July - September 2012 - Ministry of Foreign Affairs
Transcription
July - September 2012 - Ministry of Foreign Affairs
Cyprus TO D AY Vo l u m e L , N o 3 , J u l y - S e p t e m b e r 2 0 1 2 Contents EDITORIAL ....................................................................4 Kypria International Festival 2012 ...................................6 Mapping Cyprus: Crusaders, Traders and Explorers ......14 Maniera Cypria ...............................................................19 4th Cypriot Film Directors Festival .................................22 4th International Pharos Contemporary Music Festival ..28 16th International Festival of Ancient Greek Drama .......36 Cyprus Medical Museum ...............................................41 Pafos Aphrodite Festival 2012 ........................................44 Terra Mediterranea-In Crisis ...........................................48 Cypriot Armenian Artists Exhibition .............................52 United States of Europe .................................................56 Bokoros “Odos Eleftherias” ............................................63 The World Youth Choir in Cyprus ..................................65 Volume L, No 3, July-September 2012 A quarterly cultural review of the Ministry of Education and Culture published and distributed by the Press and Information Office (PIO), Ministry of Interior, Nicosia, Cyprus. Editorial Supervision: Miltos Miltiadou (PΙΟ) E-mail: [email protected] Address: Ministry of Education and Culture Kimonos & Thoukydides Corner, 1434 Nicosia, Cyprus Website: http://www.moec.gov.cy Editorial Assistance: Maria Georgiou (PΙΟ) E-mail: [email protected] David A. Porter E-mail: [email protected] Press and Information Office Apellis Street, 1456 Nicosia, Cyprus Website: http://www.moi.gov.cy/pio EDITORIAL BOARD Chairperson: Pavlos Paraskevas, Director of Cultural Services, Ministry of Education and Culture Chief Editor: Jacqueline Agathocleous [email protected] GNORA COMMUNICATION CONSULTANTS (website: www.gnora.com) Tel: +357 22441922 Fax: +357 22519743 Design: GNORA COMMUNICATION CONSULTANTS Printed by: Konos Ltd Front cover: General view of the exhibition Maniera Cypria: Lemesos, Fabula, Historia, Memoria Back cover: A scene from Electra & Orestes at the 16th International Festival of Ancient Greek Drama PIO 416/2012 – 10000 ISSN (print) 0045-9429 ISSN (online) 1986-2547 Subscription Note: For free subscriptions please contact: [email protected]. Cyprus Today is also available in electronic form and can be sent to you if you provide your e-mail. If you no longer wish to receive the magazine, in either print or electronic form, or if you have changed your address, please let us know at the above e-mail address. Please include your current address for easy reference. Editor’s Note: Articles in this magazine may be freely quoted or reproduced provided that proper acknowledgement and credit is given to Cyprus Today and the authors (for signed articles). The sale or other commercial exploitation of this publication or part of it is strictly prohibited. Disclaimer: Views expressed in the signed articles are those of the authors and not necessarily those of the publishers. The magazine can also be found on the Press and Information Office website at www.moi.gov.cy/pio. 3 Editorial T he Cyprus Presidency of the Council of the European Union in the second half of 2012 features strongly in this issue of Cyprus Today, starting off with the KYPRIA 2012 International Festival, which presented music, theatre and dance events of considerable renown throughout the island. The Festival started off with a concert, Towards a Europe of Peace, by the Cyprus Youth Symphony. The easternmost member of the EU, Cyprus, has always been strategically important to foreign powers wishing to influence or control the Eastern Mediterranean. The exhibition Mapping Cyprus: 1191-2012 Crusaders, Traders and Explorers, held at the BOZAR Centre for Fine Arts in Brussels, examined a long period in the turbulent history of the island. Lovers of antiquities will enjoy reading about the Maniera Cypria exhibition in Limassol, which presented archaeological findings unearthed in the district and its vicinity displayed side by side in a fascinating discourse with contemporary art at the Evagoras Lanitis Centre. This issue also takes a look at the 4th Cypriot Film Directors Festival, which presented works by seven acclaimed film directors. For the first time ever, the screenings took place “under the stars” at the Constantia Open Air Cinema. The 4th International Pharos Contemporary Music Festival was dedicated to the promotion of new music, both the established masterpieces of the contemporary music literature of the 20th century and a great number of premieres by leading young composers from all over the world who were commissioned by the Pharos Arts Foundation to write new works especially for the Festival. In July, theatre lovers from around the world attended the 16th International Festival of Ancient Greek Drama 2012. The Festival opened with a production of Agamemnon’s Children by the Hessian State Theatre of Wiesbaden, Germany, while other works included Electra and Orestes, The Trial; The Eumenides, and Antigone. Also taking pride of place in this issue is the Cyprus Medical Museum, a venture which few people took seriously some 25 years ago when the Committee of the Limassol Medical Association announced its decision to collect and exhibit antique medical equipment. Thanks to a number of valuable donations from doctors and their families, photographs of which are included in this issue, the museum is now a reality, bringing an enormous collection of valuable medical artefacts to the people of Cyprus and to visitors to the island with an interest in medicine. The 14th Pafos Aphrodite Festival raised its curtain this year on the Slovak National Theatre’s performance of Verdi’s Otello, at the Medieval Castle of Pafos in Pafos Harbour. The adaptation of William Shakespeare’s tragedy was set at the Castle of Famagusta in the 15th century, with Otello serving as the recently appointed governor of Cyprus. Also featured in this issue is the contemporary art program Terra Mediterranea–In Crisis, which included a second contemporary art exhibition, [at Maroudia’s], curated by the Re Aphrodite team at the Ethnological Museum–House of Hadjigeorgakis Kornesios. The Armenian Representative, Vartkes Mahdessian, organised a unique exhibition within the framework of the Cyprus Presidency featuring works by nine Armenian painters and six Armenian photographers. The Painting and Photography Exhibition by Cypriot Armenian Artists is also featured in this issue. Do you feel European? Does Mr O’Keeffe in Ireland feel more or less European than Mrs Stylianou in Cyprus? And if so, why? The United States of Europe (U.S.E) project, presented outdoors at Pharos Arts Foundation, offered various reflections on such questions. In another exhibition related to borders, painter Christos Bokoros attempted direct conversation with spaces, buildings and roads which are adjacent to or which lead to the Green Line in Nicosia with a series of paintings titled “Odos Eleftherias”. Finally, for the first time ever in Cyprus, we got the chance to enjoy concerts by the World Youth Choir. The choir performed three a cappella concerts, in Pedoulas, in Pafos and in Ayia Napa. 4 5 Kypria International Festival 2012 R ight from its inception in 1993, the Kypria International Festival has provided Cypriots and visitors alike with a variety of cultural events of the highest possible standard. Launched in a period characterised by a drought of important cultural events, the Kypria International Festival became the catalyst for the creation of an unprecedented cultural movement. The Cultural Services of the Ministry of Education and Culture continually seek to improve and upgrade the Festival, not only the character of the programme’s events but also the conception and future course of the Festival. 20 Years of History Throughout its twenty-year history, the Festival has presented acclaimed Cypriot and foreign artists from various disciplines to its audience. The selection committee strives to the greatest possible extent to make the work of Cypriot artists and groups elemental to the Festival while still maintaining its international character. Over the past two decades, the Kypria International Festival has hosted an array of distinguished artists and ensembles from the fields of cinema, dance, music, theatre and the visual arts. The Festival has welcomed esteemed international dance companies to its stages, including the Rhine Ballet, the National Ballet of Cuba, Omada Edafous by Demetris Papaioannou and the Batsheva Dance Company. Theatre Performances by Prominent Directors Theatre performances by prominent directors featuring distinguished actors and theatre groups of worldwide renown have always been at the forefront of the Festival, including the National Theatre of Greece, the Greek Art Theatre of Karolos Koun and Spyros Evangelatos Amphitheatre. One of the Festival´s most recent highlights was John Malkovich´s outstanding performance in The Infernal Comedy: Confessions of a Serial Killer in 2011. 6 William Shakespeare: Pericles Celebrated Music Ensembles The Kypria International Festival has also hosted a number of internationally renowned music ensembles, including the English National Symphony Orchestra, the Madrigalisti di Venezia, the European Union Baroque Orchestra, the Philarmonic Chamber Orchestra of Salzburg, the Popular Orchestra of Mikis Theodorakis and the State Orchestra of Greek Music, conducted during its Kypria Festival appearance by Dionysis Savvopoulos. Programme In 2012 the Cultural Services of the Ministry of Education and Culture maintained the Festival’s high standards by creating the following programme: Towards a Europe of Peace The Cyprus Youth Symphony Orchestra in collaboration with the World Youth Choir. Strovolos Municipal Theatre, Nicosia. 