eugen Gorean se sintió particularmente atraído por la acuarela. Aunque es difícil por la imposibilidad de hacer correcciones, lo cautivó por su complejidad. 

„Probé varias técnicas y ese es el encanto de los estudios profesionales, que tienes la posibilidad de descubrir otras técnicas, otros lenguajes plásticos. En algunos de ellos todavía sigo trabajando hoy en día, como el grabado, el pastel, la témpera, pero me quedé de momento para desarrollar la técnica de la acuarela. Al principio me resultó difícil y probablemente eso fue lo que me atrajo. Es un ambiente muy sensible y aristocrático. Es una combinación de pigmento, agua y papel”, confiesa el joven. Cada obra de acuarela es única y representa un verdadero desafío para el pintor. „Las correcciones técnicas prácticamente no existen, por eso cada cuadro es como los Juegos Olímpicos, sólo tienes una oportunidad”, dice Eugen.

"Una historia veneciana", cuadro realizado en la técnica de la acuarela. Foto: archivo personal

Sus fuentes de inspiración son diferentes: viajes, charlas, visitas a museos, libros y películas. Admite que a veces tiene bloqueos artísticos, pero sigue trabajando cambiando de medio o de técnica para encontrar soluciones. "Es natural tener algunos bloqueos artísticos, pero eso es lo que marca la diferencia entre un artista aficionado y un profesional. El aficionado, cuando no tiene inspiración, se queda estancado. Un artista continúa trabajando porque la obra muchas veces le inspira y viceversa. Cuando no sé cómo resolver un problema artístico, cambio de ambiente, de técnica y eso me da una respuesta al problema”, dice el pintor. Aunque también tuvo días difíciles, Eugen cree que para tener éxito es fundamental no darse por vencido. „Es muy importante centrarse en lo que hay que hacer”, afirma.

„Estoy orgulloso de realizar esta diplomacia cultural y representar dignamente al país”

El tiempo necesario para completar una obra varía según el tamaño, la técnica y la complejidad de la idea. "La base de mi creación es la idea, la narrativa, de qué se trata esta pintura, cuál es el mensaje que transmite. Luego viene la parte técnica. Pero hasta tener una idea bien compuesta, lleva algún tiempo”, afirma el joven. Eugen cree que las bellas artes implican tanto retos como satisfacciones, siendo lo importante "seguir y poner todo el corazón en este proceso”. 

„La Primavera”, painting made in the watercolor technique. Photo: personal archive

Eugen Gorean tuvo muchas experiencias memorables. Entre ellas se incluye la exposición de obras en una sala de cristal en medio de un campo de arroz en China. También quedó impresionado por realizar 50 pinturas sobre vinos como „obsequio protocolario para todos los líderes europeos en la Cumbre de la Comunidad Política Europea”. 

„Me impresionó tener como invitado en la inauguración de la exposición personal en Guernsey al gobernador de la isla, perteneciente a la familia real británica. Me impresionó igualmente exponer en el Parlamento Europeo en Bruselas”, recuerda el pintor.

Para Eugen Gorean, el futuro de la acuarela está lleno de posibilidades ilimitadas. Su objetivo es desarrollar e innovar constantemente en la técnica de la acuarela, permaneciendo siempre abierto a nuevos desafíos. „Quiero poder desarrollar aún más esta técnica, porque en este sentido no hay límites. Cuando expongo en exposiciones, bienales, festivales, me siento orgulloso de realizar esta diplomacia cultural y representar dignamente al país”, afirma el.

Eugen Gorean: „Each painting is like the Olympics, you only have one chance”

Eugen Gorean, a young man originally from Chisinau, turned his passion for painting into a successful career. He began with plein air works and explored various artistic techniques, eventually focusing on watercolor. He participates in various international exhibitions and aims to further develop the watercolor technique, proudly representing his country at cultural events. "I think that it is vital for an artist to discover something new, to remain curious and to bring something, something new to his painting," says Eugen for Ziarul de Gardă.

„For an artist it is vital to discover something new”

He has a passion for art since childhood. As a college student, he realized that he wanted to develop particularly in this activity. Gradually, he turned his passion into a remarkable career. He says that if he hadn't become a painter, he would have been a winemaker. "Wine is as complicated as watercolor,” says Eugen.

The painter Eugen Gorean in his studio. Photo: personal archive

He was born in Chisinau, in a family of teachers. He studied at the College of Fine Arts „Alexandru Plămădeala” and later at the Academy of Music, Theater and Fine Arts in Chisinau. His artistic path was initially influenced by his teachers, but once he reached a certain level of maturity, he sought inspiration outside the usual boundaries. "It is natural for an artist to be influenced by his teachers. It was the same for me, but when you get to a certain level and even surpass the teacher, then you look elsewhere for inspiration. I began to be influenced early on by great internationally recognized watercolor artists. Later I exhibited together with them", says the painter.

At first he made outdoor works. They captured landscapes of different European countries. Over time, the topics addressed have diversified.

"The Sisters", painting by Eugen Gorean. Photo: personal archive

„I tried to develop other styles as well. During the pandemic, people disappeared from my painting and animals came instead. This laid the basis for a large series of paintings. I think that for an artist it is vital to discover something new, to remain curious and to bring something, something new to his painting”, says Eugen.

