Best of Metropolitan I Folkets Hus I Höst – Men Först Direktsänds Askungen Med Malena Ernman Från Operan

Total Page：16

File Type：pdf, Size：1020Kb

2009-04-23 13:30 CEST Best of Metropolitan i Folkets Hus i höst – Men först direktsänds Askungen med Malena Ernman från Operan I höst laddar Folkets Hus och Parker om för fjärde säsongen av livesänd opera på bio från Metropolitan, New York. Men först avslutar biograferna vårsäsongen - med Askungen x 2. Fjärde maj livesänder Kungliga Operan en modern variant av Askungen med Malena Ernman i huvudrollen. Nionde maj sänder The Met en klassisk version av föreställningen. Direktsänd opera från Metropolitan, New York, och Kungliga Operan, Stockholm, gör succé i Folkets Hus digitala biografer. Över 43 000 besökare har upplevt livesänd opera och balett på bio under säsongen 2008-2009. Kommande säsong från Metropolitan är den starkaste säsongen hittills, med en lång rad av historiens mest berömda och älskade operor. Tosca, Aida, Carmen och Turandot är några av titlarna. - Det känns fantastiskt att kunna presentera en säsong med de allra största operastjärnorna live från New York. Att vi nu också får chansen att runda av vårsäsongen med Askungen med Malena Ernman, dagarna innan Eurovision Song Contest, känns nästan för bra för att vara sant, säger Gunno Sandahl, kulturchef på Folkets Hus och Parker. Säsongen 2009-2010 från Metropolitan 10 oktober, Puccini: Tosca I rollerna: Karita Mattila, Marcello Giordani, Bryn Terfel 24 oktober, Verdi: Aida I rollerna: Violeta Urmana/Hasmik Papian, Dolora Zajick, Johan Botha 7 november, Puccini: Turandot I rollerna: Maria Guleghina, Marina Poplavskaya 19 december, Offenbach: Hoffmanns äventyr (Les Contes d'Hoffmann) I rollerna: Anna Netrebko, Rolando Villazón, Kathleen Kim 9 januari, Richard Strauss: Rosenkavaljeren (Der Rosenkavalier) I rollerna: Renée Fleming, Susan Graham, Christine Schäfer, Ramón Vargas 16 januari, Bizet: Carmen I rollerna: Angela Gheorghiu, Roberto Alagna 6 februari, Verdi: Simon Boccanegra I rollerna: Plácido Domingo, Adrianne Pieczonka, Marcello Giordani 27 mars, Thomas: Hamlet I rollerna: Simon Keenlyside, Natalie Dessay, Toby Spence 1 maj, Rossini: Armida I rollerna: Renée Fleming, Lawrence Brownlee, Bruce Ford För mer information kontakta: Mathias Bohman, kommunikationschef 08-452 25 13 Gunno Sandahl, kulturchef 08-452 25 30 Rickard Gramfors Projektledare, Digitala Hus. 0704-86 60 08 Folkets Hus och Parker (FHP) är en riksorganisation för Folkets Hus, folkparker, nöjesparker och festivaler i hela Sverige. FHP har över 600 medlemmar som sammanlagt tar emot 50 miljoner besökare per år. Medlemmarna i FHP ger en möjlighet för hela landet att ta del av kultur, nöje och möten. Organisationen bygger på delaktighet och ideellt engagemang..

Copy Link

Recommended publications

1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini.
