Dr. Nikolaos G. XANTHOULIS January 2018
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Publications Monographs and Books 1
ANASTASIA SIOPSI [email protected] Anastasia Siopsi is Professor in “Aesthetics of Music”, Music Department, Ionian University; she is also tutor of a course entitled “History of the Arts in Europe” (degree in “European Culture”), Greek Open University (since 2004). Apart from her studies in music, she has studied architecture (Aristotle University of Thessaloniki, Department of Architecture, Thessaloniki, 1989). Her PhD dissertation is entitled Richard Wagner’s «Der Ring des Nibelungen»: The Reforging of the Sword or, Towards a Reconstruction of the People’s Consciousness, U.E.A., U.K., 1996); supervisors: Professor David Charlton, Professor John Deathridge. She is co-editor of an electronic international journal entitled Hellenic Journal of Music, Education and Culture (HeJMEC), with Prof. G. Welsh (Univ. of London). She is also member of the editorial team of the musicological journal entitled Mousikos Logos [Greek], published by the Music Department of Ionian University. She has been a reviewer for the musicological journal entitled Nineteenth-century Music Review. She is a peer reviewer for the international Journal of History Research (ISSN 2159-550X) (David publishing company). Scholarships Academy of Athens, scholarship for postgraduate studies abroad in the field of Musicology and History of Music (duration: 3 years). Main research interests ♪ Issues on aesthetics of music, focused on 19th-century aesthetic theories. ♪ German romantic music, especially Richard Wagner’s music dramas. ♪ Greek art music, especially Manolis Kalomiris’s work and aesthetic and ideological issues in the era of the National School of Music. ♪ Music in productions of ancient Greek drama in modern Greece. ♪ Greek women composers. PUBLICATIONS MONOGRAPHS AND BOOKS 1. -
Annual Report 2016
ANNUAL REPORT 2016 The human capital of Greece is its single best hope for the future. Giving young people who face a 50% unemployment rate in Greece the opportunity to receive training, internships, mentorship, and compensation is a priority of THI. Together, we can build a better tomorrow for Greece, and give the hundreds of thousands, who have been forced to leave to find work, the possibility to return to their homeland. ANNUAL REPORT 2016 1 2 3 THI New Leaders The 2nd Annual Venture Fair The 3rd Annual Gala 5 13 29 4 5 6 THI Programs THI Around the World Friends of THI 51 77 87 7 8 9 THI Board Member Profile: THI Donor Profiles Financials Corinne Mentzelopoulos 91 99 103 ON THE COVER: The many points of light of THI’s partners, friends and beneficiaries EXECUTIVE COMMITTEE President Bill Clinton, Honorary Chairman Andrew N. Liveris, Chairman Dean Dakolias George A. David Muhtar Kent Nicholas Lazares George M. Logothetis Dennis Mehiel Alexander Navab John Pappajohn George Sakellaris George P. Stamas, President Harry Wilson Father Alexander Karloutsos, Honorary Advisor Te fag of the Φιλική Εταιρεία, BOARD MEMBERS the “Society of Friends.” Maria Allwin Drake Behrakis It has the letters "ΗΕΑ" (Ή ΕλευθερίΑ") John P. Calamos, Sr. and "ΗΘΣ" ("Ή ΘάνατοΣ") Aris Candris John Catsimatidis which are a shorthand for the words Achilles Constantakopoulos “Ελευθερία ή θάνατος” – “Freedom or Death.” Jeremy Downward William P. Doucas John D. Georges Arianna Hufngton Constantine Karides Savas Konstantinides John S. Koudounis Amb. Eleni T. Kounalakis Ted Leonsis Alexander Macridis George Marcus Panos Marinopoulos Corinne Mentzelopoulos C. -
World Premiere of Angels' Atlas by Crystal Pite
World Premiere of Angels’ Atlas by Crystal Pite Presented with Chroma & Marguerite and Armand Principal Dancer Greta Hodgkinson’s Farewell Performances Casting Announced February 26, 2020… Karen Kain, Artistic Director of The National Ballet of Canada, today announced the casting for Angels’ Atlas by Crystal Pite which makes its world premiere on a programme with Chroma by Wayne McGregor and Marguerite and Armand by Frederick Ashton. The programme is onstage February 29 – March 7, 2020 at the Four Seasons Centre for the Performing Arts. #AngelsAtlasNBC #ChromaNBC #MargueriteandArmandNBC The opening night cast of Angels’ Atlas features Principal Dancers Heather Ogden and Harrison James, First Soloist Jordana Daumec, Hannah Fischer and Donald Thom, Second Soloists Spencer Hack and Siphesihle November and Corps de Ballet member Hannah Galway. Principal Dancer Greta Hodgkinson retires from the stage after a career that has spanned over a period of 30 years. She will dance the role of Marguerite opposite Principal Dancer Guillaume Côté in Marguerite and Armand on opening night. The company will honour Ms. Hodgkinson at her final performance on Saturday, March 7 at 7:30 pm. Principal Dancers Sonia Rodriguez, Francesco Gabriele Frola and Harrison James will dance the title roles in subsequent performances. Chroma will feature an ensemble cast including Principal Dancers Skylar Campbell, Svetlana Lunkina, Heather Ogden and Brendan Saye, First Soloists Tina Pereira and Tanya Howard, Second Soloists Christopher Gerty, Siphesihle November and Brent -