„It's very important to focus on what you have to do”

Although he experimented with various techniques, Eugen Gorean was particularly drawn to watercolor. Although it is difficult because of the impossibility of making corrections, it captivated him with its complexity. "I tried various techniques and this is the charm of professional studies, that you have the possibility to discover other techniques, other plastic languages. In some of them I still continue to work today, such as engraving, pastel, tempera, but I stayed at the moment to develop the watercolor technique. Initially, I found it difficult, which is probably what attracted me. It is a very sensitive, aristocratic environment. It's a combination of pigment, water and paper," the young man confesses. Each watercolor work is unique and represents a real challenge for the painter. "Technical corrections practically do not exist, therefore, every painting is like the Olympics, you only have one chance", says Eugen.

"A Venetian Story", painting made in the watercolor technique. Photo: personal archive

His sources of inspiration are different: travels, talks, visiting museums, books and movies. He admits that he sometimes has artistic blocks, but continues to work by changing the medium or the technique to find solutions. "It's natural to have some artistic blocks, but that's what makes the difference between an amateur and a professional artist. The amateur, when he has no inspiration, gets stuck. An artist continues to work because the work often draws inspiration and vice versa. When I don't know how to solve an artistic problem, I change the environment, the technique and this gives me an answer to the problem", says the painter. Although he also had difficult days, Eugen believes that in order to be successful, it is essential not to give up. "It's very important to focus on what you have to do," he says.

„I am proud to carry out this cultural diplomacy and represent the country with dignity"

The time required to complete a work varies depending on the size, technique and complexity of the idea. "The basis of my creation is the idea, the narrative, what this painting is about, what is the message conveyed. Then comes the technical part. But until you have a well-composed idea, it takes some time", says the young man. Eugen believes that fine art involves both challenges and satisfactions, the important thing being "to continue and put all your heart into this process".

Eugen Gorean had many memorable experiences. These include exhibiting works in a glass room in the middle of a rice field in China. He was also impressed to make 50 wine paintings as a "protocol gift for every European leader at the European Political Community Summit". „I was impressed to have as a guest at the opening of the personal exhibition in Guernsey the governor of the island, from the British royal family. I was equally impressed to exhibit in the European Parliament in Brussels”, recalls the painter.

„La Primavera”, painting made in the watercolor technique. Photo: personal archive

For Eugen Gorean, the future in watercolor art is full of unlimited possibilities. He aims to constantly develop and innovate the watercolor technique, always remaining open to new challenges. „I want to be able to develop this technique even further, because there are no limits in this regard. When I exhibit in exhibitions, biennales, festivals, I am proud to carry out this cultural diplomacy and represent the country with dignity”, he claims.

Eugen Gorean: „Fiecare pictură e ca la olimpiadă, ai doar o singură șansă”

Eugen Gorean, tânăr originar din Chișinău, și-a transformat pasiunea pentru pictură într-o carieră de succes. A început cu lucrări în aer liber și a explorat diferite tehnici artistice, concentrându-se în cele din urmă pe acuarelă. Participă la diferite expoziții internaționale și își propune să dezvolte în continuare tehnica acuarelei, reprezentându-și cu mândrie țara la evenimentele culturale. „Eu cred că pentru un artist e vital să descopere ceva nou, să rămână curios și să aducă ceva, o noutate în pictura sa”, spune Eugen pentru Ziarul de Gardă. 

„Pentru un artist e vital să descopere ceva nou”
Pasiunea pentru artă o are din copilărie. Fiind student la colegiu, a realizat că își dorește să se dezvolte în mod deosebit în această activitate. Treptat, și-a transformat pasiunea într-o carieră remarcabilă. Spune că dacă nu ar fi devenit pictor, ar fi fost vinificator. „Vinul este la fel de complicat ca acuarela”, zice Eugen.

S-a născut la Chișinău, într-o familie de profesori. Și-a făcut studiile la Colegiul de Arte Plastice „Alexandru Plămădeală” și ulterior, la Academia de Muzică, Teatru și Arte Plastice din Chișinău. Drumul său artistic a fost influențat inițial de profesorii săi, însă odată ce a atins un anumit nivel de maturitate, a căutat inspirație în afara granițelor obișnuite. „Este natural ca un artist să fie influențat de profesorii săi. Așa a fost și în cazul meu, însă când ajungi la un anumit nivel și chiar depășești profesorul, atunci cauți inspirație în alte părți. Eu am început să fiu influențat devreme de mari artiști acuareliști recunoscuți internațional. Mai târziu am și expus împreună cu ei”, spune pictorul.

La început a realizat lucrări în aer liber. Acestea capturau peisaje ale diferitor țări europene. Cu timpul, temele abordate s-au diversificat. 

Pictorul Eugen Gorean în studioul său. Foto: arhiva personală

„Am încercat să dezvolt și alte stiluri. În perioada pandemică, din pictura mea au dispărut oamenii și au venit animalele în loc. Aceasta a pus baza pentru o serie mare de picturi. Eu cred că pentru un artist e vital să descopere ceva nou, să rămână curios și să aducă ceva, o noutate în pictura sa”, spune Eugen.

