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PRESS RELEASE
Tuesday, October 28, 2008
Masterful Production of Dikran Tchouhadjian’s "Zemire" Completes Trilogy
of 19th-Century Composer’s Works
Over 5,000 Southland Armenians Attend Three Performances
The weekend of May 30-June 2, 2008 will long stand out in the memory of
Southern California Armenians as the three-day period when the AGBU
Ardavazt Theater Company and the Lark Musical Society collaborated for
the third time to present the comic operetta "Zemire" by Dikran
Tchouhadjian at the 3000-seat Pasadena Civic Auditorium. This
collaboration resulted from the joint vision and talent of Ardavazt
director Krikor Satamian and Lark conductor Vatsche Barsoumian (who also
wrote the score), who, according to the Nor Gyank Armenian newspaper of
Los Angeles, "added new laurels to the ones already gained from their
two previous collaborations." The operetta was originally written in
1890 and had languished in obscurity for over a century before the
recent California revival.
In "Zemire," a love story based on an Arabian Nights motif, tribal
custom clashes against true love, with the latter triumphing in the end
(aided by fountain water turned into a love elixir). Although the story
took place in the 13th century in the Hijaz region of what is today
Saudi Arabia, the scene of the action was shifted to Persia by the
above-mentioned creative team.
This was the first modern production of "Zemire" in four acts, since its
inaugural French-language performance in Constantinople in 1891
(libretto in Turkish by Dikran Kalemjian), in a completely new Armenian
translation from four languages (Turkish, French, Italian and Russian)
by Maestro Barsoumian, inasmuch as the original manuscript’s whereabouts
were not known until recently. Armenian productions of two of
Tchouhadjian’s three other operettas, "Zvart" and "Leblebiji Hor-Hor
Agha," were previously introduced to Southern Californian Armenian
audiences in 2003 and 2004. Tchouhadjian had turned to the genre of
operetta in the 1870’s after composing the first Armenian opera, "Arshag
II," which was patterned after European opera.
Dikran Tchouhadjian, the founder of Armenian – and Turkish – opera, is
considered one of the giants of Armenian music, along with Komitas,
Alexander Spendiarian and Aram Khachaturian. He was the first Armenian
composer to introduce professionalism into the composition and
performance of Armenian music. Although Tchouhadjian lived under the
unfavorable conditions of Ottoman Turkey, he waged a courageous struggle
for the development of Armenian national culture; actively participated
in the Armenian Musical Association of Constantinople, musical
monthlies, the formation of a symphony orchestra, as well as the
founding and subsequent activity of musical-theatrical groups.
Considered to be a highly artistic work, this performance of "Zemire"
involved the participation of not only the 50-member Lark Chorus, 15
members of the Ardavazt Theater Company, 20 dancers, and a 60-member
Pasadena Symphony Orchestra, but also such prominent and talented
soloists as mezzo-soprano Shoushik Barsoumian (in the role of Suheile),
mezzo-soprano Anahid Halabi (Mediha), baritone Artashes Hayriyan (Grand
Wizard Ebudia), baritone Bakur Kalantaryan (Benezar), contralto Shoghig
Koushakjian (Rebia),soprano Ani Maldjian (Zemire), tenor Suren
Mkrtichian (El Santur), tenor Heibert Sarian (Nadare), bass Rafael
Telunts (Ebulgana) and baritone Ruben Telunts (Atalmuk).
Sona Avetisyan was the choreographer; Felix Yeghiazarian created the set
concepts; Raffi Musakhanyan was the scenic artist and executor; singer
Anahid Halabi doubled as the costume designer; Sevag Bekmezian was
responsible for the lighting design; Nazareth Achabahian and Andrea
Wiersma did the makeup. Sylva Manoogian and Armen Aroyan created the
English-language text that was shown on the screen during the
performances.
Several months in advance, seven committees, including public relations,
protocol, advertising and design, technical, accounting and tickets,
fundraising, logistics and support, and several other auxiliary groups,
were formed in order to successfully mount this lavish production, which
cost over $350,000. Co-chairmen of the executive committee were Steve
Azadian and Samuel Ilandjian, former president of Ardavazt and the man
who decided to bring Lark Conservatory and AGBU together to produce the
operetta.
The fundraising committee, in particular, managed to collect a
significant amount of donations to mount the production: almost
one-third was generated through ticket sales; the Jack Munushian
Charitable Trust and Mr. and Mrs. Jerry and Pat Turpanjian, TF
Foundation, each gave $50,000; approximately $100,000 was collected from
sponsors, donors, contributors, supporters and friends.
