Israels Harel Skaat Gick Till Finalen I Eurovision Song Contest - Vem Ær Han?

Total Page:16

File Type:pdf, Size:1020Kb

Israels Harel Skaat Gick Till Finalen I Eurovision Song Contest - Vem Ær Han? 2010-05-29 16:12 CEST Israels Harel Skaat gick till finalen i Eurovision Song Contest - vem ær han? Harel Skaat gikk til finalen i Eurovisionsschlagerfestivalen – vem ær han? Hvem er den israelske gullsangeren Harel skaat, som torsdag kveld gikk videre til MGP-finalen og lørdag skal synge som den nest siste sangeren? Han ble født 8. august 1981 i Kfar Saba, av jødiske foreldre med familiebakgrunn i Jemen og Irak. Allerede som ung la foreldrene merke til at Harel hadde et unikt sangtalent. Som seksåring vant vant han sin første sangkonkurranse. Han fikk også delta i en episode av et populært israelsk fjernsynsprogram fra den tiden, kalt Parpar Nehmad, skriver Kenneth O. Bakken på Miff.no. Her er resten av hans presentasjon av det israelske gullhåpet: Etter å ha fullført militærtjenesten begynte Harel å studere ved Beit Zvi. Det er et college som spesialiserer seg på sang, dans og annen scenekunst. I 2004 meldte han seg på en israelsk sangkonkurranse kalt “Kokhav Nolad”, som kan sammenliknes med “Idol” her hjemme i Norge. Med sin enorme sjarm og stemmeprakt seilte han opp som favoritt til å vinne hele showet. Da han til slutt endte på andreplass, var flere av Harels tilhengere overbevist om at fjernsynsstasjonen hadde jukset med stemmetellingen. Dette ble selvfølgelig blankt avvist av produsentene. Etter Kokhav Nolad økte Harels oppmerksomhet betydelig. Allerede året etter fikk han synge Israels nasjonalsang “Hatikvah” før en landskamp i fotball mellom Israel og Frankrike. I 2006 slapp han sitt debutalbum, “Harel Skaat”. Flere av låtene kom inn på de nasjonale hitlistene. Allerede etter én måned hadde han solgt til gull, på tross av at han fikk mye dårlig kritikk i avisene. Siden solgte platen til platinum og Harel vant en rekke nasjonale priser. I 2009 gav han ut sitt andre album, som har tittelen “Tall” oversatt til norsk. Singelen “Ve At” fra dette albumet kom senere samme år på andreplass i kåringen av Israels største låt det siste tiåret. Han ble kun slått av Idan Raichel Projects svært populære superslager “Mima’amaqim”. I desember valgte Israels kringkastingsmyndigheter ut Harel Skaat som landets representant i Eurovision Song Contest 2010. I den nasjonale finalen i Israel sang han fire ulike sanger. Fjernsynspublikummet og dommerpanelet valgte sangen “Milim” som landets bidrag i Oslo. Valget har vært så vellykket at en rekke internasjonale bettingselskaper rangerer Harel Skaat som en av favorittene til å vinne. Skaat skal opptre under den andre semifinalen i Telenor Arena 27. mai. Dersom det europeiske fjernsynspublikummet er enige med bettingselskapene betyr det Eurovision-finale for Israel to dager senere. Har han først kommet så langt, kan alt skje. Deler av Eurovision-finalen lørdag 29. mai blir vist på storskjerm under MIFFs Israel-konferanse på Gardermoen. Svensk Israel-Information bidrar till en mer balanserad bild av Israel..
