Ashoura Opera

Ashura Opera was composed by Behzad Abdi, the Iranian composer, in 2008 based on librettos compiled by Behrouz Gharib. The main source for the libretto is poems by Mohtasham Kashani, a sixteenth century Iranian poet.

In the Iranian culture, the first ten days of Muharram (the first month of the Hijri calendar) marks the anniversary of the martyrdom of the third Shia Imam, Imam Hossein, and is observed by mourning ceremonies all through the country.

This year, the Vahdat Hall in Tehran, experienced its first musical performance during the first ten days of Muharram at least in the past three decades after the Islamic Revolution of the 1979 as the Roudaki Foundation decided to have the opera on stage in the form of a concertante for five nights. Nassir Heidarian, the Austrian-based Iranian conductor, was invited to as the guest conductor to lead Tehran Symphony Orchestra for this unique performance at such a special time of the year.

The composition is the first Iranian national opera. Behzad Abdi explains that Iranian Opera should not be compared to the Wagnerian and Italian Opera as they stem from different cultural backgrounds. In a brief article published in the Farsi Etemaad Newspaper, in January 2013, Abdi states that in the Iranian opera, the singing (avaaz) plays a crucial role as the protagonists sing in the Iranian style (avaaz) and the antagonists draw on the recitative in creating their roles.

In a series of articles entitled “A Review of Ashura Opera” by Sadjad Pourghanad which was published on the Farsi HarmonyTalk Journal, the critic argues that Behrouz Gharibpour has carried out a great job in structuring his opera based on traditions practiced in the Iranian Ta’zieh which is considered a genuinely Iranian art also well-known for preserving the dastgah frame work of the classical Iranian music.

The Opera is originally a marionette, designed and directed by Behrouz Gharibpour, and enjoyed many performances worldwide and was very well received by its audience.

The work is recorded by the Ukraine National Orchestra under the baton of Vladimir Sirenko in Ukraine.

The Opera is written in the following acts:

Part 1: Prelude
Part 2: Yazeed’s Court
Part 3: Angels
Part 4: Shimr’s Residence
Part 5: Farewell
Part 6: Horr
Part 7: Ibn Zyad’s Court
Part 8: Horr’s Martyrdom
Part 9: Festivity at Ibn Zyad’s Court
Part 10: Final


Behrouz Gharibpour, born in 1957, is a writer, cinema and theatre director and a master of marionette opera. He is very prolific and has directed 6 marionette operas so far. Ashoura Marionette Opera is Gharibpour’s first experience as librettist.

Behzad Abdi, born in 1973, is a composer and an actor. He studied the basic music theory with Maestro Masoud Sha’ari (Masoud Shaari) and Maestro Farhad Fakhreddini. He gained his Masters in composing from Kotlyarevsky University of Arts in Ukraine and studied with Maestros such as Vadim Jurzvitsjyi, Liudmila Yurina, Vladimir Zolotukhin, ‏Lev Kolodub. Behzad Abdi’s recorded symphonic works exceed those of any other Iranian composer. He has been awarded the Crystal Simorgh of Fajr Film Festival for the best score several times.

Nassir Heidarian, born in 1957, studied trumpet and trombone in the Higher Conservatory of Music in Tehran. Having graduated from the Conservatory, he started working at Tehran Symphony Orchestra. He then furthered his musical education in trombone and conducting in University of Music and Performing Arts in Vienna. Teaching at University of Music and Performing Arts in Graz, as well as conducting several operas in Graz Opera are among his achievements.


Singers:
Ali Yaripour (Mohtasham), Mahdi Javar (Yazid), Soheyl Matin (Shemr), Ramin Bahiraie (jebreil), Hanieh Gholibeykian (Shemr’s Wife), Kimia Khanzadi (Sakineh), Razan Tirna (Roghaieh), Hadi Feyzabadi (emam Hosein), Alireza Mahdizadeh (Hor), Mahdi Emami (Abas), Sadjad Pourghanad (Omar), Mohamad Vaziri (Mosab), Amer Shadman (Ziad)

Post a Comment

Required fields are marked *
*
*
Your email is never shared.