[Show full text]
Comunicato Stampa
COMUNICATO STAMPA Otello, omaggio a Giuseppe Verdi nel bicentenario della nascita, inaugura la Stagione lirica e di balletto 2013 Giovedì 2 maggio alle 20.30 si alza il sipario sulla Stagione lirica e di balletto 2013 del Teatro Lirico di Cagliari. Una stagione sempre molto attesa dal pubblico che, anche per quest’anno, segna la rinascita e la voglia di proseguire nella diffusione musicale del Teatro Lirico di Cagliari. Sei opere liriche ed un balletto, una produzione in più rispetto all’anno scorso, tutti titoli di grande interesse che, certamente, troveranno il gradimento del pubblico, sia per quelli noti che per quelli ricercati: Otello, Macbeth, L’amico Fritz, I Shardana, Così fan tutte, Pagliacci, Red Giselle. L’inaugurazione è affidata al doveroso omaggio, in occasione del bicentenario della nascita, a Giuseppe Verdi (Roncole di Busseto, Parma, 1813 - Milano, 1901), massimo operista italiano: Otello, dramma lirico in quattro atti, su libretto di Arrigo Boito, dalla tragedia omonima di William Shakespeare, e musica, appunto, di Verdi, va in scena per sei rappresentazioni, dal 2 al 10 maggio, per il XIII Festival di Sant’Efisio del Teatro Lirico di Cagliari. Lo spettacolo inaugurale, un stimolante allestimento dello scorso gennaio della Fondazione Lirico Sinfonica Petruzzelli e Teatri di Bari, conta dell’eccezionale regia di Eimuntas Nekrosius, geniale artista lituano, celebre in tutto il mondo dello spettacolo per aver curato importanti allestimenti teatrali e che ritorna a Cagliari dopo l’allestimento di La leggenda della città invisibile di Kitež e della fanciulla Fevronija di Nikolaj Rimskij-Korsakov che inaugurò la Stagione lirica e di balletto 2008, delle scene di Marius Nekrosius, dei costumi di Nadežda Gultiajeva e delle luci di Audrius Jankauskas che sfruttano tutte le potenzialità drammaturgiche dell’opera con pochi elementi scenici e colori assemblati con grande pulizia ed eleganza, oltre a movimenti essenziali, in un gioco di rimandi simbolici.
[Show full text]
Michael Schade at a Special Release of His New Hyperion Recording “Of Ladies and Love...”
th La Scena Musicale cene English Canada Special Edition September - October 2002 Issue 01 Classical Music & Jazz Season Previews & Calendar Southern Ontario & Western Canada MichaelPerpetual Schade Motion Canada Post Publications Mail Sales Agreement n˚. 40025257 FREE TMS 1-01/colorpages 9/3/02 4:16 PM Page 2 Meet Michael Schade At a Special Release of his new Hyperion recording “Of ladies and love...” Thursday Sept.26 At L’Atelier Grigorian Toronto 70 Yorkville Ave. 5:30 - 7:30 pm Saturday Sept. 28 At L’Atelier Grigorian Oakville 210 Lakeshore Rd.E. 1:00 - 3:00 pm The World’s Finest Classical & Jazz Music Emporium L’Atelier Grigorian g Yorkville Avenue, U of T Bookstore, & Oakville GLENN GOULD A State of Wonder- The Complete Goldberg Variations (S3K 87703) The Goldberg Variations are Glenn Gould’s signature work. He recorded two versions of Bach’s great composition—once in 1955 and again in 1981. It is a testament to Gould’s genius that he could record the same piece of music twice—so differently, yet each version brilliant in its own way. Glenn Gould— A State Of Wonder brings together both of Gould’s legendary performances of The Goldberg Variations for the ﬁrst time in a deluxe, digitally remastered, 3-CD set. Sony Classical celebrates the 70th anniversary of Glenn Gould's birth with a collection of limited edition CDs. This beautifully packaged collection contains the cornerstones of Gould’s career that marked him as a genius of our time. A supreme intrepreter of Bach, these recordings are an essential addition to every music collection.
