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ՏԻԳՐԱՆ ՉՈՒԽԱՅԱՆ

ԿԱՐԻՆԷ

Tigran Choukhayan - Karineh

(Please allow me to post this here in the Topic of Culture, as we will see it goes beyond Art/Music etc. Note also that I removed that furkifying letter J. I saw a very interesting twist on the name “Joulhakian“/ Ջուլհակեան. Verrrry interrrresting! We will get back to that. Hi, Jughayetsi/Joulfayetsi/Julhaketsi/Chukhayetsi Nairi :) :P :D We will also get back to who and what Tigran was.)

I will never forgive Krikor Satamian for advertising his production by its furkish title**. The French do it better. See below. VIVE LA FRANCE!!!

**There may be a reason for that. We will see.

Armenian Reporter, The

07-10-2004

On the heels of the success of last year's "Zvart" operetta, Krikor

Satamian, along with collaborator Maestro Vatche Barsoumian, is busy

putting together another work by composer Dikran Tchouhadjian originally

titled "Leblebiji Horhor Agha" and now incarnated as "Leblebiji" for three

performances here this fall.

A veteran of Beirut's AGBU Vahan Papazian Theatre Group, a graduate of

England's famous Bristol-school, and an actor with a long line of movie and

network television credits under his belt, Satamian needs no introduction

to Armenian theatre lovers. His name is synonymous with Armenian theatre in

America. …

----

The most memorable aria from the Opera. At times the opening lines are sung as - “Քաջ Վարդանի զաւակներն ենք…”

Մենք Քաջ տոհմի զաւակներ ենք, չենք վախի,

Մանր—մունր փորձանքներից չենք փախչի,

Մենք դեռ փոքրուց միշտ սիրել ենք քաջութիւն,

Ինչ էլ որ լինի՝ չենք հանդուրժի պարտութիւն։

Ուրեմն յառաջ, զարկենք թմբուկ յաղթական,

Տանք թշնամուն՝ մենք ծեծ ու ջարդ պատուական,

Թող իմանան, մենք չենք դառնայ խաղալիք,

Այնպէս պիտ ծեծենք որ յիշեն Հօր հարսանիք։

Մեր պապերն եղել են քաջերից քաջը,

Անարգել են կայծակների շառաչը.

Մենք էլ նրանց զաւակներն ենք հարազատ,

Էլ ուրիշ ժառանք չկա՛յ, չկա՛յ՝ մեզնից զատ։

Ուրեմն յառաջ, զարկենք թմբուկ յաղթական,

Տանք թշնամուն՝ մենք ծեծ ու ջարդ պատուական,

Թող իմանան, մենք չենք դառնայ խաղալիք,

Այնպէս պիտ ծեծենք որ յիշեն Հօր հարսանիք։

-----

Go to "past isues", to June 12. See the article and pictures here beginning on page 14;

http://www.mirrorspectator.com/pdf/The%20Armenian%20Mirror-Spectator%20June%2012,%202010.pdf

14

S ATURDAY, J UNE 12, 2010

TH E ARMENIAN MIRROR -SPECTATOR

ARTS & LIVING

By Margo Davydova

PARIS — During a recent business trip in Germany while

browsing the Internet, I stumbled upon the announcement

about Tchouhadjian’s opera buffo “Garine” that was to be per-

formed on the French stage. I took a side trip to Paris to attend

the performance on May 11 at Theatre St. Maur in a Paris sub-

urb. The detour was well worth it.

The hall was jam-packed and I felt lucky enough to have found

a seat unlike some patrons who were turned away, disappoint-

ed. I knew then that I was in for a treat. The evening was attend-

ed by the Mayor of St. Maur, Henri Plagnol who is a member of

the French Parliament, and many French and Armenian digni-

taries, including the Primate of the Armenian Diocese of France

Archbishop Norvan Zakarian and Armenia’s Ambassador to

France Vicken Tchitechian.

The performance was in French by an entirely French cast and

a nine-piece orchestra under the musical direction of Vincent

Bonzom whose orchestration of the score amplified the music

to a level akin to a larger orchestra.

In this new libretto of “Garine” in French, Gerald Papasian,

founder and director of Tchouhadjian Research Center in Paris

and one of the foremost authorities on Tchouhadjian, proposes

a highly dramatic and ingenious new treatment.

The original of Tchouhadjian’s celebrated opera buffo is called

“Leblebiji Hor Hor Agha” written by Takvor Nalian in the

Turkish language in 1875. In it, the story takes place in 18th-

century Istanbul, where Fatime, the daughter of a provincial

chickpea salesman, is kidnapped to Khourshid Bey’s harem to

her father’s distress and agony. While in pursuit of his daughter,

Hor Hor Agha is subjected to many intrigues in the harem.

The original libretto has no Armenian theme. Since its cre-

ation, the book has undergone many changes in Turkey,

Europe, as well as Armenia where Fatime has become Garine

and Khourshid Bey, Armen. All the characters have taken

Armenian names but the narrative has undergone almost no

structural changes.