30 and 31 August. Love Songs from Smyrna meet Cyprus Tradition Moliere: Amphitryon The National Theatre of Greece. Makarios III Amphitheatre, Strovolos, Nicosia. 7 September. William Shakespeare: Pericles The National Theatre of Greece. Makarios III Amphitheatre, Strovolos, Nicosia. 8 September. Othello’s Tower in Music: Four Musical Views on the Shakespearian Drama Featuring works by Dvořák, Khachaturian, Rossini and Verdi. The Cyprus Symphony Orchestra. Municipal Garden Theatre, Limassol. 13 September. Strovolos Municipal Theatre, Nicosia. 14 September. Mediterranean Express A joint production of the music group En Chordais and Maria Farantouri. The performance highlighted the creative evolution of the musical heritage of the Mediterranean and its amalgamation with world music and Ethno-Jazz. Strovolos Municipal Theatre, Nicosia. 15 September. Rialto Theatre, Limassol. 16 September. Love Songs from Smyrna meet Cyprus Tradition Giannis Kotsiras and the group Estoudiantina with the collaboration of Michalis Terlikkas. The concert featured works that herald the beginning of “rebetiko” and which left their mark on the musical culture of the 1920´s. Makarios III Amphitheatre, Strovolos, Nicosia. 27 September. Rossini Cards and Cantata A Dance performance by Italy´s largest dance group, Fondazione Nazionale della Danza Aterballeto. 7 Rossini Cards and Cantata A Slight Risk Strovolos Municipal Theatre, Nicosia. 30 September. Municipal Garden Theatre, Limassol. 3 October. Famagusta Gate Moat, Nicosia. 12 October. A Slight Risk A theatre production by Fresh Target Theatre Ensemble inspired by George Seferis´s poem Staperichora tis Keryneias (“In the Province of Keryneia”). Skali Aglantzias in Nicosia. 3 and 4 October. Vasos Argyrides´s Anthology A presentation of the composer´s work from throughout his 25-year career. Municipal Garden Theatre, Limassol. 4 October. Strovolos Municipal Theatre, 5 October. Michalis Christodoulides´s Porfyromata A musical performance by the Diastasis Cultural Association featuring the poetry of Hector Patriotis set to music by Michalis Christodoulides. Makarios III Amphitheatre, Strovolos, Nicosia. 10 October. Municipal Garden Theatre, Limassol. 12 October. The Age of Now A concert featuring important Greek and Cypriot musicians by the group J. Kriste, Master of Disguise. Rialto Theatre, Limassol. 11 October. 8 Iannis Xenakis: Oresteia-Aeschylus Suite The Centre of Vocal Arts performed the suite, the final event of KYPRIA 2012. Xenakis drew his inspiration for the suite from the Aeschylus trilogy of the same name. Makarios III Amphitheatre, Strovolos. 20 October. Further information regarding the KYPRIA 2012 programme can be found at www.kypria.org.cy. Towards a Europe of Peace In honour of the Cyprus Presidency of the Council of the European Union, the Cyprus Youth Symphony Orchestra’s programme, which was prepared during its International Summer Academy, juxtaposed in musical symbolism the catastrophic wars of the European past with the emerging brotherhood of nations and the hopeful future to which the European Union aspires. Two evening concerts were given under the direction of Ayis Ioannides and soloists Margarita Elia (soprano), Vivien Cooksley (mezzosoprano), Kirlianit Cortes (tenor) and Russi Nikoff (baritone). The concerts took place on 30 and 31 August at the Strovolos Municipal Theatre in Nicosia. The first part of the programme comprised work by Gustav Holst (1874-1934), Mars, The Bringer of War (from The Planets), and Krzystof Penderecki (1933- ), Lacrimosa (Soprano solo: Margarita Elia). The second part of the concert included Beethoven’s 9th Symphony in D minor, op. 125 (“Choral”). hood of mankind under a heavenly God. Beethoven brings both universal dimensions and deep mysticism to Schiller’s text. The thematic first stanza was adopted in 1972 as the European Anthem. The Programme Gustav Holst (1874-1934): Mars, The Bringer of War (from The Planets). The Planets, a suite for large orchestra with seven parts, each dedicated to one of the planets, is the best known and most popular work of English composer Gustav Holst. Written between 1914 and 1916, it begins with quiet march rhythms in the uncommon measure of 5/4 and threatening motifs in the wind; the composer builds enormous, terrifying climaxes. The Artists Ayis Ioannides – Artistic Director and Conductor Ayis Ioannides has conducted a wide spectrum of musical genres and has received tremendous critical acclaim around the world, both as a conductor and as a composer. He was a conductor at various German opera houses for 10 years. He has been Chief Conductor of the Vaasa City Orchestra in Finland and the first Artistic Director of the Cyprus State Orchestra. He has also been a guest conductor in many European countries, as well as in Australia, Egypt and the USA. After first obtaining his doctorate in neurophysiology, Ioannides studied in London at the Guildhall School of Music and Drama and at the National Opera Studio, and he participated in master classes in Austria, the Netherlands and Germany. Especially important was the experience he gained under the maestros George Hurst, Vilem Tausky, Helmut Rilling and Sergiu Celibidache. His compositional activity developed especially in the late 90’s, and some of his works have been performed in Cyprus, Egypt, Austria, France (International Pablo Casals Festival), Germany, Finland, Sweden and the USA. Krzystof Penderecki (1933- ): Lacrimosa. Polish composer Krzystof Penderecki is one of the most important musical figures of our age. He wrote Lacrimosa in 1980 for the unveiling in Gdansk, Poland, of a memorial to the victims of the brutal suppression of anti-government riots in 1970. The work was later included in his Polish Requiem, which is dedicated to the heroes and victims of wars throughout Polish history. Ludwig van Beethoven (1770-1827): Symphony no. 9 in D minor, op. 125 (“Choral”) Beethoven’s 9th Symphony, completed in 1824, has become a key point in musical history, and not only because of its universally familiar choral part. In his last creative period, the composer abandoned the sharp contrasts typical of his middle period. In the 9th Symphony, drama dissolves into lyricism and cantabile melody, with its variations constantly acquiring greater significance. Truly majestic from every point of view is the first movement, in which Beethoven makes a giant leap from his previous symphonies. Through his combination of a multitude of related motifs and a highly differentiated use of the orchestra, Beethoven created music of previously unknown texture and rhythmic and structural complexity. For the last choral movement, Beethoven sets Friedrich Schiller’s (1759-1805) Ode to Joy, a poem originally written in 1785 for a plaque in a Masonic lodge in Dresden, to music. The text is a hymn to the brother- Ayis Ioannides 9 sica Sacra” in Salzburg. Her appearances with the Cyprus Symphony Orchestra include Mozart’s Requiem and Schoenberg’s Lied der Waldtaube. Kirlianit Cortes Russi Nikoff Margarita Elia Vivien Cooksley Margarita Elia – Soprano Moscow-born Cypriot soprano Margarita Elia studied at the Franz Liszt Academy of Music in Debrecen, Hungary, graduating with a MMus degree in Vocal Performance and Education – she then continued her studies in London with New York City Opera soloist Arlene Randazzo. She was finalist at La Voce International Lied Competition 2005 in Bayreuth, Germany. Elia has appeared as an opera soloist and has performed with renowned orchestras in Hungary, Bulgaria, Israel and Puerto Rico, the Moscow Virtuosi under Vladimir Spivakov and the Cyprus Symphony Orchestra. She has given many world premieres at major contemporary music festivals. Vivien Cooksley – Mezzosoprano Vivien Cooksley studied under mezzo-soprano Margarita Lilova at the University of Music and Dramatic Arts in Vienna, graduating with a Masters in Operatic Singing. She has also worked with Frank Fanning, assistant to Herbert von Karajan; Walter Berry, baritone; Hans Fuchsberger, head of music studies at Vienna National Opera, and famous voice coach Carol Blaickner-Mayo. Cooksley has appeared in major roles at the Verdi Theatre of Trieste and at the International Festival St. Margarethen. She has also been very active on the concert stage, with performances at the Austria National TV Centre ORF, and she is a regular guest at the “Mu10 Kirlianit Cortes – Tenor Kirlianit Cortes studied singing at the Great Theater of Havana and at the University of Antioquia. In 1998 he was awarded the first prize in the National Arts Competition Universidad del Valle, Mexico. Cortes continued his studies at the University of Music and Performing Arts of Vienna, where he obtained the Magister Artium with mezzo-soprano Ks. Marjana Lipovsek – he also studied with Ks. Margarita Lilova and Ks. Francisco Araiza. In 2004 Cortes made his debut at the Vienna Konzerthaus and Kammeroper. He has performed major roles at the Opera Festival of Schärding (Austria), Teatro Lirico di Spoleto, Vest Norges Opera of Norway, Opera Szczecin in Poland, Bunka Kai Kan, Tokyo, Wiener Musikverein and Vienna Volksoper. In 2009 he won the second prize in the European Tenor Contest-Jan Kiepura in Poland. Cortes’s repertoire comprises a wide range of sacred and secular choral masterpieces; his recordings include Rossini’s Il signor Bruschino and La scala di seta and the J. Strauss operetta Die Göttin der Venunft. Russi Nikoff – Baritone Bulgarian baritone Russi Nikoff graduated from the Musical Academy “Pancho Vladigerov” specialising in Opera