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)

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The Legacy of Khosrow Jafarzadeh

This year marks the fifth anniversary of the passing of Khosrow Jafarzadeh (Khosrow Djafar-Zadeh), a distinguished architect and pioneering researcher of Iranian music, whose contributions to the magazine “Harmony Talk” have left an indelible mark on the field. The absence of this remarkable individual has significantly impacted the expansion and advancement of his theories, which are heralded as some of the most progressive in the history of Iranian music

Whose dream?! Whose reality?!

(A review of the “So Faraway” album; Tar and Tonbak duet; Siavash Imani, Pedram Khavarzmini)

From Past Days…

Principles of Violin Playing (III)

Violin players should always pay attention to the proper position of the left thumb and other points related to it and to its joining point to the palm.

A combination of technique and musicality in the fingers of a pianist

In the world of classical music, the position of soloist has always been exceptional. Apart from the technical ability that many orchestral musicians also have, the soloist must also have a special power to be able to present a different and unique perspective of a piece. The soloist must maintain its special power of expression not only in solo roles but also when interacting with the orchestra.

History’s Impact on Evaluating a Work of Art

With this description, we have automatically included a criterion called “History”, Until we know the time of the creation of a work of art, we cannot judge whether it has been easy to create or not. Suppose that, in a historical study, we find a musical work that is similar in compositional techniques (including form, melody, context, and orchestration) to a minor work of the nineteenth century; however, our research proves that, this work dates back to 200 years prior to that date. Can we still consider this work insignificant? Definitely not! So this is where the first use of history-based judgment comes into play.

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.

Banan: the Artist of the Age

Gholam Hossein Banan was born in 1911 in Tehran. He was born in an affluent art-loving family who were Naser al-Din Shah Qajar (1848-1896)’s relative. The Qajar King was his mother’s uncle on her father’s side. He learnt his first lessons in music while his father sang Iranian avaz (improvised rhythmic-free singing), he then attended classes by the renowned Iranian composer, Morteza Neydavoud (1900-1990) along with his sisters; the composer is, therefore, considered as his first teacher. He then learnt Iranian avaz under the supervision of Mirza Taher Zia Resaee (Zia-o Zakerin) and Naser Seif in an oral manner.

Persian Music: “Mahour the Great” in Austria

In 1990  an Austria-based Persian musician Khosro Soltani, in cooperation with Hossein Alizadeh, put out an album entitled, Ancient Call A New (Nobang-e Kohan). After many years, a few ancient Persian instruments such as Sorna, Karna, Naghareh,etc. have been used, instruments which have been left out of the circle of Persian classical musical instruments for centuries.

Interview with Farhad Poupel (I)

Born in Isfahan, Iran, and based in the UK, Farhad Poupel’s music has been performed and will be performed in numerous prestigious concert halls and festivals throughout the world including Suntory Hall in Tokyo, Japan; La Roque-d’Anthéron Piano Festival, La Roque-d’Anthéron, France; Biarritz Festival, Biarritz, France; Stoller Hall, Manchester, UK; Janacek academy of music and performing art, Brno, Czech Republic; Karlskrona International Piano Festival, Karlskrona, Sweden; by distinguished artists such as Kotaro Fukuma, Peter Jablonski, Daniel Grimwood, Margaret Fingerhut, Catherine Carby, Kristýna Znamenáčková,Jeffrey Biegel, Jean-Francois Bouvery and orchestras such as Windsor Symphony Orchestra or broadcasted on the NPR Radio 4, Netherland. The following is an interview with him on the ocaasion of the premier of the Legend of Bijan and Manijeh.

Polyphony in Iranian Music (V)

In addition to the above-mentioned, polyphony can be also formed when a melody is performed by several singers in different ambiances or different sound registers according to their physiologic abilities. An example of this has been performed in rituals of Khanqah of Ghaderi darawish of Mahabad[i].

Call for papers SIMF 1396

The Association of Iranian Contemporary Music Composers (ACIMC) and SHAHREAFTAB Art & Cultural Association are pleased to announce a call for papers for SIMF 1396.

Interview with the Makers of the New Qeychak (II)

Regarding the classification of a new instrument in an instrument family, one can point to a number of fundamental issues, one of the most obvious of which is the instrument’s visual features. If we look at how the new instrument has changed compared to its historical versions, the set of visual elements that link the instrument to the Qeychak family becomes apparent. But other characteristics such as the geometric dimensions of the instrument, characteristics of the instrument’s various parts and how they relate to each other, its systematic performance, its sound range (compared to modern versions), the material and color of the sound, the way it is played and the like, can be considered in order to classify the instrument in the Qeychak family.