In the current version, Papasian’s plot revolves around an

entirely new theme within a framework of real historical refer-

ences. Garine joins a newly formed Armenian theatre group, in

an era where women of good character would never appear on

the stage. Garine thus commits “sacrilege” by joining the

Theatre group, while Hor Hor Agha, chagrined, is determined to

rescue his daughter from these “immoral” circles. Papasian skill-

fully integrates the harem scenes into the story as a “play with-

in a play” in the form of an Arabian Nights legend. The historic

references mark the beginning of the Armenian theatre in

Istanbul. The libretto is fully adapted to Tchouhadjian’s original

and uncut music, presented for the first time in its complete and

integral version. Although three-hours-long, one doesn’t feel

time going by. A pure delight!

The operetta is co-produced by Les Amoureux Transis and

Dikran Tchouhadjian Research Center. The executive producer

of the St. Maur presentation was Dazzling & Sparkling compa-

ny of Paris. As originator of the project, Papasian’s involvement

in the production is manifold; author of the new play and lyrics,

translator, overall artistic director, stage director, producer, actor

Tchouhadjian’s Opera-Bouffo ‘Garine’ Makes

Its Grand Entrance on European Stage

Hor Hor Agha (Gerald Papasian) meets the harem girls.

St. Maur Mayor Henri Plagnol and Armenian Ambassador to

France Vicken Tchitechian with the cast of “Garine”

Shady characters played by Jerry DiGiacomo and Alain

Khouani, left, meet Hor Hor Agha (Gerald Papasian)

Soprano Aurore Quintard as the title character in the Balcony

Aria

and singer. His new venture is presented under the auspices and

complicity of director Irina Brook.

On stage, several artistic elements interact seamlessly to pre-

sent a superb performance enjoyed by a discerning Parisian

audience: Tchouhadjian’s enchanting music with its oriental

influences, Papasian’s cleverly-crafted drama with its suspense

and humor, his ingenious staging with fluidity of movement

integrating a choreography with subtle modern touches, and

to top it all, an outstanding rendition by the orchestra.

Light effects, pantomime, colorful costumes and veils fully

substitute for the minimalist and mostly non-existent stage

sets. The inventive interplay between Papasian’s direction, and

set and costume designer Noëlle Ginefri’s resourceful cre-

ations, result in a highly sophisticated series of tableaux, gor-

geous in their simplicity. At one breathtakingly impressive

moment, a mere trapeze designates a balcony where the sopra-

no sings her aria simply perched in mid air like a nightingale.

The chorus, composed of young classical opera soloists in

their own right, performs amazing gymnastic acts to the

delight of the audience, in addition to dancing and acting.

Unlike many static productions, the singing, dancing and

acting are coordinated in such a creative manner that the

resulting effect is one great dynamic act. The sound pro-

duced from the stage is what really counts and it is indeed

first rate excellent singing.

The role of Garine is performed with verve by the beautiful

lyric soprano, Aurore Quintard, a name to remember, in a

faithful rendition of Tchouhadjian’s subtle nuances. Armen’s

role is interpreted by the reliable tenor Stéphane Malbec-

Garcia with solid high notes and an astute sense of humor

where he parodies pompous tenors. The highly-demanding

part of Hor Hor Agha is sung by Papasian (as a basso-buffo)

who for the first time adds opera singing to his repertoire. We

already knew him as a consummate actor (best actor nominee

last year for his portrayal of Sancho Panza in Brook’s

“Somewhere…La Mancha” but he amazed us by keeping up

with the opera singers, impeccably harmonizing along with

them in complex duets, trios and quartets. His chickpea mer-

chant’s war song, En avant, courage, marchons fort en

gueule, was thunderously applauded. Markar’s role is carried

through by Alexander Martin Varroy with great fun and joy-

fulness. Shoushane is played by yet another sexy mezzo

soprano, Pauline Sikirdji, who moves her body as deftly as the

nuances of her warm vocal capacities in a mock belly-dancing

sequence. Her highlight is the mezzo aria, Ŕ Dalila ils

pensent, heard for the first time since it was composed. The

role of Khatchig, the evening’s master of ceremonies, is mas-

terfully performed by Olivier Podesta. The Russian gentleman

is played by actor Didier Bailly with great comedic flair and

competence, while the two shady characters (created by

Gerald Papasian in this new version) are played by Jerry

DiGiacomo, from Brook’s theatre company, and Alain

Khouani, playing off one another to great effect. Versatile

dancers Lorie Baghdassarian and Claire Faurot perform beau-

tiful choreographies by the latter.

This premiere of the French version, attended by a 75-per-

cent non-Armenian audience, was received by great acco-

lades. Practically every aria and every appearance by the

lead performers was greeted with thunderous applause.

The production is currently booked by Marseilles’ historic

Odeon Theatre where it will be performed in October.

The subsidiary impact of this event was clear when the

articulate mayor of St. Maur, Henri Plagnol, spontaneously

jumped on stage and after congratulating the cast warmly

for their outstanding presentation, added, “Yet, this fun-lov-

ing and creative people was subjected to Genocide.”

