Masterful Production of Dikran Tchouhadjian's "Zemire" Completes Trilogy of 19th-Century Composer's Works

Over 5,000 Southland Armenians Attend Three Performances

The weekend of May 30-June 2, 2008 will long stand out in the memory of Southern California Armenians as the three-day period when the AGBU Ardavazt Theater Company and the Lark Musical Society collaborated for the third time to present the comic operetta "Zemire" by Dikran Tchouhadjian at the 3000-seat Pasadena Civic Auditorium. This collaboration resulted from the joint vision and talent of Ardavazt director Krikor Satamian and Lark conductor Vatsche Barsoumian (who also wrote the score), who, according to the Nor Gyank Armenian newspaper of Los Angeles, "added new laurels to the ones already gained from their two previous collaborations." The operetta was originally written in 1890 and had languished in obscurity for over a century before the recent California revival.

In "Zemire," a love story based on an Arabian Nights motif, tribal custom clashes against true love, with the latter triumphing in the end (aided by fountain water turned into a love elixir). Although the story took place in the 13th century in the Hijaz region of what is today Saudi Arabia, the scene of the action was shifted to Persia by the above-mentioned creative team.

This was the first modern production of "Zemire" in four acts, since its inaugural French-language performance in Constantinople in 1891 (libretto in Turkish by Dikran Kalemjian), in a completely new Armenian translation from four languages (Turkish, French, Italian and Russian) by Maestro Barsoumian, inasmuch as the original manuscript's whereabouts were not known until recently. Armenian productions of two of Tchouhadjian's three other operettas, "Zvart" and "Leblebiji Hor-Hor Agha," were previously introduced to Southern Californian Armenian audiences in 2003 and 2004. Tchouhadjian had turned to the genre of operetta in the 1870's after composing the first Armenian opera, "Arshag II," which was patterned after European opera.

ikran Tchouhadjian, the founder of Armenian - and Turkish - opera, is considered one of the giants of Armenian music, along with Komitas, Alexander Spendiarian and Aram Khachaturian. He was the first Armenian composer to introduce professionalism into the composition and performance of Armenian music. Although Tchouhadjian lived under the unfavorable conditions of Ottoman Turkey, he waged a courageous struggle for the development of Armenian national culture; actively participated in the Armenian Musical Association of Constantinople, musical monthlies, the formation of a symphony orchestra, as well as the founding and subsequent activity of musical-theatrical groups.

Considered to be a highly artistic work, this performance of "Zemire" involved the participation of not only the 50-member Lark Chorus, 15 members of the Ardavazt Theater Company, 20 dancers, and a 60-member Pasadena Symphony Orchestra, but also such prominent and talented soloists as mezzo-soprano Shoushik Barsoumian (in the role of Suheile), mezzo-soprano Anahid Halabi (Mediha), baritone Artashes Hayriyan (Grand Wizard Ebudia), baritone Bakur Kalantaryan (Benezar), contralto Shoghig Koushakjian (Rebia),soprano Ani Maldjian (Zemire), tenor Suren Mkrtichian (El Santur), tenor Heibert Sarian (Nadare), bass Rafael Telunts (Ebulgana) and baritone Ruben Telunts (Atalmuk).

Sona Avetisyan was the choreographer; Felix Yeghiazarian created the set concepts; Raffi Musakhanyan was the scenic artist and executor; singer Anahid Halabi doubled as the costume designer; Sevag Bekmezian was responsible for the lighting design; Nazareth Achabahian and Andrea Wiersma did the makeup. Sylva Manoogian and Armen Aroyan created the English-language text that was shown on the screen during the performances.

Several months in advance, seven committees, including public relations, protocol, advertising and design, technical, accounting and tickets, fundraising, logistics and support, and several other auxiliary groups, were formed in order to successfully mount this lavish production, which cost over $350,000. Co-chairmen of the executive committee were Steve Azadian and Samuel Ilandjian, former president of Ardavazt and the man who decided to bring Lark Conservatory and AGBU together to produce the operetta.

The fundraising committee, in particular, managed to collect a significant amount of donations to mount the production: almost one-third was generated through ticket sales; the Jack Munushian Charitable Trust and Mr. and Mrs. Jerry and Pat Turpanjian, TF Foundation, each gave $50,000; approximately $100,000 was collected from sponsors, donors, contributors, supporters and friends.

