Σάββατο 20 Απριλίου 2024

Η ΧΑΡΙΣ ΑΛΕΞΙΟΥ ΣΕ BILLBOARD ΣΤΗΝ TIMES SQUARE ΣΤΗ ΝΕΑ ΥΟΡΚΗ!

 


Η ΧΑΡΙΣ ΑΛΕΞΙΟΥ ΣΕ BILLBOARD ΣΤΗΝ TIMES SQUARE ΣΤΗ ΝΕΑ ΥΟΡΚΗ!

🤩🗽
Η Haris Alexiou / Χάρις Αλεξίου, εμφανίστηκε σε billboard στη φημισμένη Times Square της Νέας Υόρκης ως πρέσβειρα Ελλάδας και Κύπρου στην παγκόσμια καμπάνια EQUAL του Spotify με θέμα την ισότητα και την ενδυνάμωση της γυναικείας επιρροής στην μουσική βιομηχανία. 🎶
Για πρώτη φορά, η σπουδαία Χάρις Αλεξίου επιλέχθηκε από το SPOTIFY ως πρέσβειρα αυτής της ενέργεια όχι για έναν αλλά για έξι μήνες!
Το Spotify, η δημοφιλέστερη πλατφόρμα streaming μουσικής παγκοσμίως, συνεχίζει να ενισχύει μέσω της παγκόσμιας καμπάνιας του EQUAL, τις γυναίκες καλλιτέχνιδες σε όλο τον κόσμο. 🌍
Τόσο μία Ελληνίδα τραγουδίστρια όσο και άλλες 35 τραγουδίστριες από 50 χώρες και τα τραγούδια τους, περιλαμβάνονται στην παγκόσμια playlist Equal Global στο Spotify αλλά και στις αντίστοιχες local playlists. 🎵
Η Χάρις Αλεξίου συμμετέχει στις playlists EQUAL GREECE και EQUAL GLOBAL με το «ΦΥΓΕ», τη συνεργασία με τον ΛΕΞ που περιλαμβάνεται στην πρόσφατη δισκογραφική δουλειά της με τίτλο REWORKS που κυκλοφόρησε από́ την ESTIA RECORDINGS και τη MINOS EMI/UNIVERSAL.
Το «ΦΥΓΕ», που αγαπήθηκε από την πρώτη στιγμή, κατάφερε να ξεπεράσει τα 4,5εκ. streams συνολικά, τα 2,6εκ. views και να φτάσει στις υψηλότερες θέσεις των charts σε YouTube, Spotify και Shazam. 🥳

Παρασκευή 19 Απριλίου 2024

Maria Callas - Norma, Epidavros

 

A Norma comeback

Maria Callas fulfilled the last contract arranged by her husband/manager, Meneghini, on 21 November 1959, in Dallas as Medea. Due to the change in her personal circumstances, she took a break from performing until July 1960, when she attempted to record some arias for a recital disc with EMI in place of the expensively aborted La traviata project. Some of these recordings, undertaken in London with Antonio Tonini, have only recently come to light and after almost eight months off the scene, she sounds somewhat vocally ill at ease through the lack of use. A month later, she embarked on a new production of Norma at the magnificent Greek amphitheatre, Epidavros. This was the first time that opera rather than drama had been performed there and there were considerable problems in reaching agreement to allow it to be presented.
Certainly, a fair amount of drama surrounded the performances. A sudden change in the weather meant that the premiere on 21 August had to be cancelled, so Callas appeared in public for the first time in 1960 on 24 August. At the second performance on the 26th, an announcement was made that she was unwell but would sing, and the third one, scheduled for 28 August, was cancelled.
A couple of weeks later, in September, she was back at La Scala, Milan to record her stereo re-make of Norma with her old mentor, Tullio Serafin as conductor, Franco Corelli as Pollione, Christa Ludwig as Adalgisa, and Nicola Zaccaria as Oroveso. The recording was met with mixed reviews and while most acknowledged the deepening of her interpretation, her voice was found to have become more unsteady and lacking the fire that she had previously brought to the role. The German mezzo Christa Ludwig was an odd choice for Adalgisa. She admitted that she knew little about bel canto and that Callas was a great help to her, but her rich, luscious voice and German technique were not ideally suited to the role. The recording was the last Callas made with Serafin.
However, after the unexpected hiatus in her career Callas, if somewhat briefly, was back in the game.