Singing. He also worked with Tamara Gorinova and attended master classes at the European Opera Center; he also attended master classes with Renata Scotto, Costas Paskalis and Gena Dimitrova. Nikoff also worked in Vienna, Austria, where he established a connection with Prof. Marta Lantieri (producer and vocal pedagogue) and Ks. Krassimira Stoyanova. During his second year of college Nikoff made his debut at the Burgas Opera, after which he was appointed soloist at the Opera. In the following years he gained invaluable experience under the guidance of Prof. Ivan Vulpe. He has interpreted major roles in many theatres in Germany, Austria, Italy, France, England, Portugal, Mexico, Hungary, Japan, Egypt and Bulgaria, as well as at opera festivals such as Tibor Varga, Switzerland, “Sankt Margarethen”, Austria, and Festival of the Aegean, Syros. Othello’s Tower in Music The Cyprus Symphony Orchestra - 4 musical views on the Shakespearian drama: Dvorak, Khachaturian, Rossini and Verdi Under the baton of Loukas Karytinos, the Cyprus Symphony Orchestra presented the programme Othello’s Tower in Music, with four musical views on the drama: Dvorak, Khachaturian, Rossini and Verdi. The programme, which featured soloists Dimitra Theodossiou (soprano), Angelo Simos (tenor) and Kyros Patsalides (baritone), included the works: A. Dvorak, Concert Overture Othello, Op. 93, B. 174; A. Khachaturian, Suite from the Music to the Film Othello, Op. 87A, Prologue and Introduction; G. Rossini, Sinfonia to the Opera Otello, and G. Verdi, excerpts from the opera Otello. The concert took place on 13 September 2012 at the Municipal Garden Theatre in Limassol and on 14 September 2012 at the Strovolos Municipal Theatre. TOWER OF OTHELLO The Legend The legendary Tower of Othello, situated in Famagusta, is named after Shakespeare’s tragedy Othello whose events, it is believed, take place there – Shakespeare himself mentions “a harbour in Cyprus”. The tower is one among several towers along the imposing and picturesque walls of Famagusta, which the Venetians built when they took Cyprus in 1489 and turned Famagusta into their administrative centre and general headquarters of the Eastern Mediterranean. The winged lion of St. Mark, symbol of the Republic of Venice, is carved over the Tower’s gate. In Shakespeare’s play, Othello is a Moorish general and the commander of Cyprus, appointed by the Republic of Venice. The story of Othello, who tragically murders his beautiful and innocent wife, Desdemona, after being blinded by jealousy through the machinations of the diabolical Iago, has inspired composers of the classical repertoire to write intensely dramatic music in various genres, such as opera, soundtracks and orchestral overtures. The Cyprus Symphony Orchestra, together with distinguished soloists and maestro Loukas Karytinos, presented four different musical views inspired by Othello. Loukas Karytinos – Conductor Loukas Karytinos studied conducting at the University of Arts of West Berlin with H. Alendorf whilst also attending conducting seminars at the Mozarteum in Salzburg. Between 1981 and 1985 he worked in Germany as Music Director of the Sharlontenburg Chamber Orchestra, Berlin, and as Director of the Piccolo Teatro Berolino. Since 1985 he has been the Chief Conductor of the Greek National Opera, where he was appointed Music Director in 1992; he was also the Opera’s Artistic Director from 1999 to 2005. Karytinos has collaborated with opera houses worldwide, including houses in Berlin, Barcelona, Cologne, Monte Carlo, Detroit, Salzburg, Rome, Catania, Modena and Bilbao. He has also conducted at international festivals, including the Athens Festival, Epidaurus, Arena di Verona, Caracalla in Rome, Puccini “Torre di Lago”, Witten, Germany and Las Palmas. He has worked with all of the orchestras of Greece, the London Philharmonia, Orchestre Philharmonique de Nice, RSO-Berlin, Loukas Karytinos – Conductor 11 Cyprus Youth Symphony Orchestra Suisse Romande, WDR, Bruckner Orchester Linz, Oxford Philomusica, Budapest Radio Orchestra and others. Outside Europe, he has performed in Korea, the USA, Australia, Turkey, Egypt and Tunisia. He has received a number of honourary prizes, including the Golden Medal of Honour (1989) from the Athens Municipality for his “excellent services” in music; the Great Music Prize (2008) from the Union of Greek Critics for Drama and Music for his general contribution to Opera, and the Apollon Prize (2010) from the Association of the Friends of the Greek National Opera for his overall contribution to music. Dimitra Theodossiou – Soprano The Greek soprano Dimitra Theodossiou is considered one of the most exciting and important voices for Verdi and BelcantoRepertoire. The soprano, who is studying with Birgit Nickl in Munich, continues to confirm her gift for Verdi and Belcanto interpretation and her ability to captivate audiences. Theodossiou has interpreted the roles of Norma in Athens, Tokyo, St. Petersburg, Kassel, and many Italian theatres; Leonora (Il Trovatore) at Teatroalla Scala in Milan, Teatro dell’Opera in Rome, Teatro Comunale di Bologna, Maggio Musicale Fiorentino, Arena di Verona, Opera de Monte Carlo, Athens, Baltimore and Copenhagen; Desdemona (Otello) at Teatro Municipal de São Paulo in Bra12 The Age of Now zil, Gran Teatro La Fenice, Teatro São Carlos in Lisbon, Herodius Atticus in Athens, Violetta (La Traviata) in Athens, Teatro dell’Opera in Rome, Maggio Musicale Fiorentino, and Japan and Seoul with the Gran Teatro La Fenice. She has worked with world-renowned conductors, including Riccardo Muti, Roberto Abbado, Gianluigi Gelmetti, Marcello Viotti, Valery Gergiev, Riccardo Chailly and Pinchas Steinberg. The soprano has won important international competitions, such as “Belvedere”, “Operalia”, “Viotti” and “Di Stefano”, and numerous prizes, including Best Soprano of the Verdi Centenary Year 2002 in Milan. Theodossiou has recorded more than 13 operas, including I Lombardi alla Prima Corciata, La Traviata and Il Trovatore by Verdi; Anna Bolena and Lucrezia Borgia by Donizzetti, and Norma by Bellini. Angelo Simos –Tenor Angelo Simos is the stage name of Vaghelis Chatzisimos, who was born in Athens, Greece. Simos started his musical education at the Peiraikos Syndesmos Conservatory, in the singing class of Thalia Moira, and graduated with distinction and 1st prize. After graduation he attended master classes and private lessons with Ileana Cotrubas, Luigi Alva, Costas Paschalis and Arrigo Pola. Since 1995 he has been a member of the Greek National Opera Ensemble. He collaborates regularly with all the major orchestras and conductors in Greece (Loukas Karytinos, Byron Fidetzis, Mikis Michaelides, Miltos Logiadis and Alkis Baltas). Simos appears regularly in European Opera Houses (Deutsche Oper am Rhein, Oper Frankfurt, Staatstheater Mannheim and Sofia National Opera). His career highlights include collaboration with artists such as Anna Tomowa Sintow, Maria Guleghina and Agnes Baltsa, and with stage directors such as Dietrich Hillsdorf, Christof Loy, Graham Vick and Giancarlo Del Monaco. Simos has recorded music by Massenet, Kalomoiris, Karrer, Samaras, Mitropoulos and Theodorakis. Since October 2011 he has been the Deputy Stage Director of the Greek National Opera. He teaches at the Ethnikon Odeion and at the Odeion Athenaeum. Kyros Patsalides – Baritone The baritone Kyros Patsalides, one of the most important Cypriot artists of his generation, enjoys a distinguished international career. After completing studies in Law at the University of Athens, he studied Singing in Vienna under the guidance of baritones Walter Berry and Gottfried Hornik on a scholarship awarded by The Music and Fine Arts Foundation of Cyprus. Patsalides also studied Lied and Oratorio at the Music Academy of Vienna; he studied operatic repertoire with Adalberdo Tonini and singing technique with Arrigo Pola and Simone Badi in Milan and Modena. In 1995 he won the 1st prize in the International Song Competition of the Budapest State Opera. Patsalides’s repertoire includes roles from classical, romantic and contemporary operas and oratorio, and he regularly appears at major theatres and international festivals, including Vienna State Opera, Teatro Filarmonico dell’Arena di Verona, National Opera of Greece, Vienna Musikverein and Konzerthaus, Berlin Konzerthaus, Athens and Thessaloniki Megaron Halls, Wiener Festwochen, Due Mondi-Spoleto, Athens International Festival and Wratislavia Cantans (Poland). As a soloist he has collaborated with the Berlin Symphony Orchestra, St. Petersburg Chamber Philharmonic, Virtuosi di Moscow, Orchestra dell’Arena di Verona, with all of the important orchestras in Greece and with the Cyprus Symphony Orchestra. Patsalides has been honoured by a number of political and cultural institutions for his contribution to musical life in Cyprus. Cyprus Youth Symphony Orchestra The Cyprus Youth Symphony Orchestra was founded in 1987 as Cyprus State Youth Orchestra – since 2007 the Cyprus Youth Symphony Orchestra has been managed by the Cyprus Symphony Orchestra Foundation. The Orchestra gives concerts in Cyprus and abroad and participates regularly at official events and anniversaries. The annual International Summer Music Academy is an extremely important part of the Orchestra’s activities. It takes place in Pedoulas village with the participation of young musicians and distinguished professors from Cyprus and abroad. The final concerts of the Summer Academy, in 2007, 2008, 2009 and 2011, were given as part of the International Kypria Festival. In 2010 the Orchestra participated with great success in the First International Youth Orchestras Festival in Constantinople, Cultural Capital of Europe 2010. World Youth Choir The World Youth Choir (WYC) is original in its concept. The Choir brings together talented young singers aged 17-26 from all over the world each year. Since its establishment in 1989, the WYC has established itself as one of the most remarkable musical and intercultural experiences offered to young musicians; the Choir meets annually for intense rehearsals followed by an international concert tour. The diversity of the Choir’s conductors and its repertoire reflects the cultural diversity of its singers. The WYC is a project of the World Youth Choir Foundation, which counts among its patrons the International Federation for Choral Music, the European Choral Association-Europa Cantat and the Jeunesses Musicales International. In 1996, UNESCO honoured the WYC by naming the Choir an Artist for Peace, recognising the WYC’s success as a platform for intercultural dialogue through music. The WYC participated at the Nobel Peace Prize award ceremony on 10 December 2011 and the Nobel Peace Prize Concert held in Oslo on 11 December, the annual musical tribute to the year’s Nobel Peace Prize laureate. 