Pre- and post-event publicity regarding "Zemire" represented the most
extensive campaign mounted in the United States for a cultural event,
since the San Francisco Opera’s production of "Arshak II" in 2002. At
least a dozen most favorable reviews, in addition to letters to the
editor, appeared in the Armenian- and English-language press, in which
the production was described in the following words: "impeccable" (The
Armenian Observer, June 4, 2008)… "not a gold but a diamond page was
added to the rich history of Armenian culture in Los Angeles"…
"acting, singing, instrumental music, and a marvelous harmony of
costumes paraded before our eyes, demonstrating a stupendous degree of
organization" (Nor Or, June 7, 2008); "a professional production with
all the necessary details" (letter, The Armenian Observer, June 11,
2008).
The following is a sampling of opinions from reviews of "Zemire" in the
Armenian American press:
"The other performances which are given on practically a weekly basis in
Los Angeles aren’t to be compared with ‘Zemire,’ which was different in
terms of quality, visual presentation, color and the courage to mount
such a production." (Kevork Bedigian, "Mdorumner ‘Zemire"n Vayelelov
[Contemplations While Enjoying "Zemire"], Asbarez, June 7, 2008).
"We were literally transported into a magical world… The presentation
of ‘Zemire’ was in almost no way inferior to the productions of European
or American professional outfits." (Haroutiun Saghrian, "Zemire,"
Massis, June 7, 2008).
"Soprano Ani Maldjian played Zemire, and her uncompromising talent stole
the show, her mastery of the vocals commanding the audience’s
attention…When watching tenor Suren Lazarian, one can’t help but be
reminded of a young Pavarotti, as if Lazarian were channeling the
legendary singer." (Armine Iknadossian, "Zemire Concludes Tchouhadjian
Series," The Armenian Reporter Arts & Culture, June 14, 2008).
"The applause and exclamations of admiration from the standing audience,
which lasted for five minutes, were the best expression and appreciation
of the satisfaction and warm feelings of the 1,500 attendees." (Sarkis
Majarian, "’Zemire’ – Barzabess Skancheli" ["Zemire" — Simply
Magnificent], Nor Hayastan/New Armenia, June 3, 2008; Nor Or, June 14,
2008).
"I wonder if Tchouhadjian could have imagined that it would take all of
120 years for his ‘Zemire’ to shine, during the days of whose creation,
in abject poverty, he had to pawn off all his manuscripts, even his
watch, and then he departed from this earth." (Ankine
Keshishian-Mouradian, "Tchouhadjiani ‘Zemire’n Veragentanatsav"
[Tchouhadjian’s "Zemire" Was Revived], Nor Gyank, June 12, 2008; Nor
Hayastan/New Armenia, June 17, 2008)
"While watching this performance, I became filled with admiration on
various occasions but the main thing is that throughout the performance,
a feeling of amazement remained with me over Tchouhadjian’s having
penetrated the depths of the operatic genre and his immense experience
and skill in mastering that." (Composer Tigran Mansurian, "Grarumner
Tchouhadjiani ‘Zemire’yi Artiv" [Jottings on the Occasion of
Tchouhadjian’s ‘Zemire], Massis, June 28, 2008; "Khenkarkumi
Tsuntsutiun. 117 Tarva Undmidjumits Heto Los Angelesum Bemadrvets T.
Tchouhadjiani ‘Zemire’ Operan [Exultation of Flattery: T. Tchouhadjian’s
"Zemire" Is Staged after a 117-year Interruption], Nor Gyank, July 17
and 24, 2008).
Karine Ter Grigorian, in her article entitled "’Zemireyi Yeluytits Heto"
[After the Production of "Zemire"] (Asbarez, June 19, 2008), gives a
sampling of attendee reaction: "the beauty of the music gradually became
apparent (Dikran Arpiarian)"; "there was unanimity about the splendor
and magnificence of the sets." The author mentions that one viewer said,
"Such a thing could only be done in Armenia," then points out that the
roles have now been reversed, due to the emigration of artists and the
conditions in the homeland. The author concludes her article by pointing
out the historical impact of the production: "The aim of this production
was to prevent ‘Zemire,’ which had been rendered into oblivion, from
getting permanently lost, 117 years after it was written…Another 117
years from now, the historical record will contain the line: ‘In 2008,
‘Zemire’ was presented in Los Angeles by Lark Musical Society and AGBU
Ardavazt Theater Company.’"
Founded in 1979, the AGBU Ardavazt Theater Company is the only full-time
Armenian theater company serving the LA community. The ATC was named
after Ardavazt II, king of Armenia during the first century B.C.
Ardavazt was considered a champion and supporter of the theater arts.
Ardavazt has performed in many cities across North America, including
Boston, New York, Chicago, San Francisco, Montreal and Toronto. For more
information about AGBU and its cultural programs, visit AGBU online at