Luchino Visconti, Gluck's masterpiece 'Iphigenie en Tauride' with Maria Callas

 

The Great Maria Callas

A Greek heroine

In April 1957 at La Scala, Callas opened in her fifth and final production by Luchino Visconti, Gluck's masterpiece 'Iphigenie en Tauride', or Ifigenia in Tauride, as it was sung in Italian. It was reputed to be Visconti's favourite production with Callas, although she really wanted to be costumed in classical Greek attire, given her background, rather than the very grand, splendid 18th century costumes designed by Nicola Benois. However, she looked magnificent and was in fine, ringing voice, excelling in the declamation of her recitatives and the wonderful legato line of her singing in the numerous arias. She recorded Iphigenie's great aria, 'O malheureuse Iphigenie' for her second French arias disc in 1963. By then the voice had weakened somewhat and the top of the voice could be tentative and precarious, but the sense of line and style and the emotion conveyed in the aria is even greater than it was six years earlier.
In 1957, Callas's friendship with gossip columnist and socialite Elsa Maxwell was at its height. However, the relationship cooled considerably later that year after a frosty exchange in Dallas, Texas during Callas's inaugural concert for the Dallas Opera.

Πέμπτη 18 Απριλίου 2024

EMBCA’s “2ND HELLENIC/ GREEK REMBETIKA , AND TURKISH MUSIC CONCERT “

 

THE BEST OF AMERICA.-

EMBCA’s “2ND HELLENIC/ GREEK REMBETIKA , AND TURKISH MUSIC CONCERT “ yesterday evening in Association with the Turkish American Chamber of Commerce & Industry /TACCI at St. Peter’s Church at Citicorp Center exceeded all expectations and was nothing short of a HIGHLY SUCCESSFUL, SPECTACULAR and AMAZING EVENT !! The Concert in an elegant and great venue featured the finest music with Greek/ Hellenic Rembetika Ensemble headed by Julie Ziavras its Musical/ Artistic Director , and the Turkish Ensemble- Strings of the East headed by its Musical /Artistic Director Cengiz Onural. Many heartfilled thanks to the highly culturally and ethnically diverse American audience and your humbling extremely positive comments. A SHOUT OUT to my Greater Harlem Chamber of Commerce colleagues, my development, design and construction associates and the American School of Classical Studies in Athens, among many groups for being there in what was really an international American event. You more than helped create another EMBCA SIGNIFICANT, FANTASTIC & UNIQUE EAST MEDITERRANEAN MUSICAL CULTURAL EXPERIENCE EVENT !!
My introduction to the Hellenic Rembetika Ensemble:
“Tonight you will hear Hellenic Rembetika music, often referred to as the "blues of Greece," encapsulates a rich tapestry of cultural influences, reflecting the struggles, joys, and spirit of the Hellenic people. Originating in the late 19th/ early 20th century, Rembetika emerged from the urban working-class neighborhoods, particularly in port cities like Piraeus, Thessaloniki, Smyrna, Port Said, and New York. At its core, Rembetika embodies the ethos of laïkó music, characterized by its raw emotions and poetic lyrics. The themes often revolve around love, loss, poverty, and life's hardships, mirroring the realities of everyday existence. Instrumentally, Rembetika is distinguished by its use of the bouzouki, a stringed instrument with a distinct sound that evokes both melancholy and celebration. One of the defining features of Rembetika is its subversive nature. Initially associated with marginalized communities such as sailors, refugees, and urban outcasts, Rembetika was frowned upon by the mainstream society and even banned at times due to its perceived association with crime and rebellion. However, its popularity continued to grow, fueled by its authenticity and resonance with the common people.Despite its humble origins, Rembetika underwent a process of cultural evolution, drawing influences from various musical traditions such as Byzantine, Ottoman, and Sephardic Jewish music. This fusion of styles resulted in a unique musical genre that transcended geographical and cultural boundaries, capturing the imagination of audiences both within Greece and abroad. Over the years, Rembetika has undergone periods of revival and reinvention, maintaining its relevance in contemporary Hellenic music. Its enduring legacy can be heard in modern interpretations by artists who pay homage to its roots while infusing it with new sounds and perspectives.In essence, Hellenic Rembetika music serves as a testament to the resilience and creativity of the Hellenic people, preserving their cultural heritage and providing a voice for the marginalized and disenfranchised. Through its evocative melodies and poignant lyrics, Rembetika continues to inspire and captivate audiences, ensuring its place in the musical landscape for generations to come. Enjoy. “