13 Mapping Cyprus 1191-2012: Crusaders, Traders and Explorers BOZAR Centre for Fine Arts, Brussels, 22 June – 9 September 2012 S ituated at the crossroads of three continents, the location of Cyprus in the Eastern Mediterranean and the island’s plentiful natural resources have been a mixed blessing since ancient times. The easternmost member of the European Union, Cyprus has always been strategically important to foreign powers wishing to exercise influence or control over the Eastern Mediterranean. To a greater or lesser extent, all of these powers left their mark on the island’s political, social and cultural life. A Long and Turbulent History The exhibition Mapping Cyprus: Crusaders, Traders and Explorers examines a long period in the turbulent history of the island of Cyprus. The exhibition begins with the occupation of the island by Richard the Lionheart in 1191 and concludes with the Cypriot Presidency of the EU during the second half of 2012: the establishment of the Republic of Cyprus in 1960 and the Republic’s accession to the EU in 2004 are also featured. Traditionally Close Ties with Europe Although Cyprus has had a close connection with Europe since ancient times, it is nevertheless recognised that these relations were reinforced and expanded during the late Byzantine period and especially during the Middle Ages. The arrival of Richard the Lionheart and the occupation of the island by his troops, accidentally or not, changed the history of the island. In addition to the establishment of the Medieval Kingdom of Cyprus, the island played a pivotal role in the introduction of Western European civilisation to the Middle East and beyond. The period of Frankish rule (1191-1489) and the period of Venetian rule that followed (1489-1571) were important stages in the history of the island, linking it to a flourishing European civilisation 14 without cutting it off from its Greek, Byzantine and Eastern roots. During this period, the island gained its important role as an economic, cultural and geopolitical bridge between East and West. Despite the extremely difficult conditions the people of Cyprus endured, the cultural synthesis that resulted on the island can be seen as an early expression of the European spirit and an authentic product of the Renaissance. The Lusignans and the Venetians left their mark on the art and soul of the people; this mark was eventually absorbed, giving the country a more cosmopolitan spiritual and cultural identity. Cypriots and the Island’s Local Character, and Its Connection with Europe The museological approach of this exhibition is based on two main pillars. The first pillar is the Cypriot people and the local character of the island, visually expressed through magnificent Byzantine and post-Byzantine icons, most of which will be shown in public for the first time, and other artefacts. The second pillar is the island’s deep connection to Europe since 1191. Rare manuscripts and works of art by artists such as Titian and Teniers are gathered together for the first time to emphasise their historical and aesthetic connection to Cyprus. A Voyage through Time Mapping Cyprus: Crusaders, Traders and Explorers is a voyage through time and history, one that gives visitors the opportunity to learn, to discover and to revise their perceptions of Cyprus. An effort has been made to implement and connect all five senses with a sensational trip through the island’s past. Music from the Lusignan Court of Cyprus underscores the religious, mystical importance of a Byzantine icon, while the aroma of an olive tree takes you deep into the natural beauty and ag- A view of the Othello Room installation The last section of the exhibition with the photo and text related to the establishment of the Republic of Cyprus ricultural wealth of the island. Visitors to the exhibition revel in the colours and the icons, in the photographs and maps that depict and describe the “Sweet Land of Cyprus,” that sing of it. As a special feature, visitors experience the unique character of the art of Cyprus and its people through a variety of local publications that have been digitised and made available on touchscreens throughout the exhibition. “Because all is moving and all can be explained,” as the 15th century Cypriot chronicler Leontios Machairas wrote, the Government of Cyprus and the BOZAR Centre for Fine Arts hosted this celebration of the history and culture of Cyprus in Brussels, the heart and administrative centre of the EU, from 22 June to 9 September 2012, at the BOZAR Centre. Introduction by Curator “Because all things pass and all things that happen are recounted...” The small island of Cyprus at the eastern edge of the Mediterranean played an important role in the dissemination, exchange and transfer of the civili15 16th century icons from the Venetian period room sation and products of the East to the West, and vice versa. Since ancient times, the island’s geographical position has been both a curse and a blessing. Cyprus has always represented the point where East and West meet, recognise and measure themselves against each other and exchange influences. Those who sought control over the Eastern Mediterranean first had to gain control of the island. And this is where the history of our exhibition begins. For Cyprus, relations with the Byzantine Empire, at the administrative level at least, ended in the late 12th century when the island’s Governor, Isaac Comnenus, declared himself Emperor of Cyprus, thereby cutting off all administrative ties with Byzantium. The ostensible chance arrival and conquest of the island by the English king Richard the Lionheart in 1191 and the subsequent sale of Cyprus to Guy de Lusignan took the island’s relations with Europe into a new dimension. Cyprus was now officially the last bastion of Europe before the Middle East, a position it still holds today. An enormous responsibility I was fully aware of the enormous responsibility placed on my shoulders by my country and delighted by the unbelievable persistence of the 16 director of the BOZAR Centre, when I chose to stage an important and unique exhibition about the island of Cyprus within the framework of the Cyprus Presidency of the EU. From the very first moment I felt completely overawed as to how exactly we were going to present such a wide-spanning period of the island’s history. The exhibition is a historical retrospective but also an attempt to present Cyprus and its identity, its history and its civilisation in Brussels, the heart of the administrative centre of the European Union. The exhibition covers a broad period, beginning with the Crusades and the conquest of the island by Richard the Lionheart in 1191 and ending with independence and the accession of Cyprus to the great European family over which it presided from July to December 2012. It could be said the Orthodox faith and the island’s Hellenic and Byzantine origins, the Byzantine and post-Byzantine art of Cyprus, as expressed through the icons of the period, are the key and the common denominator which open the door onto the diachronic history of the island and the relations and influences of western art in this easternmost corner of Europe. Con- sequently, the museological approach focused on two axes or pillars on which the exhibition and its journey through time, space and history were defined and built. On the one hand, the local element, the Cypriots, is presented through the most common characteristics which represent them: their education, mentality and cultural heritage – a series of Byzantine and post-Byzantine icons express the “poor Cypriotes,” as the 14th century Cypriot chronicler Leontios Machairas describes them. To this end, between 1191 and the present day, the ecclesiastical icons represent Cypriot worship and veneration; they are tangible manifestations of religious devotion and the expression of local artists. Other objects, such as pottery and metalwork, are exhibited together with information and references from historical sources, and special reference is made to the music of the medieval kingdom of the island through a rare handwritten score which brings to life the glory and prestige of the royal court of the Lusignans. This was the first axis. A view from the British period room with the collection of Lord Kitcheners Trigonometrical map of Cyprus, the first modern map of Cyprus How have Europeans viewed Cyprus since the Crusades? The second axis focuses on the European continent and demonstrates the way in which Europeans saw Cyprus from the time of the Crusades to the present day. Efforts were made to collect objects, works of art and information which record the perception Europeans had when they first encountered Cyprus on the