NEW EOT-English:Layout 1
TOUR OF ATHENS, stage 10 FROM OMONIA SQUARE TO KYPSELI Tour of Athens, Stage 10: Papadiamantis Square), former- umental staircases lead to the 107. Bell-shaped FROM MONIA QUARE ly a garden city (with villas, Ionian style four-column propy- idol with O S two-storey blocks of flats, laea of the ground floor, a copy movable legs TO K YPSELI densely vegetated) devel- of the northern hall of the from Thebes, oped in the 1920’s - the Erechteion ( page 13). Boeotia (early 7th century suburban style has been B.C.), a model preserved notwithstanding 1.2 ¢ “Acropol Palace” of the mascot of subsequent development. Hotel (1925-1926) the Athens 2004 Olympic Games A five-story building (In the photo designed by the archi- THE SIGHTS: an exact copy tect I. Mayiasis, the of the idol. You may purchase 1.1 ¢Polytechnic Acropol Palace is a dis- tinctive example of one at the shops School (National Athens Art Nouveau ar- of the Metsovio Polytechnic) Archaeological chitecture. Designed by the ar- Resources Fund – T.A.P.). chitect L. Kaftan - 1.3 tzoglou, the ¢Tositsa Str Polytechnic was built A wide pedestrian zone, from 1861-1876. It is an flanked by the National archetype of the urban tra- Metsovio Polytechnic dition of Athens. It compris- and the garden of the 72 es of a central building and T- National Archaeological 73 shaped wings facing Patision Museum, with a row of trees in Str. It has two floors and the the middle, Tositsa Str is a development, entrance is elevated. Two mon- place to relax and stroll. -
The Ultimate On-Demand Music Library
2020 CATALOGUE Classical music Opera The ultimate Dance Jazz on-demand music library The ultimate on-demand music video library for classical music, jazz and dance As of 2020, Mezzo and medici.tv are part of Les Echos - Le Parisien media group and join their forces to bring the best of classical music, jazz and dance to a growing audience. Thanks to their complementary catalogues, Mezzo and medici.tv offer today an on-demand catalogue of 1000 titles, about 1500 hours of programmes, constantly renewed thanks to an ambitious content acquisition strategy, with more than 300 performances filmed each year, including live events. A catalogue with no equal, featuring carefully curated programmes, and a wide selection of musical styles and artists: • The hits everyone wants to watch but also hidden gems... • New prodigies, the stars of today, the legends of the past... • Recitals, opera, symphonic or sacred music... • Baroque to today’s classics, jazz, world music, classical or contemporary dance... • The greatest concert halls, opera houses, festivals in the world... Mezzo and medici.tv have them all, for you to discover and explore! A unique offering, a must for the most demanding music lovers, and a perfect introduction for the newcomers. Mezzo and medici.tv can deliver a large selection of programmes to set up the perfect video library for classical music, jazz and dance, with accurate metadata and appealing images - then refresh each month with new titles. 300 filmed performances each year 1000 titles available about 1500 hours already available in 190 countries 2 Table of contents Highlights P. -
Operaharmony
#OPERAHARMONY CREATING OPERAS IN ISOLATION 1 3 WELCOME TO #OPERA HARMONY FROM FOUNDER – ELLA MARCHMENT Welcome to #OperaHarmony. #Opera Harmony is a collection of opera makers from across the world who, during this time of crisis, formed an online community to create new operas. I started this initiative when the show that I was rehearsing at Dutch National Opera was cancelled because of the lockdown. Using social media and online platforms I invited colleagues worldwide to join me in the immense technical and logistical challenge of creating new works online. I set the themes of ‘distance’ and ‘community’, organised artist teams, and since March have been overseeing the creation of twenty new operas. All the artists involved in #OperaHarmony are highly skilled professionals who typically apply their talents in creating live theatre performances. Through this project, they have had to adapt to working in a new medium, as well as embracing new technologies and novel ways of creating, producing, and sharing work. #OperaHarmony’s goal was to bring people together in ways that were unimaginable prior to Covid-19. Over 100 artists from all the opera disciplines have collaborated to write, stage, record, and produce the new operas. The pieces encapsulate an incredibly dark period for the arts, and they are a symbol of the unstoppable determination, and community that exists to perform and continue to create operatic works. This has been my saving grace throughout lockdown, and it has given all involved a sense of purpose. When we started building these works we had no idea how they would eventually be realised, and it is with great thanks that we acknowledge the support of Opera Vision in helping to both distribute and disseminate these pieces, and also for establishing a means in which audiences can be invited into the heart of the process too . -