„Sunt mândru să realizez această diplomație culturală și să reprezint țara cu demnitate”

Timpul necesar pentru finalizarea unei lucrări variază în funcție de mărime, tehnică și complexitatea ideii. „La baza creației mele este ideea, narativul, despre ce este această pictură, care este mesajul transmis. Apoi urmează partea tehnică. Însă până ai o idee bine compusă, durează ceva timp”, spune tânărul. Eugen consideră că arta plastică implică atât provocări, cât și satisfacții, important fiind „să continui și să depui toată inima în acest proces”. 

„The Sisters”, tablou realizat de Eugen Gorean. Foto: arhiva personală

Eugen Gorean a avut parte de numeroase experiențe memorabile. Printre acestea se numără expunerea lucrărilor într-o sală de sticlă în mijlocul unui lan de orez din China. De asemenea, a fost impresionat să realizeze 50 de picturi în vin ca dar „de protocol pentru fiecare lider european în cadrul Summitului Comunității Politice Europene”. „Am fost impresionat să am ca invitat la deschiderea expoziției personale din Guernsey guvernatorul insulei, din familia regală britanică. Am fost la fel de impresionat să expun în Parlamentul European din Bruxelles”, își amintește pictorul.

„A Venetian Story”, tablou realizat în tehnica acuarelei. Foto: arhiva personală

„La Primavera”, tablou realizat în tehnica acuarelei. Foto: arhiva personală

Pentru Eugen Gorean, viitorul în arta acuarelei este plin de posibilități nelimitate. Își propune să dezvolte și să inoveze constant tehnica acuarelei, rămânând mereu deschis la noi provocări. „Îmi doresc să pot să dezvolt și mai departe această tehnică, deoarece limite nu există în acest sens. Când expun în expoziție, biennale, festivale, sunt mândru să realizez această diplomație culturală și să reprezint țara cu demnitate”, susține acesta.

Calendario del día // La intérprete Maria Dragan habría cumplido 77 años hoy

Ha sido comparada innumerables veces con la Edith Piaf de la música rumana, ha puesto de pie a miles de personas e inspirado a otras personas con su talento. Maria Drăgan fue una artista llena de energía y bondad, que, sin embargo, fue destruida por la indiferencia de algunas personas importantes en su vida.

"Fue un diamante comprado, comercializado y perdido, y estamos felices de encontrarlo en nuestra memoria", escribe el periodista Gheorghe Budeanu en el segundo volumen de recuerdos y entrevistas "MARIA. Ay, pobre tórtola".

Maria Drăgan nació el 23 de agosto de 1947 en el pueblo de Bălăurești, Nisporeni. Había seis hijos en la familia. Después de graduarse de la escuela, María comenzó a trabajar en el equipo de huertas, y entre los descansos y las noches escribía poemas, pintaba y cantaba. Un día decidió cambiar de vida y se fue a Chisinau. "Empezó en la escuela de pintura, pero acabó en la escuela de música "Ștefan Neaga", cuenta Gheorghe Budeanu, el periodista que concedió la última entrevista en la vida del artista.

En 1966 se anunció en la Filarmónica la fundación de un conjunto de música folclórica. Al enterarse de esto, María, de 19 años, fue a probar suerte y lo logró. Se convirtió en solista del conjunto "Mugurel", donde tenía un repertorio de más de 500 romances, doines y lamentos. Cantó en rumano, lo que, en aquel momento, representó un verdadero acto de valentía. El timbre pleno y colorido y la amplia gama hicieron que la gente se pusiera de pie. "Ella era una gran artista con un destino triste. Creo que habría tenido un destino diferente si hubiera nacido en otro país y en otra época", afirmó Ion Busuioc, amigo del artista.

Maria Drăgan era una persona brillante, cálida y abierta, que a veces no entendía la crueldad de las personas que la rodeaban. El escenario era un ring de lucha, cuyas reglas él no conocía ni aceptaba. "Canté con toda nuestra gente... Viajé por todo el país, vi gente aplaudiendo con una alegría que sólo el verdadero canto puede explicar. En aquel entonces era ingenuo y pensaba que todas las personas eran como pan caliente. Oh, mundo, mundo, soro mundo... Ahora, con la mente en reposo, me doy cuenta de que canté demasiado bien para no hacerme enemigos por envidia", admitió Drăgan en su última entrevista.

Tras la disolución del conjunto "Mugurel", María intentó encontrar su lugar en la música, pero no lo consiguió. Así, un día, desapareció repentinamente de la vida pública, siendo destruida por el régimen infectado, que no toleraba las canciones rumanas ni a las personas talentosas. Tuvo que regresar a la casa de sus padres. Estaba decepcionada, agotada y enferma. El único lugar donde encontró trabajo fue en la escuela del pueblo, donde la contrataron como guardia. Dejó los recuerdos en el pasado y prefirió no pensar en el éxito que alguna vez tuvo. Cada vez que escuchaba sus canciones en la radio, iba al estanque cerca del jardín y se echaba a llorar.