road to Jerusalem; these same Europeans later conquered and transformed the island into one of the best-known medieval kingdoms of Europe. It all began with Melusine, the fairy who founded the kingdoms of Europe and sent her children to the East to attain wealth and glory and who later linked the House of Lusignan with other royal families of continental Europe. The story is also unravelled by European chroniclers who pay tribute to the kingdom and the riches of the Lusignans of Cyprus. The last queen of the Medieval Kingdom of Cyprus, the daughter of Venice, Caterina Cornaro, was painted and glorified by the greatest artists of her time, while Cyprus, the jewel in the crown of the Most Serene Republic of Venice, enjoyed golden days of wealth and glory as recorded by contemporary historians. Myths and legends Myths and legends about the island of Cyprus can be found in the writings of foreign travellers who visited the island and in Shakespeare, whose hero, Othello, the Moor of Venice, spent time in Famagusta, the fortified port of the Most Serene Republic of Venice in Cyprus. The great war of Cyprus, which marked the fall of the last bastion of Europe in the Eastern Mediterranean and its occupation by the Ottoman Empire, the new force in the region, is uniquely described by European historians in books and other documents selected for display in this exhibition. Finally, during the 17th and 18th centuries, the importance of the island was emphasised in the work of European cartographers, while the earliest photographs of Cyprus, taken by photographers who came to the island at the time of the arrival of the British in 1878, record and depict the European origins of the island and its bond with the continent. These photographs feature 17 castles and fortifications standing side-by-side with Byzantine chapels, large Gothic churches (which in Ottoman times, were transformed into mosques), and the unique wild natural landscape whose sunburnt workers laboured in its fields. This is our land, the island of Cyprus, the island of Saints, birthplace of Aphrodite, host to Melusine...the island was a refuge. It served as a springboard for crusaders, traders and explorers. A recital of the sweet land of Cyprus I hope this exhibition will indeed be a “recital of the sweet land of Cyprus” and will give the public an understanding of the history of my homeland and its unique artistic expression. It is a complex and diverse history, a history which has brought forth, and continues to bring forth, new ideas. Above all it is a melting-pot of cultures and peoples who, throughout history, whether as conquerors, traders, kings or explorers, have offered and received a great deal. Since ancient times, and up to 1960, Cyprus has always belonged to someone, to whomever wanted control over the Eastern Mediterranean. Despite this, as if by an unbelievable miracle, our island welcomed foreign conquerors and, over time, conquered them and survived without losing its identity, its Greek and Christian origins. It is not by chance that our historical exhibition is completed by an exhibition of modern Cypriot paintings. The joy of independence in 1960 was followed by the bitter events of 1963 and 1974 and the current conditions of semi-occupation. The desire of Cypriot youth to discover their identity – their An icon dedicated to St Michael – selected in honour of St Michel patron Saint of Brussels - from the Treasure room patriotism, their anxieties, their thoughts and their concerns – is evident in the work of a new generation of Cypriot artists. I would like to thank all the directors of the museums who lent us exhibits. Thanks and gratitude are also due to the Church of Cyprus, its primate, Archbishop Chrysostomos, and in particular the Bishops who gave their blessing and allowed us to present Byzantine and post-Byzantine icons of such importance and value. Special thanks and gratitude go to Porphyrios, Bishop of Neapolis, representative of the Church of Cyprus in the EU, without whose advice and support none of this would have been achieved, particularly in such a short time. “Because all things pass and all things that happen are recounted,” as Leontios Machairas writes, the BOZAR Centre for Fine Arts and the Republic of Cyprus invite you to see and hear the recital concerning the Sweet Land of Cyprus. Maps of the Venetian period depicted in the Venetian period room 18 Loukia Loizou Hadjigavriel Curator Maniera Cypria: Lemesos, Fabula, Historia, Memoria Evagoras Lanitis Centre, Lemesos 29 June – 12 August 2012 T he engendering of ancient and medieval collective Cypriot memory into contemporary visual concepts, materials, forms and media gave rise to the exhibition ‘Maniera Cypria,’ which was curated and based on extensive research by Dr Nadia Anaxagorou, Director of the Cultural Services of the Municipality of Lemesos (Limassol). Archaeological findings unearthed in Lemesos and its vicinity, from the areas of Amathus, Pyrgos, Episkopi, Erimi and Kourion, and Byzantine icons from villages in the Lemesos district, including Monagri, Koilani, Pelendri, Amiantos and Arakapas, were displayed side by side in a fascinating discourse with contemporary art at the Evagoras Lanitis Centre, Carob Mill, Lemesos, from 29 June through 12 August 2012. Maniera Cypria was organised by the Municipality of Lemesos in collaboration with the Evagoras and Kathleen Lanitis Foundation, the Department of Antiquities and the Holy Bishopric of Lemesos, under the auspices of the Cyprus Presidency of the Council of the European Union. Mr Efthemios Flourentzou, the Minister of Communications and Works, opened the exhibition on Friday, 29 June 2012. 27 Cypriot visual artists exhibited at Maniera Cypria, including: Angelos Makrides, Helene Black, Nikos Charalambides, Savvas Christodoulides, Andreas Chrysochos, Marianna Constanti, John Corbidge, Christos Foukaras, Demetrakis Gerokostas, Theodoulos Gregoriou, Yiota Ioannidou, Elina Ioannou, Kyriakos Kallis, Lia Lapithi, Maria Loizidou, Antonis Neophytou, Eleni Nikodemou, Lefteris Olympios, Stass Paraskos, Kypros Perdios, Christoforos Savva, George Skotinos, Socratis Socratous, Rinos Stefani, Lefteris Tapas, Susan Vargas and Panayiotis Vittis. Comprising paintings, sculptures, ceramics, installations and video-art, Maniera Cypria explored the penetrating conversation between contemporary works that further elaborate and reinterpret the Maniera Cypria of the past and delineate the Maniera Cypria of today. According to the curator, Dr Nadia Anaxagorou: “Pagan, mythological and Christian hagiographical significations, either in the form of ancient ceramic-sculptural idols and vessels or in the form of medieval painterly representations of saints and angels, extend View of the exhibition Maniera Cypria: Lemesos, Fabula, Historia, Memoria. Clockwise from left: Kyriakos Kallis, Bull, mixed media. Lefteris Olympios, Dei ex Machina, oil on linen, 200x200 cm. George Skotinos, Afternoon Bombing, acrylic, 165x245 cm. Clay figurine representing a warrior, Cypro-Archaic II (600-480 B.C.), from Episkopi-Kaloriziki, 13.8x8 cm. Elina Ioannou, Everyday objects, composition with stone, wood coated paper on plywood and two drums of limestone from Amathus. Kypros Perdios, Horse, bronze, 52x75x20 cm. 19 Angelos Makrides, Idol-Mother of a Missing Person, mixed media, 15x4x4cm Antonis Neophytou, Reinterpretation of the relief ornamentation of the 13th century icon of Saint Mamas from Amiantos, copper and silver, 32x27cm Saints Matthew, Mark and Luke, mid-16th century, from Panagia Iamatiki, Arakapas, placed next to the work by Angelos Makrides, Iconostasis: Three Saints, mixed media, 86x38 cm. the analogies of history to the present. In the modern art pieces selected for presentation, some or many of these analogies are dropped, and this absence is often mystified, allowing us, thus, to perceive historia (history) as a fabula (fable) at once true and imaginary. Other analogies are only partially signified, relieved of redundant loads of meanings, furnishing us with the option of revisiting and transcending old notions, of making them fabulous, and of going far beyond.” 20 Through the succinctly masterful reinterpretation of Angelos Makrides, the cross-shaped chalcolithic idol from Erimi (3500-2800 B.C.) turns into an archetypal and contemporary child-bearing woman, a winged creature or the mother of a missing person in a series of micro-sculptures that set a landmark in the evolution of Cypriot art. The composite red vessel of the Early Cypriot III (2100-2000 B.C.) from Pyrgos, an impressive creation by a local ceramist of antiquity bearing scenes with men and animals at their everyday routines (pressing grapes, working dough for bread, ploughing, etc.), is repeated after thousands of years in the expressive density of naive ceramic compositions by Demetrakis Gerokostas or the painterly figures by Stass Paraskos, recorded in static flatness and reduced to hieratic, featureless entities. In the work of Nikos Charalambides, a Tanagra type of figurine from Amathus (310-30 B.C.), probably an Aphrodite, is depicted next to Marcel Duchamp, in an oeuvre that sweeps away the dividing lines between space and time, blurring Hellenistic art with the 20th century avant-garde artistic genres. The tethrippon (chariot drawn by four horses) of the Cypro-Archaic I-II (650-480 B.C.) from the Sanctuary of Apollo Hylates at Kourion becomes an organic part of the sculptural installation by Maria Loizidou, whose four horses in mixed media represent a visual metonymy of the stifled speech (ά-λογον) in estranging modern metropolitan societies. The 13th century icon of Saint Mamas, from Amiantos, is juxtaposed with the emblematic reduction of the ‘White Saint’ by Angelos Makrides, which schematically outlines