Arpa

AH!! Finally, the voice of reason, out of the “wilderness” of Toronto Yervant speaks. My only wish is that those posts by this MAN be either intervened, intercepted, placed under moderators' review, or in the least redirected away from Religion/Theology to the Category of Humor/Comedistan . He seems to be impervious to criticism and ridicule. As I have said before, the only responses he gets, if any are in sarcasm and ridicule. He has turned this Sacred house of HyeForum into a cultic trashcan, a garbage dump. Even if this is not the place for such subject. Getting back to the above word “evangelical/evangelism”, the word is from the Greek “evangelos”, (bearer of )Good angelic news. Nothing to do with hell or hades, fire and brimstone, auntie- chris or Sodom and Gomorra. Those are all pre-Christian terms. Christians read the Gospels, not that heap of trash known as the OT. Not even that hallucinatory chapter known as Revelation.** The best known Evangelist Billy Graham never spoke about hell and Hades‘ bad news, always Heaven and Good News. **There have been long debates, still are whether to include that heap of nonsense into the Christian manual or not. Just because he invokes the name of Jesus. I wish it will be removed in subsequent publications of the Gospels. We do that, “jeeez/jeepers c(h)reepers” a million times a day as a swear word. Here is that comedian John of the book Revelation; Remember that in the French “reve” means dream/nightmare. http://firstbaptistelkton.com/users/firstbaptistelkton_com/website%20Revelation.jpg

Dear Yervant, please amend that word "evangelical", since his hallucinatory cow droppings has nothing to do with Evangelism , but cultic rubbish Cow droppings; http://www.kob.com/kobtvimages/repository/2013-07/cow-turd.jpg

Harut is too much a gentleman. He is not naïve, yet he hopes against hope that he can engage you into a logical dialogue. He ignores the fact that you are shrouded in the smoke of that wacky tabacky. Let me ask again. What is your agenda and mission here at HyeForum? How about you find another forum to spread your natural fertilizer.

Yes , I am. Here is my picture. http://static.comicvine.com/uploads/original/0/9541/1511656-112_1.jpg 　

DAY OF REST? RRALLY? Seems the only ones observing that day are our own news media, be it electronic or paper, as if on that day the whole world stops, when in the world media, Sunday is is the biggest day with a million page issues that weigh a ton. Where as the world media jump with. Extra special issues, where the Sunday paper has a million pages and weighs a ton, only our Armenian media observe a Day of Rest. To not forget that Sundays and holidays are the biggest commercial shopping days. Jingle Bells. ԿԻՐԱԿԻ from the Greek KyriakI , Day of the Lord. It is ironic that those who preach to us to keep the Sabbath work the hardest on that day. When did Sunday become a Day of Rest and Church? Somewhere here at the Forum I had written about Sunday becoming a day of Rest and Church. I cannot find it now. Where I said that it is a relatively a new phenomenon, learned and copied from the Reformation Christians. Specially for us Armenians. Where as in our tradition church going was reserved only to special occasions, nor necessarily in Sunday,, as out churches and monasteries were at the most inaccessible places, we relearned the custom of Sunday church from the missionaries in the Diaspora.. ** I do remember the time when a colleague decided to not attend her own graduation ceremony because it was on the holy Day of Rest-Day of the Lord , despite the pleas by her own parents who themselves were Christian ministers. How does one become more Protestant than Luther, than one’s own parents, and more Catholic than the Pope?

　 Here in the Diaspora we call Potato getnakhndzor, earth apple just like the French Pomme de Terre. While in Yerevan they call it kardofil and insist it is from the Russian. It is from German “erdapfiel” also meaning earth apple. As you said above, they are talking about is this. In fact here what they are talking about is not Potato but this. Helianthus tuberosum, kind of a rooted Sunflower. http://en.wikipedia.org/wiki/Jerusalem_artichoke

Թռչէի ՄՏՔՈՎ Տուն?