[Show full text]
Naxcat2005 ABRIDGED VERSION
CONTENTS Foreword by Klaus Heymann . 4 Alphabetical List of Works by Composer . 6 Collections . 88 Alphorn 88 Easy Listening 102 Operetta 114 American Classics 88 Flute 106 Orchestral 114 American Jewish Music 88 Funeral Music 106 Organ 117 Ballet 88 Glass Harmonica 106 Piano 118 Baroque 88 Guitar 106 Russian 120 Bassoon 90 Gypsy 109 Samplers 120 Best Of series 90 Harp 109 Saxophone 121 British Music 92 Harpsichord 109 Trombone 121 Cello 92 Horn 109 Tr umpet 121 Chamber Music 93 Light Classics 109 Viennese 122 Chill With 93 Lute 110 Violin 122 Christmas 94 Music for Meditation 110 Vocal and Choral 123 Cinema Classics 96 Oboe 111 Wedding 125 Clarinet 99 Ondes Martenot 111 White Box 125 Early Music 100 Operatic 111 Wind 126 Naxos Jazz . 126 Naxos World . 127 Naxos Educational . 127 Naxos Super Audio CD . 128 Naxos DVD Audio . 129 Naxos DVD . 129 List of Naxos Distributors . 130 Naxos Website: www.naxos.com NaxCat2005 ABRIDGED VERSION2 23/12/2004, 11:54am Symbols used in this catalogue # New release not listed in 2004 Catalogue $ Recording scheduled to be released before 31 March, 2005 † Please note that not all titles are available in all territories. Check with your local distributor for availability. 2 Also available on Mini-Disc (MD)(7.XXXXXX) Reviews and Ratings Over the years, Naxos recordings have received outstanding critical acclaim in virtually every specialized and general-interest publication around the world. In this catalogue we are only listing ratings which summarize a more detailed review in a single number or a single rating. Our recordings receive favourable reviews in many other publications which, however, do not use a simple, easy to understand rating system.
[Show full text]
Progress in Karabagh Talks
JUNE 18, 2011 MirTHE rARoMENr IAN -Spe ctator Volume LXXXI, NO. 49, Issue 4193 $ 2.00 NEWS IN BRIEF The First English Language Armenian Weekly in the United States Mirror-Spectator Progress in Karabagh Talks Annual Vacation WATERTOWN — The Armenian Mirror-Spectator will close for a two-week break in July, as part of its YEREVAN (RFE/RL) — Foreign Minister traditional summer holiday. Eduard Nalbandian on Tuesday confirmed The last issue before the break will be that of July that Armenia and Azerbaijan could soon 2; the first issue back will be that of July 23. reach a framework agreement on Nagorno- Press releases on events between July 2 and 23 Karabagh but cautioned that it would have should be submitted as early as possible for inclu - to be approved by the disputed territory’s sion in issues prior to the break. ethnic Armenian leadership. The office will reopen on July 18. Nalbandian stood by statements made by official Yerevan and Baku on his weekend Aivazovsky Seascape talks in Moscow with his Azerbaijani coun - terpart, Elmar Mammadyarov. Returned to Armenia Russia’s Foreign Minister Sergei Lavrov hosted the talks in preparation for the next MOSCOW (Moscow Times) — A painting by the Armenian-Azerbaijani summit due to be held 19th-century Russian-Armenian painter Ivan in the Russian city of Kazan later this month. Aivazovsky is back in Armenia, 21 years after being “You know that the [Armenian] Foreign stolen. It is now part of the collection of the Ministry circulated a statement on the tri - National Gallery in Yerevan. lateral ministerial meeting in Moscow say - A Russian senator of Armenian descent, Oganes ing that the parties managed to bring their Oganian, withdrew it from a Moscow auction and positions closer to each other on a number sent it to Yerevan after being informed it was of pivotal issues,” Nalbandian told journal - stolen.
[Show full text]
Armenian Orchestral Music Tigran Arakelyan a Dissertation Submitted