Pre- and post-event publicity regarding "Zemire" represented the most extensive campaign mounted in the United States for a cultural event, since the San Francisco Opera's production of "Arshak II" in 2002. At least a dozen most favorable reviews, in addition to letters to the editor, appeared in the Armenian- and English-language press, in which the production was described in the following words: "impeccable" (The Armenian Observer, June 4, 2008)... "not a gold but a diamond page was added to the rich history of Armenian culture in Los Angeles"... "acting, singing, instrumental music, and a marvelous harmony of costumes paraded before our eyes, demonstrating a stupendous degree of organization" (Nor Or, June 7, 2008); "a professional production with all the necessary details" (letter, The Armenian Observer, June 11, 2008).

The following is a sampling of opinions from reviews of "Zemire" in the Armenian American press:

"The other performances which are given on practically a weekly basis in Los Angeles aren't to be compared with 'Zemire,' which was different in terms of quality, visual presentation, color and the courage to mount such a production." (Kevork Bedigian, "Mdorumner 'Zemire"n Vayelelov [Contemplations While Enjoying "Zemire"], Asbarez, June 7, 2008).

"We were literally transported into a magical world... The presentation of 'Zemire' was in almost no way inferior to the productions of European or American professional outfits." (Haroutiun Saghrian, "Zemire," Massis, June 7, 2008).

"Soprano Ani Maldjian played Zemire, and her uncompromising talent stole the show, her mastery of the vocals commanding the audience's attention...When watching tenor Suren Mkrtchyan, one can't help but be reminded of a young Pavarotti, as if Mkrtchyan were channeling the legendary singer." (Armine Iknadossian, "Zemire Concludes Tchouhadjian Series," The Armenian Reporter Arts & Culture, June 14, 2008).

"The applause and exclamations of admiration from the standing audience, which lasted for five minutes, were the best expression and appreciation of the satisfaction and warm feelings of the 1,500 attendees." (Sarkis Majarian, "'Zemire' - Barzabess Skancheli" ["Zemire" -- Simply Magnificent], Nor Hayastan/New Armenia, June 3, 2008; Nor Or, June 14, 2008).

"I wonder if Tchouhadjian could have imagined that it would take all of 120 years for his 'Zemire' to shine, during the days of whose creation, in abject poverty, he had to pawn off all his manuscripts, even his watch, and then he departed from this earth." (Ankine Keshishian-Mouradian, "Tchouhadjiani 'Zemire'n Veragentanatsav" [Tchouhadjian's "Zemire" Was Revived], Nor Gyank, June 12, 2008; Nor Hayastan/New Armenia, June 17, 2008)

"While watching this performance, I became filled with admiration on various occasions but the main thing is that throughout the performance, a feeling of amazement remained with me over Tchouhadjian's having penetrated the depths of the operatic genre and his immense experience and skill in mastering that." (Composer Tigran Mansurian, "Grarumner Tchouhadjiani 'Zemire'yi Artiv" [Jottings on the Occasion of Tchouhadjian's 'Zemire], Massis, June 28, 2008; "Khenkarkumi Tsuntsutiun. 117 Tarva Undmidjumits Heto Los Angelesum Bemadrvets T. Tchouhadjiani 'Zemire' Operan [Exultation of Flattery: T. Tchouhadjian's "Zemire" Is Staged after a 117-year Interruption], Nor Gyank, July 17 and 24, 2008).

Karine Ter Grigorian, in her article entitled "'Zemireyi Yeluytits Heto" [After the Production of "Zemire"] (Asbarez, June 19, 2008), gives a sampling of attendee reaction: "the beauty of the music gradually became apparent (Dikran Arpiarian)"; "there was unanimity about the splendor and magnificence of the sets." The author mentions that one viewer said, "Such a thing could only be done in Armenia," then points out that the roles have now been reversed, due to the emigration of artists and the conditions in the homeland. The author concludes her article by pointing out the historical impact of the production: "The aim of this production was to prevent 'Zemire,' which had been rendered into oblivion, from getting permanently lost, 117 years after it was written...Another 117 years from now, the historical record will contain the line: 'In 2008, 'Zemire' was presented in Los Angeles by Lark Musical Society and AGBU Ardavazt Theater Company.'"

Founded in 1979, the AGBU Ardavazt Theater Company is the only full-time Armenian theater company serving the LA community. The ATC was named after Ardavazt II, king of Armenia during the first century B.C. Ardavazt was considered a champion and supporter of the theater arts. Ardavazt has performed in many cities across North America, including Boston, New York, Chicago, San Francisco, Montreal and Toronto. For more information about AGBU and its cultural programs, visit AGBU online at www.agbu.org.