Please us more how Bashar is killing women and children. === http://news.am/eng/news/180717.html November 14, 2013 | ALEPPO. – Five Armenians were wounded in a rocket attack on Aleppo, the largest city in Syria. Hakob Davoyan, Harut Pazarpashyan, Raffi Perperyan, George Gevorg and Tigran Manukyan were hospitalized after an Armenian-populated region was attacked, National Primacy of Aleppo of the Armenian Apostolic Church reported. Hakob Davoyan is in a serious condition. Power supply is being restored, problems with water supply have been eliminated. === This is very sad. Beware those weak of heart. Anoushikner! http://www.gagrule.net/wp-content/uploads/2013/11/Damas.jpg ------- http://www.gagrule.net/?p=12501 November 13, 2013 | 17:31 Two Armenian children died Monday in the Christian district of the Syrian capital city Damascus. The children lost their lives as a result of the missile debris that fell near a bus in front of an Armenian school, and while the children were leaving the school, Horizon weekly reports. Hundreds of people attended the funeral of the children. Dozens of others, primarily schoolchildren, were injured as a result of this incident. The two children that died are: Hovhannes Atokanian, 6 (Grade 1), and Vanessa Mikho Bedros (Grade 3). --- http://www.youtube.com/watch?feature=player_embedded&v=YfZUKavLNGY#t=0

