Arpa Posted June 24, 2010 Report Share Posted June 24, 2010 (edited) ՏԻԳՐԱՆ ՉՈՒԽԱՅԱՆԿԱՐԻՆԷTigran 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 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, The07-10-2004On the heels of the success of last year's "Zvart" operetta, KrikorSatamian, along with collaborator Maestro Vatche Barsoumian, is busyputting together another work by composer Dikran Tchouhadjian originallytitled "Leblebiji Horhor Agha" and now incarnated as "Leblebiji" for threeperformances here this fall.A veteran of Beirut's AGBU Vahan Papazian Theatre Group, a graduate ofEngland's famous Bristol-school, and an actor with a long line of movie andnetwork television credits under his belt, Satamian needs no introductionto Armenian theatre lovers. His name is synonymous with Armenian theatre inAmerica. …---- 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.pdf14 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 June 24, 2010 by Arpa Quote Link to comment Share on other sites More sharing options...
Arpa Posted June 24, 2010 Author Report Share Posted June 24, 2010 (edited) http://upload.wikimedia.org/wikipedia/commons/a/a9/Tigranchukha.jpghttp://www.azgdaily.com/AR/2009020418Did you know that the following is his composition? (Words by H. Chaqryan, we dont 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, Զեյթունցիներ,Դեհ ձի հեծնենք, առնենք զենքեր, դիմենք առաջ.Ինչո՞ւ, ինչո՞ւ գլուխ ծռենքԲռնավորին մեր վիզ պարզած:Զեյթունցի ենք, մեր սփոփանքԵն պատերազմ և արշավանք,Սուր, թուր, գնդակ և հրացանԵն խաղալիք մեր հավիտյան:Ամբողջ հինգ դար գերի ենք մենք,Մեր շղթայք մենք պատրաստեր ենք,Ինչո՞ւ այժմեն մենք չստիպենքՄեր 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_TchouhadjianI 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=rJA5pLs4rI8http://www.youtube.c...feature=relatedՄենք Քաջ տոհմի զաւակներ ենք, չենք վախի,Մանրմունր 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 June 24, 2010 by Arpa Quote Link to comment Share on other sites More sharing options...
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