Armenian Orchestral Music Tigran Arakelyan A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2016 Reading Committee: David Alexander Rahbee, Chair JoAnn Taricani Timothy Salzman Program Authorized to Offer Degree: School of Music ©Copyright 2016 Tigran Arakelyan University of Washington Abstract Armenian Orchestral Music Tigran Arakelyan Chair of the Supervisory Committee: Dr. David Alexander Rahbee School of Music The goal of this dissertation is to make available all relevant information about orchestral music by Armenian composers—including composers of Armenian descent—as well as the history pertaining to these composers and their works. This dissertation will serve as a unifying element in bringing the Armenians in the diaspora and in the homeland together through the power of music. The information collected for each piece includes instrumentation, duration, publisher information, and other details. This research will be beneficial for music students, conductors, orchestra managers, festival organizers, cultural event planning and those studying the influences of Armenian folk music in orchestral writing. It is especially intended to be useful in searching for music by Armenian composers for thematic and cultural programing, as it should aid in the acquisition of parts from publishers. In the early part of the 20th century, Armenian people were oppressed by the Ottoman government and a mass genocide against Armenians occurred. Many Armenians fled
[Show full text]
Affirming Genocide Knowledge Through Rituals
6 Affirming Genocide Knowledge through Rituals Parts I and II of this book examined the emergence of repertoires of knowledge regarding the Armenian genocide through social interaction, objectified thought processes, bearing witness, and the involvement of knowledge entrepreneurs. We saw how knowledge generated through these processes took radically different shapes as it became sedimented within each of two distinct carrier groups, Arme- nians and Turks. Oppositional worldviews and associated knowledge reper toires are not unique to this case, of course. We find them, for example, when those who recognize the role of human action in global warming encounter others who see a Chinese conspiracy at work, aimed at harming the U.S. economy. Or again, when those who know that liberal or social democracy will secure a prosperous and secure future disagree with followers of populist authoritarian leaders and parties. The question arises of how each collectivity deals with the challenges posed by the other side. Now, in part III, we encounter two strategies commonly deployed in struggles over knowledge. While chapters 7 and 8 address conflictual engagement with the opposing side in the realms of politics and law, and chapter 9 explores counterpro- ductive effects of denial in an age of human rights hegemony, the present chapter examines the use of elaborate public rituals toward the reaffirmation of genocide knowledge within each of the contending collectivities. We owe early social-scientific insights into the role of rituals in social life to Émile Durkheim. In his book The Elementary Forms of Religious Life, Durkheim ([1912] 2001) tells us about the ability of rituals to sanctify objects and charge sym- bols that represent them with a special energy.
[Show full text]
Atti Parlamentari
Camera dei Deputati - 785 - Senato della Repubblica XVII LEGISLATURA — DISEGNI DI LEGGE E RELAZIONI — DOCUMENTI — DOC. XV N. 182 VOL. III BILANCIO CONSUNTIVO 2011 Francesca da Rimini: Hasmik Papian/Patrizia Ordarii. Samaritana: Louise CaUinan. Ostasio: Giovanni Guagliardo. Giovanni lo sciancato, detto lo Gianciotto: Giorgio Surian/Yasuo Horiuchi. Paolo il Bello: Carlo Barricelli/Marcello Giordani. Malatestino dall'Occhio: Gianluca Sorrentino/Pablo Karaman. Biancofiore: Carla Di Interpreti principali Censo. Garsenda: Erika Pagan. Altichiara: Annika Kaschenz. Adonella: Milena Josipovic. Smaragdi: Elena Traversi/Francesca Franci. SerToldo Berardengo: Mario Bolognesi. Il giullare: Manrico Signorini. Il balestriere: Alessandro De Angelis. Il torrigiano: Andrea Vincenzo Bonsignore. Un prigioniero: Francesco Cortese/Roberto Miani. O rchestra della Fondazione Coro della Fondazione Titolo LUCIA DI LAMMERMOOR Dramma tragico in due parti e tre atti di Salvatore Cammarano, dal romano The Bride of Lammermoor di Walter Scott. Nuovo allestirnento della Fondazione Teatro Lirico Giuseppe Verdi di Trieste. Numero esecuzioni 8 Borderò intestato alla Fondazione Presenze paganti 7.009 Incasso netto 223.898,08 Date/luoghi di esecuzione 10-11-12-14-15-16-17-18/06/2011 presso il Teatro Lirico Giuseppe Verdi T rieste Numero esecuzioni 1 Borderò intestato alla Fondazione Presenze paganti 330 Incasso netto 1.501,50 Date/luoghi di esecuzione 05/11 /2011 presso il Teatro Comunale Giuseppe Verdi - Pordenone Numero esecuzioni 1 Borderò intestato a terzi Presenze paganti