http://www.armenianweekly.com/2013/11/14/bastards-of-the-infidels/ ------ Calling one ermeni, or saying one’s mother is ermeni is the ultimate insult in their vocabulary tantamount to saying “son of a whore”. ====== Reflections on the Hrant Dink Foundation’s Conference on Islamized Armenians “Bastards,” “infidels,” “remains of the sword” were the derogatory words directed at Armenian survivors of the genocide in Turkey as well as their offspring. Under this same umbrella was another set of “bastards” who were Christian Armenians forcibly or willingly converted to Islam in the wake of the genocide. Photo by Eric Nazarian This was one of the many topics covered over the course of three eye-opening days at the Hrant Dink Foundation’s Conference on “Islamized Armenians” on the Bogazici University campus in Istanbul. We heard lectures and panels comprised of international scholars presenting a myriad of oral and academic histories about forcibly Islamized Armenians, as well as the histories of the willingly converted that bridge and divide these communities. The conference was a platform for these unofficial minorities, a sort of “People’s History of Islamized Armenians,” to borrow half of Howard Zinn’s title. This percentage of the Turkish population is the resurfacing “remains of the sword.” The conference began with a remarkable and open-hearted speech by Rakel Dink that echoed the humanist ideals of her late husband, Hrant. The president of the university then enthusiastically welcomed the attendees and made it clear she supported this conference. Hrant’s spirit hovered everywhere. The energy, respect, and openness of his legacy was palpable as we watched and listened to the mellifluous voice of Fetiye Cetin tell the story of how her grandmother had survived the genocide. And of a certain spot on a river where her grandmother had seen her own mother drowning two of her siblings during the marches, to prevent them from the terror that befell the Armenians of the Ottoman Empire. When Fetiye was a child, her grandmother would take her to this river and say nothing of what she remembered except, “If only these mountains had eyes and could say what happened here.” This was one of the countless stories that made it into the public consciousness thanks to Fetiye’s 2008 book, My Grandmother, one of the most important personal family histories of our time, as well as the follow-up book Grandchildren, which she wrote with Ayse Gul Altinay. We learned from the articulate opening panels how historians in the past had neglected the lives of women and children, who were seen as objects of a masculine nation and not subjects independent of themselves. There was a freedom and a deep earnestness in most of the presentations that was moving to experience. Nobody gave a damn for the most part about mincing words or reiterating euphemisms, and there were no gendarmes to stop or censor the free flow of ideas and the innumerable times “genocide” was used in the panels and discourse. The conference unspooled snippets and overviews of oral histories and tales gathered from the field research of the scholars present, including Laurence Ritter, Umit Kurt, Helin Anahit, Avedis Hadjian, and Anoush Suni. One of Suni’s stories was about an Armenian man who converted, was given the name Mehmet, married an Arabic woman, and had a son named Jemal who was taken in as a son by an “agha” after his father’s death. Through this and other stories we learned how the process of renaming the converted was a step in creating a new religious identity. There was also the presence of Turks who, over time, found out they were Kurds, who later found out they were Armenians. The perception of Armenians in Kurdish novels; the 1915 Besni Armenian orphans who were Islamized; the issue of Kurdish complicity in the Armenian Genocide; as well as the current state of relations and possible methods of reconciliation were discussed at a panel entitled, “Memory, Ethnicity, Religion: Kurdish Identity.” During the coffee breaks, there were occasional tears on the campus lawn, a genial warmth among most of the attendees, and something quite the sight for sore eyes, especially for a Diasporan—a stack of loudspeakers and a live-feed set on campus overlooking the Bosphorus echoing the word “Soykirim” (the Turkish word for “genocide”) openly during Taner Akcam’s presentation. In this aura of minorities telling their layered and Byzantine stories, the familial taboos and ethnic histories braided and dovetailed into a very complicated and illuminating fresco of what it means to be an “Islamized Armenian.” This process of unveiling family secrets through the act of storytelling became a source of healing for the teller of these stories. As a filmmaker, this was a very touching and inspiring moment to witness. Stories have the power to heal and educate the public about the unsung and unheard experiences of uncharted histories. The questions from the audience were prescient and spoke to the resurfacing anger at a state that has shunned multi-ethnic identity and diversity instead of celebrating it. This small minority of the Dink generation took an intelligent and engaged stand by directly examining the traumas of the past and nurturing an aura of empathy and respect for the history of the oppressed wanting and deserving to be heard. This is the clearest ray of light in an otherwise still darkness in Turkey when it comes to the issue of acknowledging the far-reaching, multi-faceted immediate and long-term effects of the genocide. Victor Hugo once said, “An invasion of armies can be resisted; an invasion of ideas cannot be resisted.” And at this conference, this “invasion” of ideas was certainly welcome and critically articulated. I felt torn between hope and possibility that ebbed into the gnawing, perhaps unjustified, pessimism that all the analysis, research, and incredible hard work done by countless scholars loyal to these voices of history and the corroborate-able truth of the genocide still would change nothing for the ocean of bones in the sands of Der-Zor, which a hundred years ago were living, breathing families. We will never know their names or stories. We will never know their voices or what they might have been. There will never be any panel capable of granting them justice for what they endured. They will remain the nameless and abandoned dead. “How can we Armenians heal from this trauma?” is the first note I wrote in my notebook, inspired by the always warm and gracious Fetiye Cetin. I still don’t have a convincing answer, but maybe a large part of the healing lies in establishing ties with willing Turks and Kurds ready to face and discuss the past openly and empathetically. I remember the tale of the Turkish village “kasap” (butcher) who said he knew that most of the Armenian men in the village were heavily addicted to tobacco and nicotine, as their throats and esophagi were tar-yellow after the wholesale village beheadings he took part in. This, too, is part of the taboo history that affects the consciousness of those who live on the lands where the atrocities took place. As Cicero said, “The life of the dead is set in the memory of the living.” Projected images, be they