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.

Nasser Masoudi: The Voice of Gilan and a Legacy of Iranian Music

In Iranian music, certain singers have become emblematic of their homelands through their distinctive voices. Historical figures such as Eghbal Sultan, who epitomized the grandeur of Azerbaijani music, and Taj Isfahani, who conveyed the authentic essence of Isfahan, serve as notable examples from the Qajar era. Nasser Masoudi occupies a similar position; his voice emerged as a symbol of Gilan while also achieving national acclaim. Before him, Master Ahmad Ashurpur represented Gilan’s musical landscape, but his extended residence outside Iran limited his continuous engagement in the music scene. In contrast, Masoudi’s consistent presence allowed him to introduce the voice of Gilan to audiences across Iran.

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.

From Past Days…

Principles of Violin Playing (I)

The present series of training articles, “Principles of Violin Playing”, seek to help students, to appropriately understand this field, by gradually introducing, categorizing, and teaching the myriad relevant points. One of the principles of playing violin, which must be always kept in mind, is that the selection of the most natural position for the body parts while playing is the best and most appropriate solution. As a matter of fact, any unnatural body part position which requires lots of energy or unusual stretching to maintain, is wrong.

Rouhollah Khaleghi Artistic Center established in Washington DC

Golnoush Khaleghi (1941-2021), a Washington-based Persian musician and the daughter of the contemporary Persian (Iranian) composer and theoretician Rouhollah Khaleghi (1906-1965) founded a musical center called RKAC to keep the name and the work of her father alive.

From Tradition to Trend: The Evolution of Decorative Arts in Iranian Dafs

Daf is one of the percussion instruments associated with the Kurdistan region of Iran, which has a special place in Iranian music. In the past, animal skin was used for the drum head, but now most of the tambourines in the market are made with artificial skin, which are designed with various decorations.

Illusion or Ingenuity?

Mohsen Renani in the preface of his book entitled “The Political Economy of nuclear conflict; an introduction to traversing the civilizations” writes:

Avaye Naerika Percussion Orchestra

Avaye Naerika Percussion Orchestra is an Iranian percussion orchestra featuring 40 lady percussionists. The Orchestra was established as Iran’s largest all-female percussion orchestra in 2008 by Ms. Minoo Rezaei under the title Naerika Percussion Orchestra and changed its name to Avaye Naerika in 2017.

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (3)

Wolfgang Amadeus Mozart, a musical prodigy of the Classical era, was deeply influenced by the intellectual currents of the Enlightenment. His exposure to Enlightenment ideas was multifaceted, shaped not only by the cultural milieu of his time but also by the relationships within his family and his own interactions with prominent figures of the Enlightenment. This exploration will delve into Mozart’s acquaintance with Enlightenment ideas through his father’s relationships and his own encounters with influential personalities of the era, including Christian Fürchtegott Gellert, Baron Melchior Grimm, Madame d’Epinay, and Joseph von Sonnenfels. Additionally, the essay will examine the impact of Joseph II’s reforms on Mozart’s life and artistic endeavors.

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.

New Technique for Playing Classical Guitar (II)

When the author was working on the piece “Playing Love” by Ennio Morricone (from the legend of 1900), he realized a failure of the Lip Technique. Needing to play a chord in the 14th position of the guitar and in order to complete the harmony, it is necessary to play a harmonic note on the 7th or 5th position; it was not possible to touch the string to play this harmonic note, because the Lip Technique is used for getting the notes and not to touch the string and producing harmonic notes. Naturally, the only possible way to touch the string was to use the nose at the required position and playing the note with the right hand, and this was the best option the author found to how to play such harmonic notes, and where the Nose Technique was generated.

Iranian Fallacies: Iranian Chords

Finding a way to harmonize the Iranian music has been the subject of controversy among Iranian musicians for a long time. Some believe in the creation of harmonies for Iranian music based on a method which is similar to the tierce harmony; while others have either selected or invented some other methods. There are also some musicians who do not basically agree with the harmonization of the Iranian music.

Developments in Iranian Music Since Qajar Era (I)

At the end of the Qajar era and as Iran entered the power transition period, known as the constitutional era, the Iranian music went through a lot of changes. These changes gained momentum as the students and followers of Ali Naqi Vaziri’s entered the musical scene. These changes greatly influenced designs of instruments, playing methods, singing, composing, etc.