a half-length, frontal depiction of any saint’s figure, while the relief ornamentation of this icon, with repetitive geometrical pat- terns, is reproduced in the drawing of Antonis Neophytou, executed in gesso and plastic and engraved on silver-plated copper, in a process evocative of the Byzantine technique and the ceremonial rituals associated with Orthodox icon decoration. According to Dr Maria Hadjicosti, Director of the Department of Antiquities, which gave permission for the display of all the antiquities as requested by the curator of the exhibition, “It is very interesting that the same ideas and the same artistic expressions in the objects of our ancient history reappear today. The exhibition proves that cultural life in Cyprus has continued throughout history.” Ms Catherine Nikita, Director of the Evagoras Lanitis Centre, remarked that “due to the materialisation of Dr Nadia Anaxagorou’s concept, it is the first time that we have shown such a large number of objects from antiquity and the Byzantine period together with modern objects, covering different phases of Cypriot artistic creation.” Last but not least, the Mayor of Lemesos, Mr Andreas Christou, stressed that “this exhibition marks a culmination in the pioneering contribution of the Municipality of Lemesos in the field of visual arts.” An unguentarium of plain white ware of the Roman period (2nd-3rd c. A.D.), from Kourion, Ayios Ermogenis, 12.5 cm., placed in the cube of Theodoulos Gregoriou, Cells IV, cement, minerals, copper, oxide and transparent mirror, 75x75x84 cm. 21 4th Cypriot Film Directors Festival 27 – 30 September 2012 T o promote work by Cypriot directors, the Cyprus Film and Television Directors Association organised the Cypriot Film Directors Festival for the fourth consecutive year from 27 to 30 September. The Festival presented works by seven acclaimed film directors. For the first time, the screenings took place “under the stars” at the Constantia Open Air Cinema. The Festival gave audiences the opportunity to enjoy short and long films by acclaimed film directors Andreas Constantinides, Michalis Georgiades, Christos Georgiou, Paschalis Papapetrou, Costas Yiallourides and Dervis Zaim. The programme for this year’s festival included the films SouvlakiaSheftalia, The Last Mantilaris (Kerchief-maker) of Cyprus, Corridors, A Small Crime, Instructions, Shadows & Faces, Flights, In Unsung Toil and Akamas. The festival was inaugurated by the Director of Cultural Services of the Ministry of Education and Michalis Georgiades and his team in action 22 Culture, Mr Pavlos Paraskevas, on 27 September at the Constantia Open Air Cinema. On 30 September, the last day of the festival, the Cyprus Directors Association honoured Cypriot Director Andreas Constantinides for his significant contribution to the industry. The festival was held under the auspices of the Minister of Education and Culture Mr Giorgos Demosthenous. Cyprus filmmakers state their presence during a global economic crisis Mr Michalis Georgiades, President of the Cyprus Film and Television Directors Association, gave the following address to open the festival: “During a global and not just economic crisis, the filmmakers of small Cyprus are stating our presence through our 4th Festival. After 38 years of the Turkish military occupying half of our country, and efforts to alter our longstanding culture, Souvlakia – Sheftalia (2002) Cypriot directors are fighting and resisting. In a country where the artist battles alone – yes, alone – Cypriot directors continue to create and produce, both here in our country as well as abroad. This year, the Cyprus Film and Television Directors Association is organising the 4th Cypriot Film Directors Festival under our summer sky, in our forgotten open air cinema, like the old days...This year, we are presenting our long and short films, as well as documentaries, by incredible young directors, but also older ones. This year, it is with great pleasure and emotion that the Association honours CyBC Director Andreas Constantinides for his contribution to the art of directing. First of all, we thank the Ministry of Education and Culture for co-organising the festival since the year it was founded and for its financial and other precious help, without which we would neither have films produced, nor the festival, nor seminars and workshops the Association organises every year. We also thank the CyBC, which helps project the Festival. We hope this is the beginning of even more substantive support from the CyBC for Cypriot film making.” Programme Paschalis Papapetrou was born in Nicosia in 1955. He studied cinema and television directing in Germany. From 1991 until 2002, he worked at the TV station “O LOGOS”, then at “Mega”. He has directed over 35 documentaries and has collaborated with the Cultural Services of the Ministry of Education and Culture, with Greek TV, with the Anastasios G. Leventis Foundation, with the Cyprus Tourism Organisation (CTO) and others. He has run his own production company, Anadysis Films Ltd, since 2003. Papapetrou’s films include: Costas Argyrou (1997), Tilemachos Kanthos (1999), The Roots 23 of the Cyprus Wine (2001), By Hand (2002), The Bread of the Cypriots (2006), Miners’ Memories (2007), Weaving Ladies of Cyprus (2008), Excavating at Salamis in Cyprus 1952-1974, 34 Years Later (2009), Troodos...ke egeneto Kypros (2009), Kyprion Elea ke Eleon (2010) and The Lefkaritiko Embroidery. Before the Memories are Lost (2012). Souvlakia – Sheftalia (2002) Director: Paschalis Papapetrou Writer: Charis Pishias, Paschalis Papapetrou Photography: Nicos Avraamides Music: Pambos Sakkas Actors: Pantelis Klitou, Thanos Pettemerides, Michalis Moustaka, Charis Pishias Producers: Cinema Advisory Committee, Paschalis Papapetrou Production Company: A.B Seahorse Film Productions Ltd Thanasis, a young director, works for a TV station where, during filming, a series of unpredictable events take place. The Last Kerchief-Maker of Cyprus (2004) Director: Paschalis Papapetrou Writer: Paschalis Papapetrou Photography: Nicos Avraamides Music: Michalis Mozoras Production Company: Anadysis Films 2004 Among the home industries for which Cyprus enjoyed great renown in the 18th and 19th centuries was the making and dyeing of “pasmades” (cotton cloths) by Greek and Turkish artisans. The art of the “pasmadjides” was taken over in later years by “mandilarides” (kerchief-makers). This film tells the story of the very last The Last Kerchief-Maker of Cyprus (2004) 24 patterned-kerchief workshop, that of the Kakollis brothers, through the testimonies of the artisans themselves. The film also examines the role and use of the kerchief in the everyday life and customs of Cyprus. Michalis Georgiades was born in 1956 in occupied Morfou. After completing his military service, he worked at the Cyprus Broadcasting Corporation in film and montage for 10 years. In 1988, he co-founded the film production company LUMIERE and LTV, where he worked as a film director for 12 years; he has been CEO of the film production company, Mediabox Ltd, since 2001. Many of his films, as producer and director, have received international acclaim and awards, including the London International Film Award. In 2012 he received a directing award at the International Short Film Festival in Limassol for his film, Corridors. Georgiades has directed many documentaries: Cyprus, for the CTO, for which he won the first prize for photography at an international competition for tourist films in Italy in 1985; Cyprus Has Always Been Europe for the PIO in 2006; Cyprus, Where the Byzantine Lives for the CTO in 2009; A Place in History: 50 Years of the Republic of Cyprus for the PIO in 2010; Returning to Kyrenia for the Kyrenia Municipality in 2009; In the Arms of Morfou for Morfou Municipality in 2008; Pilgrimage at Pentadaktylos for the PIO in 2004; Famagusta, the Ghost Town for Famagusta Municipality in 2007; Religious Freedom in Cyprus for the PIO in 2005; SAVE for the CTO in 2004; Digging the Past, in Search for the Future for the Elders in 2010, and CYPRUS SAILS for Esimit Europa 2 in 2012. Georgiades is also a member of the team that worked on founding a museum at Vasa Kilaniou village. He is President of the Cyprus Film and Television Directors Association and a founding member of photography club Fotodos. Georgiades has taken part in solo and group exhibi- The cast from Corridors Small Crime (2008) tions in Cyprus and abroad. Along with Anna Marangou, he published View of earth, a photo album of occupied Cyprus. Now working as a freelance professional film director and photographer, Georgiades is the founder of the Engomi Municipality’s film and photo group, where he gives photography lessons. land (Bachelor of Arts Joint Honours), Directing at the Northern Film School in Leeds, England (Master of Arts) and Directing, Producing and Writing at the National Film School in Lodz, Poland, on a European scholarship (Tempus). He has worked in the film and cinema industry in Greece, Cyprus and England. His first long film won him the Prix De Montreal, the best film award in the 2001 Montreal World Film Festival. Small Crime is his second long film. His other films include Under the stars (2001) and Children of the Riots (2011). Corridors (2009) Director: Michalis Georgiades Writer: Charis Pishias Photography: Vladimir Subotic Montage: Kyros Papavassiliou Music: Jean Paul Sacy Actors: Marinos Hadjivassiliou, Elena Demetriou Production Company: MEDIABOX LTD Co-producers: Cyprus Ministry of Education and Culture Pavlos and Maria have been married for a few years. After experiencing difficulties having a child the natural way, they resort to extracorporeal fertilisation, but it fails and becomes a strain, psychologically and financially, and the most