Herr Mohammad Reza Vasfi - Kulturattache Iran, Nassir Heidarian-Rasty, Johannes Pietsch - MAP
Iran`s leading International Daily
Conductor satisfied with Iranian orchestra’s performance at Shanghai festival
May 23, 2016
TEHRAN – Iranian conductor Nassir Heidarian has expressed satisfaction over his orchestra’s performance during the closing ceremony of the 33rd Shanghai Spring International Music Festival on May 18. “We gave a good performance and all the musicians in the orchestra played with all their energy; I feel satisfied with their work,” Heidarian told the Persian service of ISNA on Sunday.
Heidarian conducted the orchestra composed of musicians from the Tehran Symphony Orchestra and Iran’s National Orchestra, which performed a selection of world classical music at the festival including
Antonin Dvorak’s Symphony No. 9.
Iran replaced the Tehran Symphony Orchestra for the closing ceremony of the Shanghai Spring International Music Festival on May 18 after conductor Ali Rahbari resigned in late April.
The concert was originally scheduled to be performed by the Tehran Symphony Orchestra, but Iran had to replace the orchestra due to conductor Ali Rahbari’s resignation.
Samstag, 7. Mai 2016 10:16
Tehran symphony orchestra performing
"the ashura opera"
Tehran Symphony Orchestra performing ‘The Ashura Opera’ Tehran Symphony Orchestra directed by Nassir Heidarian is performing ‘The Ashura Opera’, which is sorted out by Roudaki Foundation, from October 16-22 at Tehran’s Vahdat Hall. The musical show was formed by Behzad Abdi to recognize the affliction of Imam Hussein (PBUH), the third Shia Imam, and some of his faithful allies on Ashura, the tenth day of the lunar month of Muharram in 680 C. E. In spite of the fact that performing musical drama in its Western structure is more well known, just a couple individuals know about the musical shows established in Islam and Iranian society. Behrouz Qaribpour restored Iran’s national musical drama in 2008 and organized it as Ashura musical drama. Abdi got a few grants including best music recompense at the Fajr International Film Festival in 2009 for the film “Aal” by Bahram Bahramian. He took up proficient music creation in 1998 and rapidly made progress in his profession subsequent to going to courses by director of Iran’s National Orchestra Farhad Fakhreddini. In 2003, he went to Ukraine and got a graduate degree from Kharkov State Academy of Design and Arts. Iran Daily led a select meeting with Abdi to take in more about the execution. The content of the meeting takes after: IRAN DAILY: Although you have lived in Ukraine for quite a while, you volunteered to form the music for the musical drama which was gotten well. How could you have been able to you select the pieces to represent the occasions of Ashura and why did you pick musical show to pass on this to the group of onlookers? ABDI . A few individuals keep up that musical drama comes from Western nations. Be that as it may, this execution is established in Iranian musical show propelled by ta’zieh exhibitions.
Much sooner than Western states, Iranians arranged ta’zieh in which the characters sang in musical drama style. Taken from the writings about ta’zieh and Savushun grieving functions in “Shahnameh” (Book of Kings), I made the masterful work in 10 acts. By reports, 12 people sing in this work. How could you have been able to you select their parts and scripts? Truth be told, there were 13 artists. As you most likely are aware, there are two gatherings of entertainers in ta’zieh: Those who perform constructive parts are called atqia (individuals who love Imam Hussein (PBUH)) and ashqia (Imam Hussein (PBUH’s) foes). In positive parts, vocalists serenade with Iranian musical instruments while in negative parts, they sing in cruel and extreme voice. One of the particular qualities of the ensemble was that vocalists, similar to performers and on-screen characters, utilized kinesthetic workmanship exercises to pass on the sonnets and messages.
The main contrast between this execution and ta’zieh was overlooking the age of its entertainers. Do you think Iranian musical drama is fit for getting to be worldwide? One ought not contrast this work and remote exhibitions since all points of interest are in Iranian style. Qaribpour organized Ashura manikin musical show in various nations drawing in extensive gatherings of people all through the world, in this way we have no worry about performing the piece in different nations.
As you would see it, which pulls in more gathering of people — ta’zieh or Ashura musical show? They are not practically identical to each other and each has its own particular gathering of people and can’t substitute the other. By examination, it is said that Iran’s national musical drama is established in ta’zieh . How fulfilled would you say you are with the execution of artists and instrumentalist? Luckily, we have no issue with the capability of the individuals from Tehran Symphony Orchestra. The main issue is the nature of musical instruments which I trust will make strides.