Organisational Members
Organisational Members Be part of a European community that encourages innovation, international collaboration and intercultural dialogue through opera and ballet Supporting innovation in opera and ballet The non-profit organization FEDORA based at the Palais Garnier in Paris encourages innovation and creativity in opera and ballet in Europe and beyond through an international Prizes competition initiated under the presidency of Jérôme-François Zieseniss, as a tribute to Rolf Liebermann. Every year, FEDORA awards privately-funding prizes to new operas, ballets as well as to education and digital artistic projects, helping them reach “Jean Monnet, one of the creators of Europe, once said the stage. that if he could start again, he would try to unite Europe through culture. FEDORA shows that this is possible.” An international network Today, the FEDORA network federates 95 opera houses, festivals, ballet companies and Handelsblatt, 2018 friends associations in 25 countries, as well as individual, corporate donors and foundations to create a sustainable ecosystem between the cultural and economic sector guaranteeing the future of opera and ballet. A unique platform (www.fedora-platform.com) “FEDORA sends an important and very positive message Thanks to 2 million euros of co-funding of the Creative Europe programme of the European Union, FEDORA harnesses the digital shift to showcase artistic works-in-progress on its across Europe that advocates our cultural heritage.” Platform. Thereby it reaches out to a new generation of people, allowing them to promote and support online new operas and ballets that are still in the making. Barbara Gessler, Head of Unit Creative Europe, European online giving system DG Education, Youth, Sport and Culture This year, FEDORA will be the first non-profit organisation alongside Common Goal in of the European Commission Europe to test a new online transnational giving system that will allow simplified online cross-border donations and facilitate philanthropy across Europe. -
Aruilffi * &Til
ffiH"A GIUSEPPEVERDI AIDA Librettobv AntonioGhislanzoni Thisproduction of Ardais dedicatedto DiamondProducers' Circle Sponsors lris and Matthew Strauss, TitleCo-Sponsors Gillian and Tony Thornley, and Producers' Circle Sponsors Jennifer and RichardGreenfield, Lyndaand RichardKerr, Barbara Kjos, John Rebeloand SarahB. Marsh-Rebeloand Friendsof Pam Slater-Price. SanDiego Opera is pleasedto recognizeNorthern Trust as our CorporateProducing Partner for Aida. Sincerethanks also go to AmericanAirlines. OfficialAirline of SanDiego Opera, SycuanCasino, Phone Etiquette Sponsor, and PointLoma Nazarene University, Supertitles Sponsor. ilA$T: $ilTTit*t: (in orderof vocalappearance) Setting:The periodof the Pharaoh'spower. Memphisand Thebes Ramfis ReinhardHagen Radames Walter Fraccaro. ACT I Amneris Jill Grove. Scene1 : A Hallin the Palacein Memphis Aida LatoniaMoore" Scene2. lnsidethe Templeof Vulcan Kingof Egypt Ashraf Sewailam ACT II Messenger Greg Fedderly Scene'l : Amneris'apartments in Thebes Priestess PritiGandhi Scene2; The Gatesof Thebes Amonasro Mark S. Doss - 2O Minute lntermission - Conductor DanieleCallegari- ACT Director Andrew Sinclair III TheTemple of lsison the Banksof the Nile Choreographer Kennethvon Heidecke ScenicDesigner ZandraRhodes ACT IV Cncfr rma Dacinnar ZandraRhodes TheJudgment Hall and SubterraneanTomb LrghtingDesigner ChristopherMaravich Wig and MakeupDesigner Steven Bryant . ChorusMaster CharlesF. Prestinari Therunning time is approximately 3 hours, tncluding one intermission. Supertitles ChristopherBergen . Byarrangement -
Makams – Rhythmic Cycles and Usûls
https://doi.org/10.5771/9783956506734, am 26.09.2021, 20:13:18 Open Access - http://www.nomos-elibrary.de/agb https://doi.org/10.5771/9783956506734, am 26.09.2021, 20:13:18 Open Access - http://www.nomos-elibrary.de/agb Post-Byzantine Music Manuscripts as a Source for Oriental Secular Music (15th to Early 19th Century) © 2016 Orient-Institut Istanbul https://doi.org/10.5771/9783956506734, am 26.09.2021, 20:13:18 Open Access - http://www.nomos-elibrary.de/agb ISTANBULER TEXTE UND STUDIEN HERAUSGEGEBEN VOM ORIENT-INSTITUT ISTANBUL BAND 28 © 2016 Orient-Institut Istanbul https://doi.org/10.5771/9783956506734, am 26.09.2021, 20:13:18 Open Access - http://www.nomos-elibrary.de/agb Post-Byzantine Music Manuscripts as a Source for Oriental Secular Music (15th to Early 19th Century) by Kyriakos Kalaitzidis Translation: Kiriaki Koubaroulis and Dimitri Koubaroulis WÜRZBURG 2016 ERGON VERLAG WÜRZBURG IN KOMMISSION © 2016 Orient-Institut Istanbul https://doi.org/10.5771/9783956506734, am 26.09.2021, 20:13:18 Open Access - http://www.nomos-elibrary.de/agb Umschlaggestaltung: Taline Yozgatian Umschlagabbildung: Gritsanis 8, 323 (17th c.): “From here start some songs and murabba’s” Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de. ISBN 978-3-95650-200-2 ISSN 1863-9461 © 2016 Orient-Institut Istanbul (Max Weber Stiftung) Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. -