photographic or cinematographic, have the power and capacity to trigger stories and ideas in the eye of the beholder. These knee-jerk ideas can evoke a realization or an inner epiphany that otherwise would not have been conjured. This unintended interpretation churning within the mind’s eye of the moviegoer has the capacity to hold up a mirror into our inner lives and show the need for quiet self-reflection. The stream-of-consciousness images triggered by the panelists cast my memories back to Van and Bitlis in May of this year on my journey to Historic Armenia. Since the conference centered on “Islamized Armenians,” whose religious conversions can be broken down into a garden variety of sub-sets of the forced and the willingly converted, I couldn’t help but stray back to the churches and cemeteries we witnessed in Van, Edremit, and Bitlis that had undergone their own forced spatial conversions from places of ancient spiritual worship to barns where donkeys and livestock bred in villages off the map. These seemingly irrelevant memories lingered in the back of my mind as I listened to tale after tale of survivalist horror, identity politics, and skeletons surfacing after generations of denial, self-censorship, and violent repression. I began to feel a very unpleasant certainty in my gut that the next time we returned to Van, Bitlis, and the ancient lands of our ancestors, we would still witness the neglect and plunder of the remains of our culture and faith. This was triggered by the projection of a black-and-white image of the Church of Surp Garabed in Dersim before it was bombed in the late 1930's. And yet, the stones remain. They have an uncanny, almost supernatural way to stay rooted in some battered and ravaged form of quasi-existence. Perhaps its that Armenian stubbornness refusing to go away, refusing to stop fighting, refusing to be silenced, always wanting to be heard and acknowledged in the dark waters of those in power quietly silencing truth. The more brazen the indignities of chameleonic politics that recognized the genocide over a generation ago during the time of Reagan, then flips to the official position of banning the now controversial “Armenian Orphan Rug” from public display to appease Ankara. Everything is indirectly or directly part and parcel of history’s ironic and cruel cycles. And all of the stories in this conference were in some shape or form tied to the tapestry of this region’s history and future. If everything is connected then nothing is irrelevant, especially in human rights and the silencing of crimes against humanity, including the discrimination today’s Islamized Armenians continue to face. This must change, and it will take one person at a time looking into their own conscience and respecting the right of the other to exist and be heard in the name of true, sincere human diplomacy, not meaningless photo-ops and fickle handshakes. The common thematic denominators that I took away from the panels included the unsettling realization that very little is accepted on its own merits when it comes to a human being’s right to exist in the state of nature they were born into. This is the troubling and ugly truth. What I’ve gathered from people I’ve met over numerous travels to make a film in Bolis is that if you are not born into the ethnic and religious majority, then you will forever be subordinate and an object of oppression. This comes from most of the people I have spoken to that hail from Anatolia or from minority families living in Turkey: Armenian, Greek, Assyrian, Kurd, or Chaldean, it does not matter. With the exception of the Kurdish people and their colorful ethnic and cultural traditions, the majority of these ancient cultures are gone from their ancestral land. This is nothing new, and the obvious sometimes needs to be reiterated in order not to be forgotten or neglected. Their pasts, their schools and neighborhoods, have been deleted the further east you go. But the cemeteries and the churches remain in various conditions of decay or damage through neglect. In the case of the Islamized Armenians, they are considered subordinates in the eyes of the converters, and religious traitors in the eyes of Christian Armenians. They are, in perpetuity, in a state of limbo. The roots of almost every family story told from Mush to Artvin to Sassoon traced back to this common denominator of Armenians and ethnic minorities tossed into the grinder of history and forced to accept belief systems and lifestyles in order to survive. Will there be more of these conferences in the east and south of Turkey, and will they continue to convert ignorance into knowledge and knowledge into respect for all cultures and faiths? Is that too idealistic a notion to hope for given the irreversible magnitude of the bloody history that birthed this generation of minorities wanting to be given a place to stand, to be heard, and, more importantly, to be accepted on their own merits without precondition? Will there be another conference on the braided and inter-related histories of the Greek, Armenian, and Assyrian Genocides? Some day, in a possibly more democratic future, will these conferences be converted into the impetus to grant official civil and human rights to these people, and all remaining religious properties and foundations in Anatolia? Will there come a time for the “others” culture, faith, and history to be respected, preserved, and taught in schools, instead of plundered by grave-robbers fancying themselves as treasure hunters of the fabled Armenian gold? Where will the commission be in the Kurdish areas to help stop this rampant and insulting quest for the so-called buried treasures that has dug hole after hole in our churches, spurring only more pillage? In the process of trying to form the building blocks of reconciliation through cultural diplomacy and meaningful dialogue, respect for cultural landmarks and touchstones are fundamental to the trust-building process. This incredible conference was a much-needed gift in giving voice to the voiceless and unofficial histories of the Islamized Armenians. And through this first of what will hopefully be many conferences to come, the tangible results require time and will be measured in the long run. This region has a long way to go until it comes to grips with its own Civil Rights Movement on a massive national scale. But the important work of converting ignorance into beads of knowledge braided together into inspiration and the meaningful exchange of ideas has begun, and continues quite nobly thanks to the Hrant Dink Foundation. == About Eric Nazarian Eric Nazarian is a screenwriter, filmmaker and photojournalist. In 2007, Nazarian wrote and directed “The Blue Hour,” a first feature film that won six international awards. In 2008, Nazarian received the Academy of Motion Picture Arts and Sciences® (home of the Oscars) prestigious Nicholl Fellowship in Screenwriting for his original screenplay, “Giants.” In turn, Nazarian’s film “Bolis” was the recipient of the Best Short Film Award at the 14th Arpa International Film Festival in 2011. He is currently adapting Chris Bohjalian’s critically acclaimed novel, The Sandcastle Girls, for the big screen. More Posts