"María era la canción y la canción era María. Como dijo un gran artista: la canción corrió detrás de Maria Drăgan como un loco. Estaba enamorada de la canción y siempre mantuvo este amor, pero le dolió más allá de las palabras que de repente la arrancaran del escenario y de la gente. Se puede contar mucho sobre ella, aunque su vida fue muy corta", dice Gheorghe Budeanu, el único y último periodista que entrevistó a la artista después de que Maria Drăgan estuvo separada de la escena durante 9 años. "Ella era como un rayo para nuestra música. Vivimos con su memoria. Su imagen se mantuvo joven, bella y dedicada a la música. ¿Qué podría ser más hermoso que esto?", pregunta Budeanu.

El 6 de octubre de 1986, a la edad de 39 años, Maria Drăgan murió de tuberculosis. Solo los familiares lo gastan en el último viaje.

El 13 de septiembre de 1996 se creó la Fundación "Maria Drăgan", cuyo objetivo es lanzar y promover a jóvenes intérpretes de folclore. En 2001 se celebró la primera edición del Festival-concurso de interpretación de la canción folclórica "Vai, sarmana turturică", dedicado a la intérprete de música folclórica Maria Drăgan. Las calles de Chisinau, Nisporeni y Călărași llevan hoy el nombre de Maria Drăgan.

Calendar of the Day // Performer Maria Dragan would have turned 77 today

She has been compared countless times to the Edith Piaf of Romanian music, she has brought thousands of people to their feet and inspired people with her talent. Maria Drăgan was the artist full of energy and kindness, who, however, was destroyed by the indifference of some important people in her life.

"It was a diamond bought, traded and lost, and we are happy to find it in our memories", wrote journalist Gheorghe Budeanu in the second volume of memories and interviews "MARIA. Alas, the poor turtledove".

Maria Drăgan was born on August 23, 1947, in the village of Bălăurești, Nisporeni. There were six children in the family. After graduating from school, Maria started working in the vegetable garden brigade, and between breaks and evenings she wrote poems, painted and sang. One day, he decided to change his life and went to Chisinau. "She started at the painting school, but ended up at the "Ștefan Neaga" Music School", says Gheorghe Budeanu, the journalist who did the last interview in the artist's life.

In 1966, the founding of a folk music ensemble was announced at the Philharmonic. Learning about this, 19-year-old Maria went to try her luck and succeeded. She became the soloist of the ensemble "Mugurel", where she had a repertoire of over 500 romances, doines, laments. He sang in Romanian, which, at that time, represented a real act of courage. The full, colorful timbre and wide range brought people to their feet. "She was a great artist with a sad destiny. I think she would have had a different destiny if she had been born in another country and in another time," said Ion Busuioc, a friend of the artist.

Maria Drăgan was a bright, warm, open person, who sometimes did not understand the cruelty of the people around her. The stage was a fighting ring, the rules of which he did not know or accept. "I sang with all our people... I traveled the country far and wide, I saw people applauding with a joy that only true singing can explain. I was naive back then and thought that all people were like warm bread. Oh, world, world, soro world... Now, with my mind at rest, I realize that I sang too well not to make enemies out of envy", admitted Drăgan in his last interview.

After the breakup of the "Mugurel" Ensemble, Maria tried to find her place in music, but she didn't really succeed. Thus, one day, she suddenly disappeared from public life, being destroyed by the infected regime, which did not tolerate Romanian songs and talented people. She had to return to her parents' house. She was disappointed, exhausted and sick. The only place where she found work was at the village school where she was hired as a guard. He left the memories in the past and preferred not to think about the success he once had. Every time he heard his songs on the radio, he would go to the pond near the garden and start crying.

"Mary was the song and the song was Mary. As a great artist said: the song ran after Maria Drăgan like a madman. She was in love with the song and always kept this love, but it pained her beyond words that she was suddenly torn from the stage and the people. A lot can be told about her, although her life was very short", says Gheorghe Budeanu, the only and last journalist who conducted an interview with the artist after Maria Drăgan was separated from the scene for 9 years. "She was like a lightning bolt to our music. We live with her memory. Her image remained young, beautiful and devoted to music. What could be more beautiful than that?" Budeanu asks.

On October 6, 1986, at the age of 39, Maria Drăgan died of tuberculosis. It is spent on the last journey only by relatives.

On September 13, 1996, the "Maria Drăgan" Foundation was created, which aims to launch and promote young folklore performers. In 2001, the first edition of the Festival-contest of interpretation of the folk song "Vai, sarmana turturică" was held, dedicated to the folk music performer Maria Drăgan. Streets in Chisinau, Nisporeni and Călărași bear Maria Drăgan's name today.

Alexandra Emilianov qualified for the final of the discus throw event at the Olympic Games

Superb qualification for Alexandra Emilianov, our athlete recorded the result of 64.33 meters, ensuring her place in the final.

Perfect evening for the Moldovan delegation in Paris. Alexandra Emilianov qualified for the final of the discus throw event.

Our athlete had the 4th best result of Group B and 6th overall. Sandra Elkasevic took first place in group B, she threw one meter and 30 centimeters more than Alexandra.

The final will take place on Monday, August 5, and we are keeping our fingers crossed for our Olympians.