Recommended publications
  • Israel at 70
    Rosh Hashana 2018 Vol. 44 No. 2 Distributed to over 5,000 households in Israel and abroad ISRAEL AT 70 With Israel on a high hosting the start of the Giro d’Italia in Jerusalem, winning the 2018 Eurovision in Lisbon and its economy and tourism soaring, SA community joins in year-round festivities celebrating Telfed’s own 70th with family events across the country. שנה טובה ומתוקה! Celebrate your family occasions in one of our 22 “zimmerim” by the sea. Full Israeli breakfast served to you in our dining room. DOLPHIN VILLAGE TheThe MagicMagic TouchTouch ofof DolphinDolphin VillageVillage ForFor thethe PerfectPerfect FamilyFamily HolidayHoliday onon thethe SeaSea ShaveiShavei ZionZion in the Western Galilee, 04-9531153 [email protected] I www.dolphinvillage.co.il “ ” The self-help fund for Kindness can change a person’s life Southern Africans Rachel is one of 400 youth aided each year by in Israel Telfed. Despite an unusual beginning in Israel, she’s determined to make it work. This is her story. “I arrived in Israel at the age of 14. A few months after we arrived, my mom was diagnosed with cancer and started chemo. My father had a brain injury from an accident, so it was a big adjustment for my brother and me, helping our ailing parents, settling in to a new life and trying to learn ‘ivrit’. We joined the PRAS community service programme run by Telfed and a university student (who received a scholarship) met with me weekly. The attention and motivation he gave me had a profound impact on my life, mentoring me through a rough patch when things came crashing down.
    [Show full text]
  • Identity, Spectacle and Representation: Israeli Entries at the Eurovision
    Identity, spectacle and representation: Israeli entries at the Eurovision Song Contest1 Identidad, espectáculo y representación: las candidaturas de Israel en el Festival de la Canción de Eurovisión José Luis Panea holds a Degree in Fine Arts (University of Salamanca, 2013), and has interchange stays at Univer- sity of Lisbon and University of Barcelona. Master’s degree in Art and Visual Practices Research at University of Castilla-La Mancha with End of Studies Special Prize (2014) and Pre-PhD contract in the research project ARES (www.aresvisuals.net). Editor of the volume Secuencias de la experiencia, estadios de lo visible. Aproximaciones al videoarte español 2017) with Ana Martínez-Collado. Aesthetic of Modernity teacher and writer in several re- views especially about his research line ‘Identity politics at the Eurovision Song Contest’. Universidad de Castilla-La Mancha, España. [email protected] ORCID: 0000-0002-8989-9547 Recibido: 01/08/2018 - Aceptado: 14/11/2018 Received: 01/08/2018 - Accepted: 14/11/2018 Abstract: Resumen: Through a sophisticated investment, both capital and symbolic, A partir de una sofisticada inversión, capital y simbólica, el Festival the Eurovision Song Contest generates annually a unique audio- de Eurovisión genera anualmente un espectáculo audiovisual en la ISSN: 1696-019X / e-ISSN: 2386-3978 visual spectacle, debating concepts as well as community, televisión pública problematizando conceptos como “comunidad”, Europeanness or cultural identity. Following the recent researches “Europeidad” e “identidad cultural”. Siguiendo las investigaciones re- from the An-glo-Saxon ambit, we will research different editions of cientes en el ámbito anglosajón, recorreremos sus distintas ediciones the show.
    [Show full text]
  • 2009 Han Vantade.Pdf
    ©Kim Milrell, 2010 Framställd på www.vulkan.se Ansvarig utgivare: Kim Milrell Han väntade vid Jerusalems portar Kim Milrell Femte bloggboken är här *spridda applåder och uppmuntrande rop*! 2009 var ett okej år. Tänk dig ett diagram: det går upp, upp, upp och så en liten raksträcka. Därefter ner, ner, ner. Och ner. Bilder och annat finns att beskåda på kimmilrell.se. Njut nu! Kim Milrell, Stockholm 1 januari 2010 (det nya årtalet känns lite perverst att skriva). 1 Dagens mail 1 januari Det hela började med ett mail… I promise I won’t sleep with anyone else for twelve months from our first date if we are together… :-) After that you will have to move here and keep an eye on me. :-) I wish I could spend the evening and night with you. Kissing, feeling and touching you. Talking and smoking together. Spending time. Having a walk hand in hand. /superduperhunk, 37, Tel Aviv Svar: Smoking? Människor utvecklas 1 januari Jag hade en väldigt jobbig typ i min högstadieklass. En sån där ondskefull person som naturligtvis var väldigt rasistisk (och gärna delade med sig av sina vanföreställningar). Nu hamnade jag av en slump på hans Facebooksida och noterade att han var medlem i klubbar som “jag lovar att inte tiga när nån säger nåt rasistiskt”. En fin start på 09! 2 Vad är problemet? 2 januari Nu ska vi tala om det där communityt som är det enda stället man kan träffa någon på. Man träffar inte kärleken på ICA (man vill inte riskera att bli misshandlad till döds) och inte via vänner (man känner redan alla deras vänner och bekanta) och sannerligen inte på krogen (de är så upptagna med att inte verka tillgängliga).