Successful concert of Panagiotis Karousos at the Catholic Cathedral Basilica of St. Dionysius the Areopagite

 

Concerto di Musica Sacra del compositore Panagiotis Carousos. 13 \ 4 \ 2024. Basilica cattedrale di San Dionigi l'Areopagita (Atene)

 


Il compositore P. Carousos in Cattedrale di San Dionigi

Concerto di compositore P. Carousos in Cattedrale di San Dionigi l'Areopagita (Atene). Saturday, April 13, 2024. A religious music concert by composer Panagiotis Karousos was presented with great success at the Holy Catholic Cathedral Basilica of St. Dionysius the Areopagite. Concerto di Musica Sacra del compositore Panagiotis Carousos Comitato degli Italiani all' Estero – Grecia. Costantino Salis, Presidente Comites Grecia Sabato 13 \ 4 \ 2024. Basilica cattedrale di San Dionigi l'Areopagita (Atene). The Cathedral was full of people who applauded the concert and artists. Program: Excerpts from the oratorios: Pergolesi Stabat Mater, "Gloria" Antonio Vivaldi, "Light of Christianity" Panagiotis Karousos. The "Rhapsodes" Choir and soloists of the composer Panagiotis Karousos participated: Rea Voudouri, Irini Konsta, Melania Petrillo, Giannos Kotzias, Nina Giatra, Giannis Darios, Argyris Kontonikolaou, Christiana Manou (piano). Coordination: Rea Boudouri (soprano). Artistic Direction: Panagiotis Karousos (composer). Program: 1) Argyris Kontonikolaou: Apolytikio of St. Dionysius the Areopagite. 2) When the Son of Man Comes (Quando verrà il Figlio dell'uomo Coro - Oratorio: Luce del cristianesimo - P. Carousos) 3) Rea Voudouri & Nina Giatra: Aria of Maria Magdalena (Luce del cristianesimo - P. Karousos) 4) Melania Petrillo & Rea Voudouri: Laudamus Te (Gloria - A. Vivaldi) 5) Irini Konsta, Melania Petrillo, Giannis Darreios, Giannos Kotzias: Panis angelicus (C. Franck) 6) Melania Petrillo: Ave verum corpus ( A. Mozart) 7) Irini Konsta: “Inno all'amore” di san Paolo (Luce del cristianesimo - P. Karousos) 8 ) Melania Petrillo & Rea Voudouri: Il lamento di Maria (Luce del cristianesimo - P. Karousos) 9) Inno a Gesù choir (Luce del cristianesimo - P. Karousos) Program: 1) Argyris Kontonikolaou: Apolitikio: Saint Dionysius the Areopagite 2) When the Son of Man Comes (Oratorio : Light of Christianity - P. Karousos) 3) Rea Voudouri & Nina Giatra: Aria of Mary Magdalene (Light of Christianity - P. Karousos) 4) Melania Petrillo & Rea Voudouri: Laudamus Te (Gloria - A. Vivaldi) 5) Irini Konsta, Melania Petrillo, Argyris Kontonikolaou, Giannos Kotzias: Panis angelicus (C. Franck) 6) Melania Petrillo: Ave verum corpus (A. Mozart) 7) Irini Konsta: “Hymn of Love” Apostle Paul (Light of Christianity - P. Karousos) 8 ) Melania Petrillo & Rea Voudouri: The Lament of Mary (Light of Christianity - Fr. Karousos) 9) Hymn to Christ choir (Light of Christianity - P. Karousos)