Farhad Poupel: The Voice of the Shahnameh in the Orchestras Around the World

In an era when almost no trace of contemporary Iranian music can be heard in international concert halls, except (so-called!) avant-garde works that owe their existence solely to the fashionable slogans of the “pseudo-intellectual” crowd who have seized the already meager resources for performing classical music from the true artists of the field, the numerous performances of Farhad Poupel’s works shine as a ray of hope for lovers of sincere musical art. Without resorting to trendy slogans, he has kept the flame of Iranian classical music alive purely through the power of his artistry.

Five Major Myths About Mozart’s Life

Wolfgang Amadeus Mozart, the renowned Austrian composer, is undoubtedly one of the greatest geniuses in the history of classical music. However, his life is surrounded by numerous myths and legends, some of which are not based on facts. This article explores five of the most common misconceptions about Mozart’s life.

From Past Days…

The Structure of Kurdistan Daf (VI)

Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Hooks and attached rings: The junction of the ring to the arch is about 3 centimeters from the skin.  The ring with its side rings should be as far as the diameter of a ring (about one and a half to one and eight centimeters) to make a proper…
Read More »

Mohammad Esmaili passes away

Master Mohammad Ismaili, a prominent musician and renowned tombak player, passed away on August 13, 2023, after battling an illness in the ICU of Rasoul Akram Hospital. His funeral will take place on Thursday, August 17, at 10 am in front of Vahdat Hall, and he will be laid to rest in the Artists’ Section of Behesht Zahra Cemetery.

The Structure of Kurdistan Daf (V)

ehrouz Mohammadi, “Daf and its feasts in Ghaderieh’s Tekyeh” mentions that the outer thickness of arch where studs are located, [is] between one to one and a half centimeters (Mohammadi, 2001: 12). The thickness of arch should be gradually reduced from the installation place of rings to skin (Avazeh of Daf) to create a high volume, clear sound from Daf; also, the connection of arch to skin should not be less than one millimeter, because in this case the skin will be torn due to the sharpness of the wood (Mogharab Samadi, 2009: 79-78). The thickness of wood on the skin side is about two to three millimeters (Tohidi, 2002: 79).

The Structure of Kurdistan Daf (VII)

Conclusion

“Daf” is one of type of percussion instruments that has a long history and is commonly known as circular instruments (with a rim). In some tribes, Daf was used as the main instrument in festivity and joy ceremonies; in another tribe it was used as the main instrument for war and campaign ceremonies and some others used it for ritual and religious ceremonies.

Hossein Aslani passed away!

Hossein Aslani, Iranian pianist residing in the US, passed away due to cancer in late January 2020. His last musical activity was an article written for Harmony Talk entitled “Iran amidst musical struggle” in 2016, his memoir entitled “I Play You Again” in the same year and his album “Symbolic Emotion” published by Arganoun Publications in 2014. Here is a brief biography of Hossein Aslani according to his own website:

Jamshid Andalibi passed away!

Jamshid Andalibi, one of the most famous ney players in Iran, passed away on the fifteenth of Esfand, 1402, at the age of 66 due to a heart attack at his private residence. Andalibi was a member of a family that had a significant presence in the field of Iranian music in the sixties and…
Read More »

Iranian Fallacies – Composition and Arrangement

In the tradition of classical music, it is generally tried to use the same technical terms related to music in all countries. Even in the cultures in which native terms exist to refer to musical terms, usually the better known universal terms are employed.

Polyphony in Iranian Music (VI)

Torqeh or jal is the same bird (Bimaculated lark) and is the name of a muqam which is well-known in Torbate Jam and those areas. Jal muqam is called Torqeh in Esfarayen and Bojnourd. This muqam which was used to be played by Bakhshis/Bagşies (dutar-players) in the past is seldom performed today.

Iranian Fallacies – Global Performance

One of the most important criteria for measuring the quality of a piece of classical music is number of times the piece has been performance by different ensembles and orchestras in different eras. This belief has become so pervasive in some societies, such as Iranian society, that it is considered the only criterion for measuring the quality of a piece of classical music.

Ruggero Chiesa’s Legacy

Written by Peyman Shirali Translated by Mahta Mottaghi Since many years ago, I had the intention of writing an article on the Italian maestro Ruggero Chiesa and his musical life; but his ingenuity and the immense legacy, which is impressive for not only me, but also almost everyone who knows him properly, made it hard for me…
Read More »