[Show full text]
Rossini En La Bastilla
Mundoclasico.com viernes, 28 de marzo de 2003 FRANCIA Rossini en La Bastilla JORGE BINAGHI Ambiguo título. Adrede. Cuando las cosas van mal, --- encontrarse de pronto en el sitio que ocupó la Bastilla París, domingo, convertido en teatro de ópera, ballet y concierto hace 23 de marzo de confiar en que pese a los retrocesos que nos toque padecer 2003. Opéra de el mundo irá a más, no a menos. Que después del silencio Paris, Bastille. Guillaume Tell comenzado en 1932, justo ahora se estrene una nueva (París, sala Le producción de la última ópera de Rossini, esa tan “rara”, Peletier, 3 de agosto de 1829), libreto de V-E. de Jouy y tan “distinta”, tan “monumental”, tan “terrible”, tan llena H.Bis, música de G. Rossini. Escenografía: de futuro sin dejar de echar una mirada para nada Peter Davisont. Vestuario: M-J. Lecca. despectiva al pasado, parece confirmar la hipótesis. Pese a Coreografía: Blanca Li. Puesta en escena: Francesca Zambello. Intérpretes: Thomas las pocas ocasiones (siempre serán pocas), he tenido la Hampson (Tell), Marcello Giordani suerte de ver con relativa frecuencia el Tell, y en alguna (Arnold), Hasmik Papian (Mathilde), Wojtek Smilek (Walter), Alain Vernhes ocasión hasta mejor -en conjunto- que aquí. Pero así como (Melcthal), Toby Spence (el pescador), Nabucco en la Scala o Don Giovanni en Praga, aunque no Gaëlle Le Roi (Jemmy), Nora Gubisch hayan sido para nada los mejores, me hicieron participar (Hedwige), Jeffrey Walker (Gesler), Janez Lotric (Rodolphe) y otros. Orquesta y coro de una atmósfera que no se da en ninguna otra parte (en el de la Opera de Paris (maestro de coro: caso de la ópera de Verdi es electrizante de conmovedor), Peter Burian).Dirección de orquesta: Bruno me sorprendí a mí mismo emocionándome de un modo Campanella.
[Show full text]
Giampaolo Bisanti
Giampaolo Bisanti - Nato a Milano, compie i suoi studi musicali al Conservatorio di Musica “Giuseppe Verdi” della sua città, diplomandosi con il massimo dei voti nel 1997. Nel 1998 è vincitore dello stage per direttori d’orchestra tenuto da Donato Renzetti presso i Pomeriggi Musicali di Milano. Ha debuttato 32 titoli operistici e diretto più di 300 concerti sinfonici, tra cui anche numerose partiture d’avanguardia. Risulta vincitore di numerosi concorsi internazionali, tra cui spicca il prestigioso Concorso Internazionale “Dimitri Mitropoulos” di Atene. Dopo numerose esperienze in realtà minori e sempre suscitando grande interesse per la sua sensibilità artistica, dalla stagione 2006-2007 comincia la sua grande carriera internazionale. Nella stagione 2005-2006 arrivano ampi consensi con diversi debutti: partecipa alla versione integrale di Il Trittico di Puccini all’Auditorium di Milano; con l’Orchestra ed il Coro “Giuseppe Verdi” di Milano dirige, in prima esecuzione assoluta, L’Aumento di Luciano Chailly, trasmessa in diretta da Radio-Rai; La Bohème a Tel Aviv alla guida della Israel Philharmonic Orchestra che, al termine dell’esecuzione, gli ha tributato un caloroso riconoscimento. Successivamente è avvenuto il suo debutto americano a San Francisco, accompagnato da critiche positive, alla guida della Monterey Symphony Orchestra. Il suo 2007 è proseguito con numerosi successi in tutti i principali teatri italiani: Otello di Verdi all’Alighieri di Ravenna, al Goldoni di Livorno, al Sociale di Trento ed all’Opera Giocosa di Savona; Don Giovanni a Bassano del Grappa ed al Verdi di Padova; Rigoletto al Verdi di Salerno. Numerosi i debutti nella stagione 2008: grande successo ha riscosso Orpheè et Eurydice di Gluck al Teatro Comunale di Bologna con la partecipazione dei fratelli Alagna che ne hanno curato revisione, regia, costumi e scene per la realizzazione di un dvd con la Bel Air Classiques; è seguito il successo di pubblico e critica per Macbeth di Verdi nei teatri di Trento, Rovigo e Pisa con Alberto Gazale e Dimitra Theodossiou.