Alexandra "Sasha" Emilianov is a discus thrower from the Republic of Moldova, who won an individual gold medal at the 2015 World Youth Championships and the 2018 IAAF U20 World Championships.

Alexandra Emilianov se clasificó para la final de lanzamiento de disco en los Juegos Olímpicos

Excelente clasificación para Alexandra Emilianov, nuestra atleta registró el resultado de 64,33 metros, asegurando su lugar en la final.

Velada perfecta para la delegación moldava en París. Alexandra Emilianov se clasificó para la final de la prueba de lanzamiento de disco.

Nuestro atleta obtuvo el 4º mejor resultado del Grupo B y el 6º de la general. Sandra Elkasevic ocupó el primer lugar en el grupo B, lanzó un metro y 30 centímetros más que Alexandra.

La final tendrá lugar el lunes 5 de agosto y cruzamos los dedos por nuestros atletas olímpicos.

Alexandra "Sasha" Emilianov es una lanzadora de disco de la República de Moldavia, que ganó una medalla de oro individual en el Campeonato Mundial Juvenil de 2015 y en el Campeonato Mundial Sub-20 de la IAAF de 2018.

Calendario del día // 100 años del nacimiento del cirujano Nicolae Testemițanu: breve biografía

Nicolae Testemițanu vino al mundo con el signo de Dios en la frente: a través de todas las fibras de su alma como agricultor y científico, como médico y visionario, se hizo un nombre que resonó en toda la república. Su aspecto y trayectoria fulminante significan el escudo de la nobleza de donde partió. Años y años, recompensados ​​por el sudor de estos campesinos, la tierra de estos valles y cerros dio origen a un símbolo, que concentraba en sí el dolor y la sabiduría, el deseo y la amargura, la esperanza y el suspiro, la sonrisa y el grito de los muchos y oprimidos.

Nicolae Testemițanu nació el 1 de agosto de 1927 en el pueblo de Ochiul Alb, condado de Bălţi, en una familia de campesinos de clase media con muchos hijos: el padre, Andrei Testemițanu, agricultor de profesión, provenía de Mihăileni, un gran pueblo cerca de Ochiul. Alb, era un hombre "sincero como la hierba verde y gentil como el rayo de sol primaveral" y su madre, Axenia Testemițanu, ama de casa (Ion Stici "Ochiul Alb. Cartea satului").

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Años de estudios

Después de graduarse de la escuela primaria en su pueblo natal, estudió durante un año (1940) en el gimnasio del pueblo de Baraboi, actualmente en el distrito de Donduşeni. Durante la Segunda Guerra Mundial, cuando las operaciones militares se desarrollaban lejos de las fronteras de la República de Moldavia, estudió durante tres años en el instituto teórico "Ion Creangă" de la ciudad de Bălţi. A partir de 1945 continuó sus estudios en el noveno grado de la escuela secundaria n° 1 en la misma ciudad (hoy escuela secundaria "Mihai Eminescu").

Después de completar con éxito el curso completo de la escuela mencionada, decidió continuar sus estudios en el Instituto Estatal de Medicina de Chisinau (ISMC). Durante sus estudios, demostró ser un joven capaz, muy trabajador y consciente de su misión, logrando, paralelamente a sus estudios profundos (tenía una beca estatal nominal), manifestarse claramente en el campo de las actividades públicas. Fue jefe del grupo académico donde estudió, siendo luego elegido líder de las organizaciones juveniles y sindicales del instituto. Los profesores llegados de San Petersburgo, especialistas de primer nivel, se fijaron en él y lo apreciaron desde el primer año de estudios, poniendo en él esperanzas para el futuro. Y hay que decirlo desde el principio: Nicolae Testemițanu justificó plenamente esas expectativas respecto de su persona.

Todos recuerdan al estudiante Nicolae Testemițanu como una persona ordenada, que demostraba una sólida cultura asimilada de los libros, de la escuela secundaria, pero sobre todo del "patio del abuelo Andrei", hecho que le daba una clara ventaja respecto a los demás compañeros.

Llevaba en su interior un fluido magnético, una especie de carga de energía positiva, de la que en las discusiones sólo emanaba calor y luz. A lo largo de su vida, siempre tuvo un código de vestimenta impecable: ese pañuelo en el bolsillo del pecho, ese anillo de oro en el pulgar de su mano derecha, esas corbatas a juego con sus camisas. Sus gestos mesurados y su andar ligeramente oscilante lo diferenciaban de sus colegas y le hacían notar de inmediato. Impresiona su correcta actitud hacia las generaciones mayores, sus mentores, sus guías y sus compañeros de trabajo. A través de la justicia, la bondad, la sinceridad, el vasto conocimiento y la cultura elegida, podía conquistar a cualquiera. Era extremadamente franco y abierto con la gente común y corriente, y ellos respondían de la misma manera.

Estaba endurecido en situaciones duras y rígidas, llevaba en sus retinas y en su memoria tantas imágenes tristes de los años de guerra, hambre severa, deportaciones forzosas de los nativos a la gélida Siberia, intoxicación ideológica de sus pares por el régimen totalitario. Con las finas antenas de la razón captó siempre esa realidad bipolar: una estaba escrita en leyes, la otra se producía en la vida.