　 Nothing new . Who knows how many other times Armenians have been targeted in this manner. It goes back all the way to the early and mid 1900 s when in America, in my neighborhood the street brats would call the Armenian boys “turk”. I remember some of those stories, in one of which Mrs. Mardigian (her real name) had confronted those brats and said Armenians are not turks, we are Christian, they are not.. In an episode o All in the Family, Archie Bunker says something to this effect. “ And that gas station operator down the street say h is Armenian, but I think he is a gypsy” Mind you, Carrol O’Connor or Archie Bunker did not write those lines. Who did?

http://www.nytimes.com/1981/11/02/arts/opera-anoush-classic-of-armenia-in-detroit.html November 2, 1981 OPERA: 'ANOUSH,' CLASSIC OF ARMENIA, IN DETROIT By JOHN ROCKWELL, Special to the New York Times DETROIT, Oct. 31— If David DiChiera and his Michigan Opera Theater are any guide, opera companies have found a new source for novelties. As a rule, companies seek fresh repertory from the past because audiences have rejected the present. But now Mr. DiChiera, who actually has a pretty good record when it comes to conservative contemporary operas, has hit upon the idea of introducing the favorite national operas of countries outside the operatic mainstream. This provides a potentially fertile new supply of repertory. And, as the entire page of the ''Special Support Fund'' listed in last night's program indicated - a page consisting almost exclusively of names ending in ''ian'' - local ethnic communities can form a new source of financial support. The names ended in ''ian'' because the first of Mr. DiChiera's ventures in this direction is devoted to Armen Tigranian's ''Anoush,'' which counts as the foremost national opera of Armenia. It is performed regularly there, and occasionally elsewhere in the Soviet Union, and one hears of periodic amateur efforts by American communities in the West. But last night's performance at the Music Hall was billed as the Western professional premiere. The opera is being repeated twice this weekend and on Wednesday, Friday and next Saturday. In terms of libretto, the first Armenian national opera dates from 1868. But ''Anoush'' (1912 and revised up to the late 30's) was the first truly inspired by Armenian folk music. Tigranian, who was born in 1879 and died in 1950, never matched that level of success thereafter. The story is a tale of peasant love and tragedy: a girl loves a shepherd, but her brother becomes enraged when, out of youthful enthusiasm, the lover violates the local code of honor and humiliates him by pinning him in a wrestling match. The brother shoots the shepherd and the girl throws herself off a cliff. Its musical idiom is what makes ''Anoush'' special. Bordering on Georgia, Azerbaijan, Turkey and Persia, Armenia demonstrated a fierce cultural independence over the centuries even as it was dominated politically by various outside powers and criss-crossed by Occidental and Oriental influences. Tigranian himself grew up listening to the music of wandering Oriental troubadours called ''ashughner,'' and ''Anoush'' is permeated by Eastern-sounding modes, exotic ornamental shivers and a pervasive languid sadness. It is this languidness that ultimately undercuts the dramatic intensity of the opera, however; too often, the music fails to reinforce the passions of the text. But the heroine's final mad scene is strong, and the opera as a whole remains charming and unusual, well worth the occasional encounter. Detroit's performance was an honorable one. The work was slightly cut and presented in an awkward English translation that lapsed curiously at times back into Armenian. The direction by the translator, Gerald E. Papasian, was stiff, especially in the sometimes self-consicous bits of precise authentic detail. But the physical production of Franco Colavecchia (sets), Marjorie McCown (costumes) and Marilyn Rennagel (lighting) was very pleasing, and Raffi Armenian, a Canadian conductor, comported himself well. The cast included Ellen Kerrigan, as a slighty hard-voiced but effective Anoush, Vincenzo Manno as her lover, Andreas Poulimenos as the brother, and a host of talented members of the company's Artist Intern Program in smaller roles. Mr. DiChiera says he is looking at Moniuszko's ''The Haunted Manor'' for his next project, and at operas from Poland, Rumania, Spain and Serbia in the future. Illustrations: photo of Ellen Kerrigan