[Show full text]
VINCENZO BELLINI Dyrektor Naczelny Tomasz Bęben Dyrektor Artystyczny Paweł Przytocki Chórmistrz, Szef Chóru Dawid Ber
NORMA VINCENZO BELLINI dyrektor naczelny Tomasz Bęben dyrektor artystyczny Paweł Przytocki chórmistrz, szef chóru Dawid Ber dyrektor generalny Peter Gelb honorowy dyrektor muzyczny James Levine dyrektor muzyczny Yannick Nézet-Séguin główny dyrygent Fabio Luisi 2. Sondra Radvanovsky jako Norma. Fot. Ken Howard/Metropolitan Opera Prapremiera w Teatro alla Scala w Mediolanie – 26 grudnia 1831 roku Premiera niniejszej inscenizacji w The Metropolitan Opera w Nowym Jorku – 25 września 2017 roku Transmisja z The Metropolitan Opera w Nowym Jorku – 7 października 2017 roku Przedstawienie w języku włoskim z napisami w języku polskim Vincenzo Bellini Norma 3. NORMA OPERA SERIA W DWÓCH AKTACH LIBRETTO: FELICE ROMANI WG ALEKSANDRA SOUNETA OSOBY kapłanka Norma sopran Adalgiza mezzosopran rzymski wódz Pollione tenor kapłan Orowist bas REALIZATORZY reżyseria Sir David McVicar scenografia Robert Jones kostiumy Moritz Junge światło Paule Constable OBSADA Sondra Radvanovsky Norma Joyce DiDonato Adalgiza Joseph Calleja Pollione Matthew Rose Orowist soliści, chór, orkiestra The Metropolitan Opera dyrygent Carlo Rizzi AKCJA ROZGRYWA SIĘ W GALII W 50 R. P.N.E. 4. CARLO RIZZI DYRYGENT Urodzony w 1960 r. w Mediolanie. Dyrygentu- w Hong Kongu i in. W latach 1992-2001 oraz rę studiował u Vladimira Delmana w Bolonii 2004-2008 był dyrektorem Narodowej Opery oraz u Franca Ferrary w Sienie. Zadebiutował Walijskiej. Wśród wielu nagrań Rizziego znajdują w 1982 r. operą G. Donizettiego Opiekun w opa- się Káťa Kabanová L. Janáčka oraz La Traviata łach. Trzy lata później zwyciężył w Konkursie G. Verdiego, zarejestrowana na żywo w czasie Kompozytorskim im. A. Toscaniniego w Parmie. festiwalu w Salzburgu. W The Metropolitan Jego brytyjski debiut miał miejsce w 1988 r.
[Show full text]
Aurora Initiative Public Report
Public Report August 2016 TABLE OF CONTENTS __________________ 1. Mission and Strategic Goals 3 2. Key Events and Achievements 2015-2016 7 3. Aurora Humanitarian Initiative in Numbers 19 4. Goals and Priorities for 2016-2017 20 5. Donors and Partners 21 AURORA HUMANITARIAN INITIATIVE AURORA HUMANITARIAN _ 2 Mission and STRATEGIC Goals The Aurora Humanitarian Initiative was launched The initiative offers a new way of looking at how on behalf of all survivors of the Armenian Genocide people deal with hardships, overcome problems and in gratitude to their saviors. and persevere. We have a dual purpose: to pay tribute to those Our project seeks to foster a new generation of who helped Armenians 100 years ago and to heroes who dedicate their lives to preserving continue their legacy by supporting courageous peace, protecting human rights and alleviating and selfless individuals and organizations in the suffering of humankind’s most vulnerable their present-day humanitarian efforts. members. AURORA HUMANITARIAN INITIATIVE AURORA HUMANITARIAN _ 3 On behalf of the survivors of the Armenian Genocide and in gratitude to their saviors 100 LIVES THE AURORA PRIZE • Saviors’ & Survivors’ Stories • Laureate Selection & Award Presentation • 100 LIVES Legacy • Award Ceremony and Armenia • Armenian Memory Act Weekend AURORA DIALOGUES AURORA HUMANITARIAN • Content Creation INDEX • Conference • International Survey GLOBAL SOCIAL GRATITUDE PROJECTS MOVEMENT • Humanitarian Grants • Saviors Communities Grants • Scholarships AURORA HUMANITARIAN INITIATIVE AURORA HUMANITARIAN _ SECOND CHANCE/SURVIVORS’ CITY 4 100 LIVES A global online portal designed to preserve memory of the victims and survivors of the Armenian Genocide, as well as of those who gave Armenians a helping hand.
[Show full text]