Carrera

Inició su carrera laboral como médico-ordinador de del departamento de Cirugía del hospital regional central de la localidad de Râşcani, de donde unos meses más tarde fue "absorbido" nuevamente por la capital, permaneciendo en este meridiano todos los años que le tocaron vivir. A partir de 1954 fue nombrado asistente del departamento de Cirugía General del ISMC, actuando simultáneamente como jefe de la sección Médico-Sanitaria del Ministerio del Interior de la República Socialista Soviética. A partir de 1955 fue nombrado médico jefe del Hospital Clínico Republicano, cargo de responsabilidad que requería profesionalismo, capacidad de gestión y organización. Haciendo gala de capacidad y eficiencia en el trabajo, en poco tiempo garantiza el avance positivo de los asuntos del SCR: abre nuevas secciones especializadas y traslada aquí a la familia de forma más permanente.

Poseedor de fuerzas inagotables en su actividad diaria, fundó simultáneamente la revista "Ocrotirea Sanătăţii", siendo su primer redactor jefe, continuando asiduamente su labor de investigación en el departamento, terminando su tesis doctoral en medicina, que defendió en 1958.

Aquella fructífera actividad fue apreciada por las autoridades, hecho que decidió su ascenso en 1959 al cargo de rector del Instituto Estatal de Medicina de Chisinau, un momento significativo, porque por primera vez, un

su ex graduada de aquí, en el meridiano de Moldavia. Tenía sólo 32 años, estaba lleno de romanticismo, llevaba en el corazón un deseo inquebrantable de hacer el mayor bien posible al pueblo. Abrir nuevas facultades, construir espacios para estudiar, residencias de estudiantes, laboratorios, una base para el descanso y el deporte en la costa del Mar Negro. Sienta las bases del servicio traumatológico-ortopédico, en general tiene una mirada permanente sobre el desarrollo de la ciencia médica, animando y promoviendo en la dirección dada al mayor número posible de jóvenes.

trabajador y talentoso. En esta etapa demuestra plenamente sus cualidades organizativas, demostrando con hechos concretos de lo que es capaz. Fueron los años del llamado "deshielo jruschovista", cuando personas con iniciativa y capacidad encontraron cada vez más un camino verde hacia la afirmación.

En este contexto, su ascenso al cargo de Ministro de Salud fue considerado por los dirigentes de la república, pero también por toda la comunidad médica, como un acto lógico, destinado a mejorar la situación bastante complicada del sector. Rechazó la oferta desde el principio, porque apenas había cobrado impulso en las múltiples transformaciones de su Alma Mater, pero la "voz del partido" en ese momento era dura y decidida, la oposición frente a ella no tenía sentido. Cedió, impulsado por el pensamiento de que desde ese puesto podría servir a su pueblo, a su santo ideal, con aún más coherencia. No se dejó intimidar por el volumen de trabajo, ni por el tamaño de ese campo abandonado en la rama: se le ocurrieron ideas nuevas y salvadoras, publicó

estrategias de largo plazo para la formación de especialistas y científicos, la consolidación de la base técnico-material en el campo de la medicina. Cada día estuvo sobre el terreno - en pueblos, aldeas, pueblos, ciudades - analizando con discernimiento y en profundidad la situación actual, concretando para él y su equipo las prioridades del momento. Desde entonces, se tomó la decisión de prestar más atención a la calidad de la medicina en las zonas rurales; Si en las ciudades ya se proporcionaba asistencia médica especializada, en las aldeas faltaba por completo. Por tanto, había que encontrar una salida a la situación. Construyó mucho, los medios provinieron del fondo estatal, pero también de los ingresos de las granjas colectivas. Seleccionó y recomendó para estudios de doctorado en diversos centros científicos de la antigua Unión Soviética a unas 250 personas, que luego regresaron a su patria con una excelente formación, con títulos de investigadores en muchas especialidades. Su objetivo final era garantizar la salud de las personas y de la tierra. En gran medida lo logró, siendo el único ministro de las repúblicas unidas de entonces, ¿quién logró luchar eficazmente contra el abuso de pesticidas en la agricultura (productos químicos nocivo para la salud de las personas), pasando por el gobierno o decisión al respecto.

Por todo lo que hizo, por su impecable comportamiento como militante por el progreso y la justicia, se había vuelto muy popular en la república. Ya era considerado por los potentados de la época como su rival, algo que no podían perdonarle. A esto siguió la agitación política del 19 de marzo de 1968, cuando, como resultado de varias horas de discusiones en el CC de p. c., Nicolae Testemițanu fue despedido de su cargo. Me acusaron de violar el "principio leninista de selección y distribución de cuadros", una acusación grave.

en aquel entonces, cuando, de hecho, dimitieron por el nacionalismo. Varios hijos dignos de la tierra moldava tuvieron que enfrentarse más tarde a este destino, hecho confirmado por los archivos y testigos presenciales de aquellos

veces.