    [Show full text]
  • Guida Junior Eurovision 2016
    JUNIOR EUROVISION SONG CONTEST: LA FESTA EUROPEA DELLA MUSICA, A MISURA DI BAMBINO Cos’è lo Junior Eurovision Song Contest? E’ la versione “junior” dell’Eurovision Song Contest, ovvero il più grande concorso musicale d’Europa ed è organizzato, come il festival degli adulti dalla EBU, European Broadcasting Union, l’ente che riunisce le tv e radio pubbliche d’Europa e del bacino del Mediterraneo. Lo Junior Eurovision si rivolge ai bambini e ragazzi dai 9 ai 14 anni (età abbassata da questa edizione, fino al 2015 era 10-16), che abbiano avuto o meno esperienze canore precedenti (regola introdotta nel 2008: prima dovevano essere esordienti assoluti) L’idea è nata nel 2003 prendendo spunto da concorsi per bambini organizzati nei paesi Scandinavi, dove l’Eurovision Song Contest (quello dei grandi) è seguito quasi come una religione. Le prime due edizioni furono infatti ospitate proprio da Danimarca e Norvegia. Curiosamente però, dopo le prime edizioni, i paesi Scandinavi si sono fatti da parte, eccezion fatta per la Svezia. Come funziona lo Junior Eurovision Song Contest? Esattamente come allo Eurovision dei grandi, possiamo dunque dire che sono “le televisioni” a concorrere, ciascuna con un proprio rappresentante. Rispetto alla rassegna degli adulti, ci sono alcune sostanziali differenze: Il cantante che viene selezionato (o il gruppo) deve essere rigorosamente della nazionalità del paese che rappresenta. L’unica eccezione è stata consentita per la Repubblica di San Marino (quest’anno assente). Nella rassegna dei “grandi” non ci sono invece paletti in tal senso ma piena libertà. Le canzoni devono essere eseguite obbligatoriamente in una delle lingue nazionali almeno per il 70% della propria durata, che deve essere compresa fra 2’45” e 3’ e completamente inedite al momento della presentazione ufficiale sul sito della rassegna o della partecipazione al concorso di selezione.
    [Show full text]
  • Escinsighteurovision2011guide.Pdf
    Table of Contents Foreword 3 Editors Introduction 4 Albania 5 Armenia 7 Austria 9 Azerbaijan 11 Belarus 13 Belgium 15 Bosnia & Herzegovina 17 Bulgaria 19 Croatia 21 Cyprus 23 Denmark 25 Estonia 27 FYR Macedonia 29 Finland 31 France 33 Georgia 35 Germany 37 Greece 39 Hungary 41 Iceland 43 Ireland 45 Israel 47 Italy 49 Latvia 51 Lithuania 53 Malta 55 Moldova 57 Norway 59 Poland 61 Portugal 63 Romania 65 Russia 67 San Marino 69 Serbia 71 Slovakia 73 Slovenia 75 Spain 77 Sweden 79 Switzerland 81 The Netherlands 83 Turkey 85 Ukraine 87 United Kingdom 89 ESC Insight – 2011 Eurovision Info Book Page 2 of 90 Foreword Willkommen nach Düsseldorf! Fifty-four years after Germany played host to the second ever Eurovision Song Contest, the musical jamboree comes to Düsseldorf this May. It’s a very different world since ARD staged the show in 1957 with just 10 nations in a small TV studio in Frankfurt. This year, a record 43 countries will take part in the three shows, with a potential audience of 35,000 live in the Esprit Arena. All 10 nations from 1957 will be on show in Germany, but only two of their languages survive. The creaky phone lines that provided the results from the 100 judges have been superseded by state of the art, pan-continental technology that involves all the 125 million viewers watching at home. It’s a very different show indeed. Back in 1957, Lys Assia attempted to defend her Eurovision crown and this year Germany’s Lena will become the third artist taking a crack at the same challenge.