Notwithstanding ‘The Ashura Opera’, did you pick different ideas for execution as musical show? Yes, I made joint pieces with Qaribpour for Rumi and Hafez musical shows which were organized as manikin plays. Besides, I have made new pieces for Rumi, Hafez, Rostam and Sohrab musical shows as shows. Rahbari reported before that he expects to stage exhibitions with remote and national visitor conductors. How might this impact the advancement of Tehran Symphony Orchestra?
Every show went to by outside visitor directors is truth be told an expert music class for individuals from the symphony. I trust this pattern will proceed and the brilliant result will develop.
Presse - Kritiken
Samstag, 7. Mai 2016 10:11
Tehran Symphony Orchestra performing
'The Ashura Opera'
Tehran Symphony Orchestra conducted by Nassir Heidarian is performing 'The Ashura Opera', which is organized by Roudaki Foundation, from
October 16-22 at Tehran's Vahdat Hall.
The opera was composed by Behzad Abdi to commemorate the martyrdom of Imam Hussein (PBUH), the third Shia Imam, and a number of his loyal companions on Ashura, the tenth day of the lunar month of Muharram in 680 C.E.
Although performing opera in its Western form is more familiar, only a few people are aware of the operas rooted in Islam and Iranian culture. Behrouz Qaribpour revived Iran's national opera in 2008 and staged it in the form of Ashura opera.
Abdi received several awards including best music award at the Fajr International Film Festival in 2009 for the film 'Aal' by Bahram Bahramian. He took up professional
music composition in 1998 and quickly made headway in his career after attending courses by conductor of Iran's National Orchestra Farhad Fakhreddini.
In 2003, he went to Ukraine and received a master's degree from Kharkov State Academy of Design and Arts.
Iran Daily conducted an exclusive interview with Abdi to learn more about the performance.
The text of the interview follows:
IRAN DAILY: Although you have lived in Ukraine for several years, you volunteered to compose the music for the opera which was received well. How did you select the pieces to illustrate the events of Ashura and why did you choose opera to convey this to the audience?
ABDI: Several people maintain that opera stems from Western countries. However, this performance is rooted in Iranian opera inspired by ta'zieh performances. Long before Western states, Iranians staged ta'zieh in which the characters sang in opera style. Taken from the texts about ta'zieh and Savushun mourning ceremonies in 'Shahnameh' (Book of Kings), I made the artistic work in 10 acts.
IRAN DAILY: According to media reports, 12 individuals sing in this work. How did you select their roles and scripts?
ABDI: In fact, there were 13 singers. As you know, there are two groups of performers in ta'zieh: Those who perform positive roles are called atqia (people who love Imam Hussein (PBUH)) and ashqia(Imam Hussein (PBUH)'s enemies).
In positive roles, singers chant with Iranian musical instruments while in negative roles, they sing in harsh and tough voice.
One of the distinctive characteristics of the orchestra was that singers, like actors and actresses, used kinesthetic art activities to convey the poems and texts. The only difference between this performance and ta'zieh was ignoring the age of its performers.
IRAN DALY: Do you think Iranian opera is capable of becoming global?
ABDI: One should not compare this work with foreign performances since all details are in Iranian style. Qaribpour staged Ashura puppet opera in a number of countries attracting large audiences throughout the world, thus we have no concern about performing the piece in other countries.
IRAN DALY: In your opinion, which attracts more audience — ta'zieh or Ashura opera?
ABDI: They are not comparable to one another and each has its own specific audience and cannot substitute the other. By comparison, it is said that Iran's national opera is rooted in ta'zieh.
IRAN DALY: How satisfied are you with the performance of singers and instrumentalist?
ABDI: Fortunately, we have no problem with the proficiency of the members of Tehran Symphony Orchestra. The only problem is the quality of musical instruments which I hope will improve.
IRAN DALY: In addition to 'The Ashura Opera', did you choose other concepts for performance in the form of opera?
ABDI: Yes, I composed joint pieces with Qaribpour for Rumi and Hafez operas which were staged as puppet plays. Furthermore, I have made new pieces for Rumi, Hafez, Rostam and Sohrab operas in the form of concerts.
IRAN DALY: Rahbari announced earlier that he intends to stage performances with foreign and national guest conductors. How can this influence the development of Tehran Symphony Orchestra?
ABDI: Each concert attended by foreign guest conductors is in fact a professional music class for members of the orchestra. I hope this trend will continue and the excellent result will emerge soon.