severe consequences concern their interpersonal relationships. At some point they decide to adopt, and hence begins a new battle. Christos Georgiou Christos Georgiou was born in London in 1966 to Cypriot parents – he was raised and completed his basic education in Cyprus. Georgiou studied Film and Literature at the University of Warwick in Eng- Small Crime (2008) Director: Christos Georgiou Writer: Christos Georgiou Photography: George Giannelis Montage: Isabel Meier Costumes and Set Designer: Michalis Samiotis Music: Thanasis Papaconstantinou, Constantis Papaconstantinou Actors: Aris Servetalis, Vicky Papadopoulou, Rania Economidou, Antonis Katsaris, Eleni Kokkidou, Vangelio Andreaki, Errikos Litsis, Dimitris Drosos. Producers: Thanasis Karathanos, Constantinos Moriatis, Christos Georgiou Production Companies: Twenty-Twenty Vision, Lychnari Productions, Bad Movies S.A. Leonidas, who has just graduated from the Police Academy, is transferred to a beautiful yet isolated island in the Aegean. His professional challenges are initially restricted to placing “No Nudism” 25 Small Crime (2008) Instructions (2008) signs on the island’s deserted beaches, but when he discovers the dead body of old Zacharias below a cliff, duty spurs him into action. Was it an accident or, as his instincts tell him, things are not that simple? In his effort to find answers, Leonidas will follow an unorthodox investigation, meet all the island’s residents and fall in love. He will develop a very special relationship with the island, a relationship that will eventually help him solve the mystery surrounding Zacharias’s death. Festival. His films include: The 5th Floor (2006), Ink Control (2006) and Instructions (2008). Costas Yiallourides studied Cinematography at the Northern Film School in Leeds, England. He graduated with the short surrealistic film Ink Control, which was entered in many international film festivals and shown on the BBC Film Network. His next film, Instructions, received significant acclaim, including first prize at the Cyprus Short Film and Documentary Festival, the Greek Association of Film Critics Award at the Drama Festival and international awards at the Trieste, Tangier and Damascus festivals. He has also participated in the official programme of many important international film festivals and was profiled on the French television programme Cine Cinecourts. He also participated in the seventh talent campus of the Berlin 26 Instructions (2008) Director: Costas Yiallourides Writer: Andrew Yerlett Photography: Zita Karath Montage: Dimitris Tolios Set designer: Olga Leontiadou Sound: Dimitris Rallis, Yiannis Photiades Music: Giorgos Christianakis Actors: Alexandros Logothetis, Stefania Yiolioti, Stephanos Laopodis Producers: Diomides Nikitas, SEKIN, Greek Film Centre. A new modular bed brings two very different people together, a man enclosed in an invisible square box and a woman who lives in a room at the centre of town. The woman will use her ingenuity to communicate with the man. Andreas Constantinides was born in 1944. He graduated from Kykkos Pancyprian Gymnasium and left Cyprus for Athens to study Cinematography, Theatre and Radio Studies, with a specialisation in directing for television. While studying he worked as a member of the di- rector’s crew on several Greek productions. Constantinides returned to Cyprus and, after the completion of his military service, he was hired by the CyBC productions department for TV, where he worked for 34 years. Constantinides has directed a great number of TV programmes, documentaries, theatre plays and TV series. Many of his documentaries regarding the Cyprus Problem have been used by the state for educational purposes, and some of his TV series have enjoyed great success, namely The Teacher, The Grey Sky, Peter A’, Krisos and the Artist, The Church of Cyprus, History and Civilization, and Argaki, A Cypriot Village Before and After the Turkish Invasion. Several of his films were official entries from Cyprus in a number of international festivals: Constantinides won the Bronze Agrino Award at the Commonwealth Movie Festival for Akamas, and Cyprus, the Island That Nobody Forgets, won the Prize of the Nations at both the Rome and London Movie Festivals. Constantinides was one of the founding members and the President of the Cyprus Movie Club, the Nicosia Movie Club and the Cyprus Film Library. He is a member of the Film Classification Board and was also a member of the Sciences, Arts and Letters Committee. In 2004 he was appointed by the Council of Ministers as a member of the Cyprus Radio Television Authority. He teaches History of Cinema at the Vladimiros Kafkaridis Drama School. Flights (1969) Director: Andreas Constantinides Writer: Andreas Constantinides, Dimitris Andreou Photography: Doros Partasides Montage: Andrew Trillides Sound: Thrassos Malas Actors: Spyros Stavrinides, Dimitris Andreou, Laika, Totos An experimental film about the environment and its destruction, Flights shows the extent of the destruction of beaches as a result of the erection of apartment buildings. The film combines cartoons with cinematic images. The late painter, Mikis Phinikarides, designed the graphics and wrote the screenplay. In Unsung Toil (1992) Director: Andreas Constantinides Writer: Andreas Constantinides Photography: Evangelos Hadjikyriakos Montage: Yiannakis Ioannides Sound: Charis Mylonas Music: Eleni Karaindrou Script interviews: Costis Achniotis Narrator: Andreas Koukkides Special Adviser: Pantelis Varnava A documentary dedicated to the unsung strangers who sacrificed themselves for our country’s workers’ conquests. The film’s subtitle is Before May Day. Akamas (1988) Director: Andreas Constantinides Writer-Narrator: Michalis Attalides Photography: Dimitris Pavlides Montage: Yiannakis Ioannides Sound: Andros Chrysostomou Music: Ross Daly Special adviser: Symis Shukuroglu A documentary about the Akamas Peninsula, the last natural haven of Cyprus. The film aspires to portray the ecological significance of the area. It also examines the villages of Akamas and the difficulties and problems faced by their residents. Flights (1969) 27 4th International Pharos Contemporary Music Festival 9 – 29 September 2012 «T he Festival had an impressively international outlook and provided a rare opportunity to sample contemporary composition beyond the well-trodden paths.» Tim Rutherford-Johnson (Guardian, Tempo, The Rambler) Having established itself as one of the most cuttingedge and innovative annual events in the Eastern Mediterranean, the International Pharos Contemporary Music Festival is now in its fourth year. The Festival is dedicated to the promotion of new music, both the established masterpieces of the contemporary music literature of the 20th century and a great number of premieres by leading young composers from all over the world who have been commissioned by the Pharos Arts Foundation to write new works especially for the Festival. The Festival provides a forum for composers and performers to advance and develop new projects and explore new worlds of sound in chamber music settings. Its other objective is to bring contemporary music to general audiences in Cyprus and elsewhere, as this is the music of our times – it is directly linked to many forms of visual and creative arts, and science. It is intimate with the modern human spirit. The 4th International Pharos Contemporary Music Festival was a thrilling experience. It presented a number of exciting events, from 9 until 29 September 2012, including a seldom heard repertoire for strings, winds, voice, percussion and harp. Six of the finest contemporary ensembles in the world presented classical contemporary masterpieces by composers such as Schönberg, Stockhausen, Xenakis and Ligeti while joining forces with more than 20 young, internationally acclaimed composers from all over the world. Each of these composers wrote a newly-commissioned work that was given its world premiere during the Festival. There were concerts by the Arirang Wind Quintet & Marios Nicolaou/percussion; Quartetto Prometeo; The Nieuw Ensemble; Ensemble Aleph; El 28 Perro Andaluz, and the Kairos String Quartet. A screening of Towards of Beyond was offered, and the Kairo String Quartet and El Perro Andaluz hosted workshops. The Venues The Shoe Factory is situated in Old Nicosia, near the UN buffer zone. With the Shoe Factory, the Pharos Arts Foundation is revitalising this beautiful and historic section of the capital by attracting a wide and diverse younger audience. All concerts at the Shoe Factory are characterised by a unique intimacy, and the music is performed in an exceptionally inspiring setting. The Shoe Factory is a modern venue decorated with contemporary art by mainly local artists and offers audiences the unique opportunity to sit within an amazing proximity to world famous artists and experience performances in a space like no other. The Olive Grove is a world-class, open-air concert venue. It is relaxed and informal, promoting a palpable intimacy between the artists and the audience. The venue is surrounded by the idyllic forest of Delikipos and is adorned with wooden decks, shallow pools of water, Zen landscaping and uniquely atmospheric lighting. Audience members can relax on chairs, blankets and pillows and enjoy a glass of wine while listening to world class musical performances. The Foundation’s vision for the Olive Grove is to make contemporary art less intimidating by creating innovative events that are fun and appealing without compromising the quality and vision of the musical performances. Arirang Wind Quintet Leonie Wolters / flute Jörg Schneider / oboe Steffen Dillner / clarinet Sebastian Schindler / horn Christoph Knitt / bassoon & Marios Nicolaou / percussion Established ten years