    [Show full text]
  • Keshet Chaim
    Company Biography Keshet Chaim (Hebrew for Rainbow of Life) is an American-Israeli contemporary dance company, dedicated to celebrating the inclusive spirit of Israeli culture and Judaism throughout the world. Founded in 1983 by Artistic Director Eytan Avisar, Keshet Chaim creates, develops and presents original choreography which fuses contemporary Israeli dance with Jewish folk dance traditions from across the Diaspora. Influenced by the multi-ethnic roots of the Jewish movement, music, art, poetry and culture, Keshet Chaim combats prejudice and anti-Semitism through entertainment, community outreach, children’s workshops, and dance education. Keshet Chaim “forges a unique identity…one of the few touring American dance groups committed exclusively to Israeli culture and dance,” according to the LA Daily News. Performance highlights: In the early years Keshet Chaim performed in two tours in Israel, including the Karmiel Festival, 1984 Summer Olympics, LA Music Center, Los Angeles Festival, Shrine Auditorium, CAJE convention, International Hadassah convention and Universal Amphitheatre. In 1991, Keshet Chaim toured Mexico and cities across Florida. In 1993, the company toured San Diego, Santa Barbara, Palm Springs, San Francisco, Salt Lake City, Utah, and a weekend at sea on the Royal Caribbean Cruise Line. The company was featured at the L.A. Dance Roots Festival and the L.A. County Holiday Show, broadcast live from the Dorothy Chandler Pavilion on KCET, and an intercultural program at the Church on the Way. In 1994, Keshet Chaim performed as part of Dance Kaleidoscope at the Ford Amphitheater in Los Angeles. 1995 featured performances at Poway Performing Arts Center, Valley Jewish Festival, University of Southern California, and the opening ceremonies for the International Maccabiah Games, as well as creating dance education programs for the LA Unified School District.
    [Show full text]
  • Eurovisie Top1000
    Eurovisie 2017 Statistieken 0 x Afrikaans (0%) 4 x Easylistening (0.4%) 0 x Soul (0%) 0 x Aziatisch (0%) 0 x Electronisch (0%) 3 x Rock (0.3%) 0 x Avantgarde (0%) 2 x Folk (0.2%) 0 x Tunes (0%) 0 x Blues (0%) 0 x Hiphop (0%) 0 x Ballroom (0%) 0 x Caribisch (0%) 0 x Jazz (0%) 0 x Religieus (0%) 0 x Comedie (0%) 5 x Latin (0.5%) 0 x Gelegenheid (0%) 1 x Country (0.1%) 985 x Pop (98.5%) 0 x Klassiek (0%) © Edward Pieper - Eurovisie Top 1000 van 2017 - http://www.top10000.nl 1 Waterloo 1974 Pop ABBA Engels Sweden 2 Euphoria 2012 Pop Loreen Engels Sweden 3 Poupee De Cire, Poupee De Son 1965 Pop France Gall Frans Luxembourg 4 Calm After The Storm 2014 Country The Common Linnets Engels The Netherlands 5 J'aime La Vie 1986 Pop Sandra Kim Frans Belgium 6 Birds 2013 Rock Anouk Engels The Netherlands 7 Hold Me Now 1987 Pop Johnny Logan Engels Ireland 8 Making Your Mind Up 1981 Pop Bucks Fizz Engels United Kingdom 9 Fairytale (Norway) 2009 Pop Alexander Rybak Engels Norway 10 Ein Bisschen Frieden 1982 Pop Nicole Duits Germany 11 Save Your Kisses For Me 1976 Pop Brotherhood Of Man Engels United Kingdom 12 Vrede 1993 Pop Ruth Jacott Nederlands The Netherlands 13 Puppet On A String 1967 Pop Sandie Shaw Engels United Kingdom 14 Apres toi 1972 Pop Vicky Leandros Frans Luxembourg 15 Power To All Our Friends 1973 Pop Cliff Richard Engels United Kingdom 16 Als het om de liefde gaat 1972 Pop Sandra & Andres Nederlands The Netherlands 17 Eres Tu 1973 Latin Mocedades Spaans Spain 18 Love Shine A Light 1997 Pop Katrina & The Waves Engels United Kingdom 19 Only