Armen Tigeanian http://en.wikipedia.org/wiki/Armen_Tigranian http://upload.wikimedia.org/wikipedia/hy/c/c8/Armen_Tigranyan_composer.jpg Արմեն Տիգրանյան (երգահան) 　 Արմեն Տիգրանյան (1879 դեկտեմբերի 26, Ալեքսանդրապոլ – 1950 փետրվարի 10, Թբիլիսի) հայ երգահան, խմբավար, ՀԽՍՀ և ՎԽՍՀ արվեստի վաստակավոր գործիչ, հայկական ազգային օպերայի հիմնադիրն է: Նրա առավել հայտնի գործերն են «Անուշ» (1912) և «Դավիթ-Բեկ» (1950) օպերաները:[1] Արմեն Տիգրանյանը վաղ տարիքից նվագել է ֆլեյտա, մասնակցել դպրոցական փողային նվագախմբի համերգներին: 1894 թ-ին Տիգրանյանն ընտանիքի հետ տեղափոխվել է Թիֆլիս: 1902 թ-ին ավարտել է երաժշտական ուսումնարանի ֆլեյտայի և երաժշտության տեսության (դասատու՝ Նիկոլայ Կլենովսկի) դասարանները, միաժամանակ կոմպոզիցիայի դասեր առել Մակար Եկմալյանից: Նույն թվականին Տիգրանյանը վերադարձել է Ալեքսանդրապոլ, կազմակերպել դպրոցական և ժողովրդական քառաձայն երգչախմբեր. վերջինիս հետ համերգներով շրջագայել է Թիֆլիսում, Բաքվում, Կարսում: Այդ շրջանին են վերաբերում նրա առաջին ստեղծագործությունները՝ «Հովերն առան սար ու դարեր», «Ախ իմ ճամփեն», «Սև աչերեն» (Ավետիք Իսահակյանի խոսքերով), «Սիրտ իմ լռիր», «Մնաք բարով» (Հովհաննես Հովհաննիսյանի խոսքերով) երգերը և հայկական ժողովրդական երգերի խմբերգային մշակումները: 1908 թ-ին Տիգրանյանն սկսել է գրել իր առաջին՝ «Անուշ» օպերան (ըստ Հովհաննես Թումանյանի), որը հայկական երաժշտական թատրոնում հիմք է դրել ոճական նոր ուղղության: Նույն թվականին օպերայի առանձին հատվածներ ներկայացվել են Թիֆլիսում: «Անուշն» առաջին անգամ բեմադրվել է 1912 թ-ին, Ալեքսանդրապոլում: Հետագա 30 տարիների ընթացքում կոմպոզիտորը բազմիցս անդրադարձել է «Անուշ» օպերային. կատարել է որոշ փոփոխություններ, հավելումներ, վերանայել է գործիքավորումը: Երևանի օպերայի և բալետի թատրոնում «Անուշն» առաջին անգամ բեմադրվել է 1935 թ-ին, իսկ 1939 թ-ին ներկայացվել է Մոսկվայում՝ հայ արվեստի և գրականության տասնօրյակին: Օպերան աչքի է ընկնում ժողովրդական տոների և ծեսերի վառ ու գունեղ տեսարաններով, քնարական երգերով, զուգերգերով ու խմբերգերով: Կոմպոզիտորի ստեղծած մեղեդիները տարածվել են և ըստ էության դարձել ժողովրդական: 1913 թ-ից Տիգրանյանը բնակվել է Թիֆլիսում. մասնակցել է Հայոց երաժշտական ընկերության (1912–21 թթ.) աշխատանքներին, դասավանդել Հովնանյան դպրոցում, հանդես եկել համերգներով: Կոմպոզիտորը գրել է նոր ստեղծագործություններ. երաժշտություն՝ «Լեյլի և Մեջնուն» դրամայի (բեմադրվել է 1918 թ-ին, Թիֆլիսում), «Արևելյան պար»՝ սիմֆոնիկ նվագախմբի համար, խմբերգեր, մշակել ժողովրդական երգեր: Արմեն Տիգրանյանի հուշարձանը Երևանում 1920–30-ական թվականներին Տիգրանյանն ստեղծել է մի շարք երգեր, կանտատներ, խմբերգային երկեր, դաշնամուրային պիեսներ՝ «Պարերգ», «Հայկական պարերի սյուիտ», «Արևելյան ֆանտազիա», «Շիրակ զմրուխտի», «Մանկական ալբոմ» («Իրիկնային», «Սրինգ», «Օրորոցի երգ» և այլն): Հայրենական մեծ պատերազմի (1941– 1945 թթ.) տարիներին կոմպոզիտորը գրել է հայրենասիրական երկեր, «Պարային սյուիտ»՝ սիմֆոնիկ նվագախմբի համար, և պատմահայրենասիրական «Դավիթ Բեկ» օպերան (ըստ Րաֆֆու), որը գաղափարական հագեցվածությամբ, քաղաքացիական պաթոսով, երաժշտական լեզվի ժողովրդայնությամբ նոր քայլ էր ազգային օպերային արվեստում: Օպերան հարուստ է գեղջկական, քաղաքային, գուսանական և հոգևոր երաժշտության տարրերով: Տիգրանյանն օպերան ավարտել է 1949 թ-ին, սակայն «Դավիթ Բեկի» առաջին ներկայացումը տեղի է ունեցել 1950 թ-ին՝ կոմպոզիտորի մահվանից հետո` Երևանի օպերայի և բալետի թատրոնում: Տիգրանյանը գրել է երաժշտություն նաև թատրոնի համար (Տիգրան Հախումյանի «Խավարի ճանկերում», Արմեն Գուլակյանի «Արշալույսին», «Գիքոր», «Մի կաթիլ մեղր» (երկուսն էլ` ըստ Հովհաննես Թումանյանի), «Անահիտ» (ըստ Ղազարոս Աղայանի), «Նամուս» (ըստ Ալեքսանդր Շիրվանզադեի), «Սամվել», «Դավիթ Բեկ» (երկուսն էլ՝ ըստ Րաֆֆու) և այլն), հայերեն է թարգմանել Ջուզեպպե Վերդիի «Ռիգոլետտո» և Ժորժ Բիզեի «Կարմեն» օպերաների լիբրետոները: Տիգրանյանի անունով կոչվել են փողոցներ, երաժշտական դպրոցներ Երևանում և Գյումրիում, Երևանի օղակաձև զբոսայգում տեղադրվել է նրա հուշարձանը, Գյումրիում գործում է տուն-թանգարանը 　