No perdió los estribos; aunque se le pidió que trabajara dentro del ministerio sindical de

rama, decidió, sin embargo, quedarse en Moldavia, para

Se ocupa más intensamente de la investigación científica. Por supuesto,

la herida sangrante de esa pelea

político, le dolió permanentemente, quedando como

cicatriz para el resto de su vida. Por su manera gentil de

ser, un mundo sabe, perdonado a todos y todas,

dedicándose por completo a la labor de investigación. Es

Estudiante de doctorado, activa horario de conferencias en el departamento

Organización de Medicina Social y Atención Sanitaria a

ISMC; en 1971 obtuvo el título de doctor en medicina, siendo profesor universitario del mismo departamento.

Desde 1973 hasta su repentina muerte en 1986, fue jefe del Departamento de Medicina Social y Organización de la Atención Médica del ISMC. Se recompuso, superó todas las dificultades y venció.

Su interés científico y práctico se orientó a argumentar la necesidad de liquidar las diferencias fundamentales entre los niveles de asistencia.

atención médica otorgada a la población rural en comparación con la población urbana. Creó una escuela científica con una orientación profunda en esta dirección, reunió en su trayectoria científica más de 220 trabajos publicados, incluidas 15 monografías, desarrolló "una nueva concepción científica de la organización de la atención médica especializada ambulatoria y hospitalaria con servicios de emergencia garantizados". a la población rural."

A través de todo lo que creó y nos dejó como legado, este gran antepasado demostró que Su Señoría es un científico de renombre mundial.

Sus conclusiones y evidencia científica sirven hoy como base para la actividad del médico de familia, continuando el énfasis en la medicina primaria. Las generaciones de médicos actuales y futuras,

especialistas en el campo de la salud pública y la gestión y no solo tenemos mucho que aprender de ustedes, especialmente a luchar con dedicación para lograr un objetivo, a ser honestos y generosos en las relaciones con sus pares, a

Estar siempre incluido en la actividad patriótica de defensa de la libertad, la lengua, la antigua tradición y demás valores de la nación.

Calendar of the Day // 100 years since the birth of surgeon Nicolae Testemițanu: short biography

Nicolae Testemițanu came into the world with the sign of God on his forehead: through all the fibers of his soul as a farmer and scientist, as a doctor and visionary, he made a name that resonated throughout the republic. Its appearance and fulminant trajectory signify the coat of arms of the nobility from where it started. Years and years, rewarded by the sweat of these peasants, the earth of these valleys and hills gave birth to a symbol, which concentrated in itself the pain and the wisdom, the desire and the bitterness, the hope and the sigh, the smile and the cry of the many and oppressed.

Nicolae Testemițanu was born on August 1, 1927 in the village of Ochiul Alb, Bălţi county in a family of middle-class peasants with many children: the father, Andrei Testemițanu, a farmer by profession, came from Mihăileni, a large village near Ochiul Alb, he was a man "sincere as the green grass and gentle as the spring ray of the sun" and mother, Axenia Testemițanu, a housewife (Ion Stici "Ochiul Alb. Cartea satului").

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Years of studies

After graduating from primary school in his native village, he studied for one year (1940) at the gymnasium in the village of Baraboi, currently in the Donduşeni district. During the Second World War, when military operations were taking place far from the borders of the Republic of Moldova, he studied for three years at the "Ion Creangă" theoretical high school in the city of Bălţi. From 1945, he continued his studies in the 9th grade of secondary school no. 1 in

the same city (today "Mihai Eminescu" high school).

Having successfully completed the full course of the mentioned school, he decided to continue his studies at the State Institute of Medicine in Chisinau (ISMC). During his studies, he showed himself to be a capable young man, very hardworking and aware of his mission, succeeding, parallel to his thorough studies (he had a nominal state scholarship), to manifest himself obviously in the field of public activities. He was the head of the academic group where he studied, being later elected leader of the youth and union organizations in the institute. The teachers who arrived from Saint-Petersburg, high-class specialists, noticed and appreciated him from the very first year of studies, investing in him hopes for the future. And - from the beginning it must be stated: Nicolae Testemițanu fully justified those expectations vis-à-vis his person.

Everyone remembers the student Nicolae Testemițanu as an orderly person, which proved a solid culture assimilated from books, from high school, but especially from "grandpa Andrei's yard", a fact that gave him a clear advantage compared to the other colleagues.

It carried within itself a magnetic fluid, a kind of positive energy charge, emanating only heat and light in discussions. Throughout his life, he always had an impeccable dress code: that handkerchief on his breast pocket, that gold ring on the thumb of his right hand, those matching ties to his shirts. His measured gestures and slightly swaying walk set him apart from his colleagues and made him immediately noticed. His correct attitude towards the older generation, his mentors, his guides, his co-workers impresses. Through fairness, kindness, sincerity, vast knowledge and chosen culture he could conquer anyone. He was extremely frank, open with ordinary people, and they responded in kind.

He was hardened in harsh and rigid situations, he carried in his retinas and memory so many sad pictures from the years of war, severe hunger, forced deportations of the natives to icy Siberia, ideological intoxication of his peers by the totalitarian regime. With the fine antennae of reason, he always caught that bipolar reality: one was written in laws, the other was produced in life.