Ambassador Vicken Tchitechian, congratulated the cast in

his turn, and added, “I can only say, thank you, thank you,

thank you, thank you. This is a gift to France from a small

nation with a large cultural heritage. I am very proud.”

This major success was achieved through the persever-

ance and dedication of Papasian and the amazing number of

creative talents gathered around him, namely, conductor

Vincent Bonzom, well-known vocal coach and vocal advisor

Mariette Jost, member of the Paris Opera Comique Olivier

Podesta and light designer Thibault Ducros from the

Compagnie Irina Brook, in addition to the above mentioned

choreographers and talents. The production is supported by

a few committed individuals namely Vahe Khatcherian,

Levon and Hourig Baghdassarian, Ara Aharonian, members

of the newly formed “Friends of Garine Circle” and the pres-

ident of the Dikran Tchouhadjian Research Centre in Paris,

Prof. Claude Mutafian.

We understand that this new adaptation of “Garine” exists

also in its Armenian and English versions and that negotia-

tions are currently under way to bring it to the United States.

(Centre de Recherche Dikran Tchouhadjian - CRDT- +33

(0) 6 63 77 41 57 Director Gerald Papasian:

gpapasian@yahoo.com)

Hor Hor Agha (Gerald Papasian), left, speaks with Khatchig

(Olivier Podesta).

Edited by Arpa
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http://upload.wikimedia.org/wikipedia/commons/a/a9/Tigranchukha.jpg

http://www.azgdaily.com/AR/2009020418

Did you know that the following is his composition? (Words by H. Chaqryan, we don’t who he is.. Neither do we know who Tagvor. Nalian/Nalyan, is, the writer of the words of Karineh. We know about the librettist of his all time masterpiece Arshak II -Thomas Tezian).

-----

Arevn Elav Zeitountsiner;

Արևն ելավ, Զեյթունցինե’ր,

Դեհ ձի հեծնենք, առնենք զենքեր, դիմենք առաջ.

Ինչո՞ւ, ինչո՞ւ գլուխ ծռենք

Բռնավորին մեր վիզ պարզած:

Զեյթունցի ենք, մեր սփոփանք

Են պատերազմ և արշավանք,

Սուր, թուր, գնդակ և հրացան

Են խաղալիք մեր հավիտյան:

Ամբողջ հինգ դար գերի ենք մենք,

Մեր շղթայք մենք պատրաստեր ենք,

Ինչո՞ւ այժմեն մենք չստիպենք

Մեր գերողին կրելու զայն:

Կեցցե’ Զեյթուն, ապրի’ Զեյթուն,

Թող չտեսնե ստրկություն.

Քանի ունի մեզ պես որդիք,

Ապրի’ Զեյթուն, կեցցե’ Զեյթուն:

----

It is a shame that such a giant of Armenian Culture/Music has very precious little extended coverage on the internet except the following wiki-mickey mouse entry;

http://en.wikipedia.org/wiki/Dikran_Tchouhadjian

I was amazed that that other “mickey mouse” book known as the Hanragitaran/ Soviet Armenian Encyclopedia devotes an entire page and a half, 5 columns to him. Vol 9, pages 66-67. Naturally, as expected 50% of the monograph speaks about his socialist, anti-feudalistic ideology. Allegations are made to how, initially Tigran was inspired by Armenian history and Armenian struggle, with the likes of Zeitountsiner, Arshak II etc, until the censors began harassing and persecuting him when he changed his genre to Opera Comique . Yet, even then the censors could not see the not so hidden message in his most memorable aria in Karineh;

http://www.youtube.c...h?v=rJA5pLs4rI8

http://www.youtube.c...feature=related

Մենք Քաջ տոհմի զաւակներ ենք, չենք վախի,

Մանր—մունր փորձանքներից չենք փախչի,

Մենք դեռ փոքրուց միշտ սիրել ենք քաջութիւն,

Ինչ էլ որ լինի՝ չենք հանդուրժի պարտութիւն։

Ուրեմն յառաջ, զարկենք թմբուկ յաղթական,

Տանք թշնամուն՝ մենք ծեծ ու ջարդ պատուական,

Թող իմանան, մենք չենք դառնայ խաղալիք,

Այնպէս պիտ ծեծենք որ յիշեն Հօր հարսանիք։

Մեր պապերն եղել են քաջերից քաջը,

Անարգել են կայծակների շառաչը.

Մենք էլ նրանց զաւակներն ենք հարազատ,

Էլ ուրիշ ժառանք չկա՛յ, չկա՛յ՝ մեզնից զատ։

Ուրեմն յառաջ, զարկենք թմբուկ յաղթական,

Տանք թշնամուն՝ մենք ծեծ ու ջարդ պատուական,

Թող իմանան, մենք չենք դառնայ խաղալիք,

Այնպէս պիտ ծեծենք որ յիշեն Հօր հարսանիք։

-----

Edited by Arpa
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