In another post we spoke about Avag Petrosian, the star tenor known best for his tole in Anush. Enjoy the highlights, http://www.youtube.com/watch?v=_KpApa-UKOA At yet another time we spoke about Kmoitas’ involvement in the project. In 1908 he began the work on Anush, based on the epic poem by his soul mate Toumanian which never materialized. In a letter to Hovannes he had expressed his concern about the language and the foreign words. In another biography we read another take of that encounter, In that letter he had said “Each tine I am well disposed to work , I feel discouraged, the words don’t seem to correspond to the music, and something seems to be missing”. --- Subsequently Armen Tigranian took up the project and worked and reworked it until eventually it was played at the Yerevan Opera House in 1935 to much acclaim.

　 http://www.yerakouyn.com/?p=43202 　

I had been looking for this for along time for both words and music, to no avail. I still don’t know who the poet and the composer are. http://www.youtube.com/watch?v=zLpcpaephCc Խաչատուր Աբովեան Հայաստանի վէրքի երգիչ, Լուսապայծառ Աբովեան, Խօսում ես մեր սրտի խորքից Մեզ հետ ես դու յաւիտեան: Քո սեւ դարում, դու ազգերի Եղբայրութիւն տենչացիր, Ազատութեան վառ երգերի Ոսկի սերմեր ցանեցիր: Դու փրկարար քո մեծ ազգին, Փառքի երգեր ձօնեցիր, Նրա խիզախ, հզօր հոգին Անհուն սիրով սիրեցիր: Երանի թէ մի օր յանկարծ Քանաքեռից իջնէիր, Եւ քո սիրած Նորքում կանգնած Երեւանին նայէիր: Արեւազարդ զուարթ Նորքից Գայիր մեր մեծ խնջոյքին, Եւ քեզ տանջող քո հին վէրքից Յաւէտ բուժուէր քո հոգին: Ժողովրդի զաւակն ես դու, Կորած անյայտ, անդամբան, Բայց միշտ կ՚ապրես դու մեր սրտում, Մեր մեծ, անմահ Աբովեան

Yesterday in AZG we read about the gala evening dedicated to the 100th anniversary of the birth of Avag Petrosian, One of the best opera singers of Armenia, best known for his roles in Anush, David Bek, as well as European operas. According to the article, the Opera house was packed with admirers and artists, both native, diasporan or Europiean . It seems like it was a first class show, with performers, videos and more. The audience was at times teary eyed, but mostly jubilation and endless ovations. -- I was so disappointed when I could not find any biography of him. According to a very short monograph in the Hanragitaran , he was born on March of 1912 in the then village Gyamrez, a suburb of Yerevan, now part of Abovian. He was educated and trained in Yerevan, Moscow et al, There is no mention of the time of his demise (1990 s?) as that volume was written in 1983. Neither could I find him here at the Forum under any category, be it art, music or famous Armenians.. http://www.aravot.am/wp-content/uploads/2012/03/p133.jpg http://www.youtube.com/watch?v=yiZsbhjvdxQ http://www.azg.am/AM/2013111215 　