    [Show full text]
  • Ziv Cojocaru-CV for Academy Website 2020
    Dr. Ziv Cojocaru Position in the Academy: Head of Music Theory, Composition & Conducting Department Teaching Areas: Composition, Music Theory, Music Workshops Composer, Conductor, Arranger and Pianist, Ziv Cojocaru is a multidisciplinary musician, active in the fields of classical, contemporary and popular music. Mr. Cojocaru received his Master degree in Composition (with honors) at the "Jerusalem Academy of Music and Dance" studying with Prof. Zvi Avni and Prof. Haim Permont. Mr. Cojocaru also attended Master courses under Composers Fabián Panisello (Spain), Philippe Leroux (France) , and Ivan Fedele (Italy). He Completed his Doctoral degree in composition (Ph.D.) at the Bar-Ilan University under supervision of Prof. Gideon Lewensohn, Prof. Betty Olivero and Prof. Michael Wolpe. Cojocaru has also received his Master degree in Orchestral Conducting (with honors), studying with Dr. Yevgeny Zirlin, and attended Master courses under Conductors Fabián Panisello (Spain) and Pierre Andre Valade (France). As a composer, Ziv Cojocaru has written commissions for various chamber music ensembles and orchestras. His compositions have been preformed at various festivals and venues including the “Euro Classic Festival” in Konzerthaus-Berlin, the Arnold Schönberg Center-Wien, the “Tonraum 21 - Festival für neue musik” in Minoritensaal–Graz (Austria), the “MATA Festival” in New York, the ISCM - World Music Days Festival, the ECCO concert by ECSA (Luxembourg), the "Days of Macedonian Music" festival in Skopje, the “Intrada” festival in Timisoara (Romania),
    [Show full text]
  • Schweizer Blicken Optimistisch in Die Zukunft
    AZ 3900 Brig • Samstag, 29. Mai 2010 • Nr. 122 • 170. Jahrgang • Fr. 2.20 SEAT GOOD STUFF SONDERMODELLE MIT BIS ZU FR. 2’520 .– PREISVORTEIL. 3.9% Superzins- Leasing*** Ibiza Good Stuff ab Fr. 21’700 .–* oder Fr. 244.–/Monat*** TomTom • 16" Alu-Felgen • Bluetooth Leon Good Stuff ab Fr. 25’250 .–** oder Fr. 284.–/Monat*** Multifunktionslenkrad • 16" Alu-Felgen • Tempomat Auto Neubrück AG Gmeisand 3922 Stalden Tel. 027 952 20 01 www.walliserbote.ch • Redaktion Telefon 027 922 99 88 • Abonnentendienst Telefon 027 948 30 50 • Mengis Annoncen Telefon 027 948 30 40 • Auflage 25 261 Expl. Schweizer blicken optimistisch in die Zukunft KOMMENTAR Bundesrat und Parlament büssen aber in der Bevölkerung an Vertrauen ein ...sonst gucken wir in die Röhre B e r n. – (sda) Die Schweizer Bevölkerung fühlt sich persön- Die Autoverladetarife am lich sicher und blickt optimis- Lötschberg und an der Furka tisch in die Zukunft der sind ein Evergreen der Walli- Schweiz. An Behörden und In- ser Verkehrspolitik. Oder viel- stitutionen kann dies gemäss ei- mehr ein ewiges Ärgernis. Mit ner ETH-Studie jedoch nicht der Ankündigung, dass die liegen: Weniger Vertrauen als Bahn darüber nachdenke, die Bundesrat und Parteien genies- Tarife beim Verlad am Lötsch- sen nur die Medien. berg zu erhöhen, hat BLS- Auf einer Zehnerskala erreichen diese nur einen Wert von 4,9. Die Chef Bernard Guillelmon politischen Parteien kommen auf schlafende Hunde geweckt. 5,1, Bundesrat und Parlament Laut kläffend und zähneflet- auf 5,9 – weniger als noch im schend haben sich seither Ver- Jahr zuvor. Dies hat die am Frei- treter von CSP und SPO in tag publizierte Studie «Sicher- Szene gesetzt.