Career

He started his working career as a doctor-ordinating doctor of of the Surgery department of the central regional hospital in the town of Râşcani, from where a few months later he was "absorbed" again by the capital, remaining on this meridian all the years he had to live. From 1954, he was appointed an assistant at the General Surgery department of the ISMC, simultaneously acting as head of the Medical-Sanitary section of the Ministry of the Interior of the SSR. From 1955, he was appointed chief physician of the Republican Clinical Hospital, a position of responsibility that required professionalism, managerial and organizational skills. Showing ability and efficiency in work, in a short time he ensures a positive advancement of the affairs of the SCR: he opens new specialized sections, resettles the household here on a more permanent basis.

Possessing inexhaustible forces in his daily activity, he simultaneously founded the magazine "Ocrotirea Sanătăţii", being its first editor-in-chief, assiduously continuing his research work at the department, finishing his doctoral thesis in medicine, which he defended in 1958.

That fruitful activity was appreciated by the authorities, a fact that decided his promotion in 1959 to the position of rector of the State Institute of Medicine in Chisinau, a significant moment, because for the first time, a

her former graduate from here, on the Moldavian meridian. He was only 32 years old, he was full of romance, he carried in his heart an unshakeable desire to do as much good as possible to the people. Open new faculties, build spaces for studies, student dormitories, laboratories, a base for rest and sports on the Black Sea coast. It lays the foundations of the traumatological-orthopedic service, it generally has a permanent eye on the development of medical science, encouraging and promoting in the given direction as many young people as possible

hardworking and talented. At this stage, he fully demonstrates his organizational qualities, demonstrating through concrete facts what he is capable of. Those were the years of the so-called "Khrushchevist thaw", when people with initiative and ability increasingly found a green path to affirmation.

In this context, his promotion to the position of Minister of Health was considered by the leadership of the republic, but also by the entire medical community as a logical act, intended to change for the better the rather complicated situation in the branch. He refused the offer from the start, because he had barely gained momentum in the multiple transformations at his Alma Mater, but the "voice of the party" at that time was harsh and decisive, the opposition in front of it made no sense. He gave in, being prompted by the thought that from this position he would be able to serve his people, his holy ideal, with even more consistency. He was not daunted by the volume of work, nor by the size of that derelict field in the branch: he came up with new, saving ideas, issued

long-term strategies for the training of specialists and scientists, the consolidation of the technical-material base in the field of medicine. Every day he was on the ground - in villages, hamlets, towns, cities - analyzing with discernment and in depth the current situation, concretizing for himself and his team the priorities of the moment. Since then, the decision was made to pay more attention to the quality of medicine in rural areas; if specialized medical assistance was already provided in the cities, then in the village it was completely lacking. So, a way out of the situation had to be found. He built a lot, the means shining from the state fund, but also from the revenues of the collective farms. He selected and recommended for doctoral studies in various scientific centers in the former Soviet Union about 250 people, who later returned to their homeland with excellent training, with researcher degrees in many specialties. Its ultimate goal was to ensure the health of people and the earth. To a large extent he succeeded, being the only minister from the union republics of then, who managed to fight effectively against the abuse of pesticides in agriculture (chemicals harmful to people's health), passing through the government o decision in this regard.

Through everything he did, through his impeccable behavior as a militant for advancement and justice, he had become very popular in the republic. He was already considered by the potentates of the day as their rival, something they could not forgive him for. This was followed by the political upheaval of March 19, 1968, when, as a result of several hours of discussions at the CC of p. c. m., Nicolae Testemițanu was dismissed from his post. They accused me of violating the "Leninist principle of selection and distribution of cadres," a serious accusation

back then, when, in fact, they resigned for nationalism. Several worthy sons of the Moldavian land later had to face this fate, a fact confirmed by the archives and eyewitnesses of those

times.

He did not lose his temper; although he was requested to work within the union ministry of

branch, decided, however, to stay in Moldova, to

deals more intensively with scientific research. Of course,

the bleeding wound from that scuffle

political, it hurt him permanently, remaining as a

scar for the rest of his life. By his gentle way of a

be, a world knows, forgave all and all,

devoting himself entirely to research work. It is

PhD student, activates a conference time at the department

Social Medicine and Health Care Organization a

ISMC; in 1971 he became a qualified doctor in medicine, being a university professor at the same department.

From 1973 until his sudden death in 1986, he was the head of the Department of Social Medicine and Health Care Organization of ISMC. He gathered himself, stepped over all the difficulties and won.

His scientific and practical interest was oriented towards arguing the need to liquidate the fundamental differences between the levels of assistance

medical care granted to the rural population compared to the urban population. He created a scientific school with in-depth orientation in the given direction, gathered in his scientific track record more than 220 published works, including 15 monographs, developed "a new scientific conception of organizing specialized outpatient and inpatient medical care with services of emergency granted to the rural population."

Through everything he created and left us as a legacy, this great forefather proved that his Lordship is a world-renowned scientist.

His conclusions and scientific evidence serve today as a basis for the activity of the family doctor, with the emphasis continuing to be placed on primary medicine. Today's and future generations of doctors,

specialists in the field of public health and management and not only have a lot to learn from you - especially to fight with dedication to achieve a goal, to be honest and generous in relations with peers, to

always be included in the patriotic activity of defense of freedom, language, ancient tradition and other values ​​of the nation.