ZVARTNOTS AIRPORT http://www.armenianow.com/sites/default/files/img/imagecache/600x400/Zvartnots-airport-old-building.jpg I agree with the council. It would be a shame to destroy that iconic and unique monument. Sometimes I wonder if there is a sense of remorse and vengeance destroying or otherwise marring soviet era structures. First it was this http://i40.photobucket.com/albums/e239/Zarchka/untitled20_1.jpg Then the Pak Shuka ==== News | 12.11.13 | 10:00 Public Council wants Zvartnots airport’s old terminal preserved The Armenian Public Council on Monday held its final session on the issue of the old terminal of the Zvartnots airport that the concessionaire managing the facility wants to be demolished to clear the way for further construction that it says will upgrade the airport. Only two members of the Council supported the proposal on demolishing the landmark building, while 20 voted against it. The decisions made by the Council, which is an advisory body formed by the president of Armenia, are legally nonbinding and serve rather as guidelines for the executive. Members of the Council want the government to make sure that the old Zvartnots airport terminal becomes a listed building. Armenia International Airports CJSC said in a statement in October that the old terminal of the Zvartnots airport is at present a dangerous construction. It noted that no resources for preservation of the building will be provided, or any responsibility for emergency situations assumed. “We are planning to upgrade Zvartnots international airport yet won’t be spending time or resources to maintain the collapse-prone construction which doesn't meet modern air-navigation standards,” the company said. Source URL: http://www.armenianow.com/news/49989/armenia_zvartnots_airport_public_council .

http://news.am/eng/news/180271.html November 11, 2013 | 19:39 DAMASCUS. – An Armenian schoolboy was killed and several others were wounded in a mortar blast in Damascus, Editor-in-Chief of Lebanon-based Aztag daily told Armenian News-NEWS.am. Shahan Kandaharian said the explosion occurred near Bab Shakri bridge, near the Armenian St. Sargis church and National Armenian “Surb Targmanchats” school. The blast occurred when the school children were leaving the school. Official Syrian media reported about at least five school children killed in the blast. ====== http://www.yerakouyn.com/?p=43036 Դամասկոսի Ազգային Միացեալ Վարժարնը Սուգի Օր Յայտարարած է –

Hey MAN. Are you still here? I thought by now you would be in ankaka and boku , preaching muslim-Christian, furk-Armenian love-fest, join in singing “muhammad /Jesus Loves me This I know“.** On second thought. How much do you value your life? Go ahead hide behind an Armenian Forum. Let us see you in their, and other forums preaching your “nonsensical sermons ” !!!. Note also that no one is responding to you in a serious way except in derision. I wonder why our moda and ads are allowing you to spread all that moodoo day in and day out, every hour on the hour ?. ** http://www.youtube.com/watch?v=0DYDvyBKZJA http://www.youtube.com/watch?v=UlLaUCAQlQQ 　

The Lyrics to the above ==== Վարդ սիրեցի՝ փուշ դառավ, Դըլե յաման, դըլե յաման, դըլե յաման, Գնաց, ուրիշին առավ, Ա՜խ, մերըդ մեռնի, սարի աղջիկ, օ՜յ, օ՜յ, Քարի աղջիկ, օյ, օյ, Քար սիրտ աղջիկ, օյ, օյ, Չար սիրտ աղջիկ։ Գընաց, ուրիշին առավ, Դըլե յաման, լեյլի ջան, ջան։ Եղնիկ եմ՝ նետը կրծքիս, Դըլե յաման, դըլե յաման, դըլե յաման, Տիրել ես խելք ու մտքիս, Ա՜խ մերըդ մեռնի, սարի աղջիկ, օ՜յ, օ՜յ... Մինուճարիս մեղքացիր, Դըլե յաման, դըլե յաման, դըլե յաման, Թույն մի ածա թեժ վերքիս, Ա՜խ մերըդ մեռնի, սարի աղջիկ, օ՜յ, օ՜յ...

　 See the words above at # 8 http://www.youtube.com/watch?feature=player_embedded&v=EBCoICjMR4c 　

　 http://www.armenianow.com/society/features/49948/armenian_military_army_music_sari_aghjik_duduk Features | 11.11.13 | 10:53 ==== http://www.youtube.com/watch?feature=player_embedded&v=EBCoICjMR4c 　

See this story at AemeniaNow http://www.armenianow.com/society/features/49948/armenian_military_army_music_sari_aghjik_duduk http://www.youtube.com/watch?feature=player_embedded&v=EBCoICjMR4c See # 922 above for the lyrics

NO WAY a muslim will convert.!!! You are dreaming. Apostasy, conversion in islam is tantamount to death sentence., Not only bylaw (shariya), but by family and friends,** I do remember when a father killed his daughter for dating a Christian man. Search the net using keywords apostasy islam and see how many sites open, I do remember this case in Afghanistan ----- ** I also remember this. To see more search- “muslim father kills daughters“, http://www.youtube.com/watch?v=favzluXtznM 　

Placido - Yerevan Erebuni. Notice his perfect diction. http://www.youtube.com/watch?v=3tZjim4dn4s