Performances of Ancient Greek Tragedy and Hellenikotita: the Making O F a Greek Aesthetic Style of Performance 1919-1967
Performances of Ancient Greek Tragedy and Hellenikotita: The Making o f a Greek Aesthetic Style of Performance 1919-1967 Ioanna Roilou-Panagodimitrakopoulou M.A. in Theatre Strudies M.A. in Modem Drama Submitted for a Ph.D thesis Department of Theatre Studies Lancaster University March 2003 ProQuest Number: 11003681 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003681 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Performances o f Ancient Greek Tragedy and Hellenikotita: The Making o f a Greek Aesthetic Style o f Performance 1919-1967 Ioanna Roilou-Panagodimittakopoulou M.A. in Theatre Studies, M.A. in Modem Drama Submitted for a Ph.D thesis Department a Theatre Studies Lancaster University March 2003 Abstract This t hesis s tudies t he p henomenon o f t he p roduction o ft ragedy i n G reece d uring t he period 1919-1967 in relation to the constitution of Greek culture during this period and the ideologem of hellenikotita. It argues that theatre in Greece through the productions of tragedy proposed an aesthetic framework of performances of tragedy that could be recognised as ‘purely Greek’ within which the styles of productions moved. -
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IMS-RASMB, Series Musicologica Balcanica 1.2, 2021. e-ISSN: 2654-248X Addressing the Modality of Church Melodies, According to the Variety in the Choice of the Isokratema. Case Studies by Symeon Kanakis DOI: https://doi.org/10.26262/smb.v1i2.7948 ©2021 The Author. This is an open access article under the terms and conditions of the Creative Commons Attribution NonCommercial NoDerivatives International 4.0 License https://creativecommons.org/licenses/by-nc- nd/4.0/ (CC BY-NC-ND 4.0), which permits use, distribution and reproduction in any medium, provided that the articles is properly cited, the use is non-commercial and no modifications or adaptations are made. The copyright for eventually included manuscripts belongs to the manuscript holders. Kanakis, Addressing the Modality... Addressing the Modality of Church Melodies, According to the Variety in the Choice of the Isokratema. Case Studies Symeon Kanakis Abstract: This paper aims to investigate the phenomenon of heterophony in Byzantine chant, exploring the technique of isokratema and how the modality of a melody can be affected by the selection of an isokratematic note (bordun tone). Specific examples of whole melodies or melodic phrases are examined by using respectively two or more versions of isokratema. These versions come either from recordings of isokratema in church melodies or voice recordings from in and out of the worship congregation and the oral tradition. Additionally, the selections of isokratema are analysed one by one in order to show how each example affects the modality of the melos as an octaechic behaviour on macrostructural level, as well as a movement of the notes on microstructural level. -
The Poetics of Tasos Leivaditis:From Extroversion To
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Birmingham Research Archive, E-theses Repository 1 THE POETICS OF TASOS LEIVADITIS: FROM EXTROVERSION TO INTROVERSION. by VAGIA KALFA A thesis submitted to The University of Birmingham For the degree of MASTER OF PHILOSOPHY Center of Byzantine, Ottoman and Modern Greek Studies School of History and Cultures The University of Birmingham 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. 2 ABSTRACT This study sets out to examine the poetics of Tasos Leivaditis and its transformations in the course of distinct periods of his work focusing on its continuities and discontinuities. In the first chapter, I analyse “the first period poetry” (1952-1956) of Leivaditis and the transition from his writing about his experience of the concentration camps of the first two collections, via the politically and socially committed third collection, to the humanism evident in the last collection of poems written in this period (in a sense that Leivaditis' last collection of this period is less autobiographical than his earlier poems, it often includes fictional elements which give to the poems symbolic connotations and it is not exclusively focused on the historical events of the poet’s country but it refers to the social and political reality outside of Greece as well).