    [Show full text]
  • Les Artistes Israeliens
    NOTRE MONDE, 1 pays à la fois LES ARTISTES ISRAELIENS CHAVA ALBERSTEIN Née en 1947 en Pologne, elle s’installe en Israël avec ses parents à l’âge de 4 ans Artiste folk israélienne, son 1er album de 50 paraît en 1967 Elle chante principalement en hébreux mais aussi en yiddish et en anglais CHANSON PRÉSENTÉE: LU YEHI, album Lechem Haohavim, 1991 YORAM GAON Né Yehoram Gaon en décembre 1939 Après son service militaire, il a formé le groupe Yarkon Bridge Trio, très populaire dans les années ‘70 Acteur et chanteur, il a chanté à la cérémonie de Remise du Prix Nobel de la Paix de Shimon Peres et Yasser Arafat CHANSON PRÉSENTÉE : ÉTÉ DE MES CAPACITÉS, album Charme inné, 1976 BOAZ MAUDA Né le 27 avril 1987 Il a remporté la 5e édition du Kokhav Nolad en 2007, ce qui a lancé sa carrière Artiste de style Mizrahi, son album a paru en 2009 CHANSON PRÉSENTÉE : LACHO ELI, album Boaz Mauda, 2009 ZEHAVA BEN Chanteuse et actrice née en 1968 La plus populaire chanteuse de musique Mizrahi (influence du moyen-orient) du pays Elle compte déjà 14 albums à son actif CHANSON PRÉSENTÉE: YA HABIBI, album Zehava Ben, 2004 NOTRE MONDE, 1 pays à la fois NANCY DANINO Compositrice-interprète née dans les années ‘80 Elle a débuté sa carrière en 1999 et a participé à plusieurs bandes sonores de film aux USA et en Europe Elle vit maintenant entre New York, Tel Aviv et Paris CHANSON PRÉSENTÉE: REALITY, Hollywood mon amour, 2008 HAREL SKAAT Né le 8 août 1981 Il a commencé à chanter à l’âge de 6 ans Sa carrière professionnelle a été lancée en 2004 suite au
    [Show full text]
  • Identidad, Espectáculo Y Representación: Las Candidaturas De Israel En El Festival De La Canción De Eurovisión1
    Identidad, espectáculo y representación: las candidaturas de Israel en el Festival de la Canción de Eurovisión1 Identity, spectacle and representation: Israeli entries at the Eurovision Song Contest José Luis Panea. Licenciado en Bellas Artes por la Universidad de Salamanca (2013), estancias Erasmus en la Universidade de Lisboa y Séneca en la Universitat de Barcelona. Máster en Investigación en Prácticas Artísticas y Visuales en la Facultad de Bellas Artes de Cuenca (UCLM) con Premio Extraordinario Fin de Estudios (2014) y contratado Predoctoral en el proyecto ARES (www.aresvisuals.net). Editor del volumen Secuencias de la expe- riencia, estadios de lo visible. Aproximaciones al videoarte español (2017) junto a Ana Martínez-Collado. Profesor de Estética y escritor en diferentes revistas especialmente acerca de su línea de investigación “Políticas de iden- tidad en el Festival de Eurovisión”. Universidad de Castilla-La Mancha, España. [email protected] ORCID: 0000-0002-8989-9547 Recibido: 01/08/2018 - Aceptado: 14/11/2018 Received: 01/08/2018 - Accepted: 14/11/2018 Resumen: Abstract: A partir de una sofisticada inversión, capital y simbólica, el Festival Through a sophisticated investment, both capital and symbolic, the de Eurovisión genera anualmente un espectáculo audiovisual en la Eurovision Song Contest generates annually a unique audiovisual ISSN: 1696-019X / e-ISSN: 2386-3978 televisión pública problematizando conceptos como “comunidad”, spectacle, debating concepts as well as community, Europeanness “Europeidad” e “identidad cultural”. Siguiendo las investigaciones or cultural identity. Following the recent researches from the Anglo- recientes en el ámbito anglosajón, recorreremos sus distintas edi- Saxon ambit, we will research different editions of the show.
    [Show full text]
  • ESC Insight Unofficial Guide to the 2013 Eurovision Song Contest
    ESC Insight Unofficial Guide to the 2013 Eurovision Song Contest Table of Contents Foreword .................................................................................................................................. 3 Editors Introduction ................................................................................................................. 4 Albania...................................................................................................................................... 5 Armenia .................................................................................................................................... 7 Austria ...................................................................................................................................... 9 Azerbaijan ............................................................................................................................... 11 Belarus ................................................................................................................................... 13 Belgium ................................................................................................................................... 15 Bulgaria .................................................................................................................................. 17 Croatia .................................................................................................................................... 19 Cyprus ...................................................................................................................................
    [Show full text]