ago, Arirang Wind Quintet is a product of the Junge Deutsche Philharmonie, one of Germany’s leading orchestras. The orchestra comprises more than 100 of the finest international musicians selected from more than 25,000 students in the 24 music conservatories in Germany. The orchestra maintains its high performance standards through rigid auditions. Arirang Wind Quintet’s repertoire includes classical, romantic and contemporary music, as well as several works that were given their world premiere by the Quintet. After a successful debut at the Bochum theatre, Arirang Wind Quintet was selected by Jeunesses Musicales Germany from amongst a great many chamber music ensembles to represent Germany in the International Showcase of Young Musicians 2004 in Croatia. The Quintet’s performances have included the Northern Lights Festival/Tromsø, Semanas Musicales de Frutillar/Chile, the Vendsyssel Festival in Denmark, the Bach Fest Leipzig and the Festival Aixen-Provence. Having been awarded 2nd prize at the International Chamber Music Competition Schwerin in 2004, the Quintet was invited on a concert tour to Vienna, Brünn and Prague (Prague Spring Festival). In 2005, the Quintet was awarded 2nd prize at the International Wind Quintet Competition Henri Tomasi in Marseille and 2nd prize at the Osaka International Chamber Music Competition. After its successful participation in the German Music Competition in 2007, Arirang Wind Quintett won a Deutscher Arirang Wind Quintet 29 Quartetto Prometeo Kairos String Quartet Musikrat scholarship. Having received an invitation from the Goethe Institute, Arirang Wind Quintet has given concerts in North and South America, Pakistan, Yemen, Latvia, Angola, India, Dubai, Kuwait and Azerbaijan. The Quintet’s members are also members of major symphony orchestras in Germany and Switzerland. Marios Nicolaou was born in Limassol in 1974. He studied at the Athens Conservatory (class of D. Marinakis) and at the Hochschulefür Musik Köln with C. Caskel and C. Tarcha, graduating with “Auszeichnung.” Nicolaou has also worked with P. Sadlo and Rainer Seegers in master classes and private lessons. In 2005 he took part in the International Ensemble Modern Academy (Schwaz/Austria). He has also been a holder of the “Alexandra Trianti” scholarship of the “Friends of Music Society.” In 2000 Nicolaou appeared as a soloist on the Timpani with the Cyprus State Orchestra, performing the Concertino for Timpani, Percussion and Strings by A. Panufnik. He has worked with many orchestras in Germany, such as the Gürzenich OrchesterKölner Philharmoniker, the Neues Rheinisches Kammerοrchester and the Kölner Jugendorchester. Since 2003 he has been collaborating with most of the orchestras of Greece (Athens State Orchestra, Radio Symphony Orchestra, Camerata, and Orchestra of Colors). As a chamber musician, Nicolaou has worked with H. Lachenmann, P. Eötvös, 30 F. Ollu, D. Bouliane, the Ensemble neue music Koln and the Ensemble disson Art. He has taken part in festivals such as the Pierre Boulez zum `75 (in Cologne Philharmony) and at the Minimal Music Kassel, and he performed the Sonata for two Pianos and Percussion by B. Bartók at the Klavier Festival Ruhr. Since 2009 he has been a member of the Ergon Ensemble. Programme Karlheinz Stockhausen (1928 – 2007) Zyklus for solo percussion (1959) Christian Mason’s World Premiere Ioannis Xenakis (1922 – 2001) Rebonds for solo percussion (1989) Interval Peteris Vasks “Bläserquintett No.2” Music for a Deceased Friend (1982) Isang Yun (1917 – 1995) Woodwind Quintet Gyorgy Ligeti (1923 – 2006) Six Bagatelles for wind quintet (1953) Quartetto Prometeo Giulio Rovighi / violin Aldo Campagnari / violin Massimo Piva / viola Francesco Dillon / cello Quartetto Prometeo performed a musical dramatisation of Dante’s Divine Comedy featuring twelve world premieres by composers from all over Europe, the result of a collaboration between the San Fedele Foundation and the Pharos International Contemporary Music Festival. Dante Alighieri – Italian poet, prose writer, literary theorist, moral philosopher, and political thinker – is best known for the monumental epic poem La commedia, later named La divina commedia. The Divine Comedy, one of the great works of medieval literature, is a profound Christian vision of man’s temporal and eternal destiny. On its most personal level, it draws on the poet’s own experience of exile from his native city of Florence; on its most comprehensive level, it may be read as an allegory, a journey through hell, purgatory and paradise. Quartetto Prometeo won the 50th Prague Spring International Music Competition in May 1998, as well as the competition’s Special Bärenreiter prize for Best Performance of Mozart’s Quartet K.590 (according to the original score), the City of Prague prize as best quartet and the Pro Harmonia Mundi prize. Quartetto Prometeo was designated resident group at the Britten Pears Academy (1998) in Aldeburgh and was awarded the Thomastik Infeld prize at the Internationale Sommer Akademie PragWien-Budapest 1999 for outstanding performance of a chamber music work; the Quartet also won the second prize at the Concours International de Quatuors in Bordeaux. In 2000, the Quartetto Prometeo was awarded the Special Bärenreiter Prize at the renowned ARD Münich Competition. Since its inception, the Quartet has received important scholarships from the Scuola di Musica of Fiesole and from the Accademia Chigiana of Siena, where in August 1995 it won the prestigious diploma of honour. Beginning in 2013 through 2015, Quartetto Prometeo will be quartet-in-residence at the prestigious Accademia Filarmonica Romana. Quartetto Prometeo’s brilliant international career includes performances at some of the most important music festivals and venues in the world, including Concertgebouw, Wigmore Hall, Aldeburgh Festival, Wexford Festival, Prague Spring Festival, Accademia di Santa Cecilia in Roma, Théâtre in Bordeaux, Auditorium Musée d’Orsay in Paris and tours in South America and in the Netherlands. One of the characteristics of Quartetto Prometeo is the research they devote to putting together their repertoire, which includes the new musical expressions of our time. Their close collaboration with the acclaimed composer Salvatore Sciarrino inspired him to dedicate two pieces to the Quartet, Esercizi di trestili and his latest, Quartet No.8, which was commissioned by the Società del Quartetto Milan, MaerzMusik Festival Berlin, Ultima Festival Oslo and Aldeburgh Festival; Quartet No. 8 was recently recorded, along with his latest works for string quartet. Since performing the Italian premiere of Târ, Quartetto Prometeo continues its collaboration with Ivan Fedele, and in 2011 they premiered Moiroloja Kai Erotikafor string quartet and voice, which was commissioned by Accademia Filarmonica Romana for the Quartet. The Quartetto Prometeo performance included 12 world premieres: Vito Zuraj (Slovenia), Manuel Rodriguez (Spain), Antonin Servière (France), Carlo Ciceri (Italy), Franco Venturini (Italy), Aurélien Dumont (France), Mirtru Escalona (Venezuela/ France), Antonio Covello (Italy), Roberto Vetrano (Italy), Vittorio Montalti (Italy) Evis Sammoutis (Cyprus) and Pasquale Corrado (Italy). Kairos String Quartet Wolfgang Bender / violin Stefan Häussler / violin Simone Heilgendorff / viola Claudius von Wrochem / cello Berlin’s Kairos Quartet was founded in 1996 and debuted at the Darmstadt International Holiday Courses. The Quartet promotes new music from the second half of the 20th century to the present, thus landmark compositions since the 1950s and world premieres are at the heart of the Quartet’s activity, which also includes samples of the Western musical tradition, music from non-Western cultures, and compositions created with other media (electronics, video and speech). Kairos (Caerus - Καιρός) is the god of the auspicious moment in Ancient Greek mythology. He was recognised as the youngest son of Zeus by the poet Ion of Chios (490 - 421 B.C.). Depicted by the sculptor Lysippos as a youth with winged shoes and a long 31 lock of hair hanging in front of his forehead, he symbolises opportunity. The juxtaposition of Kairos with Chronos (measured time - Χρόνος) illustrates a concept of time that is intimately linked to human experience. As a musician, one can feel “Kairos” when perfect harmony is achieved. These rare and magical moments are the ultimate goal of all artists. The Kairos Quartet takes great care in the selection and combination of pieces, sometimes curating even their own concert series, as was the case with the concert and conversation series Five Windows onto the String Quartet Since 1950, which took place at the Kulturbrauerei Berlin in 2001 and 2002 – the Quartet presented composers such as Ferneyhough, Lachenmann and Lucier. The Quartet has also developed close professional relationships with the composers Haas (Austria), Estrada (Mexico), Netti (Italy), Newski (Germany/Russia) and Lim (Australia). The Kairos Quartet reaches out to music students and the general public through workshops, master classes and lectures on new music and performance practice as part of festivals or at music schools. These workshops, master classes and lectures have so far taken place in Austria, Germany, Mexico, Norway, Poland and Switzerland. The Quartet has been invited to numerous international festivals, including Ultraschall and MaerzMusik (both in Berlin), Eclat Stuttgart, Huddersfield, Berliner Festwochen, Wien Modern, Salzburger Festspiele, Klangspuren/TransArt, Warsaw Autumn, Ljubliana Festival, Festival d’Automne and the Festival de Cervantino. Kairos Quartet has been recorded live by most major German radio stations and by the BBC, DRS, ORF and RAI. The Quartet’s CDs have populated various best-of lists and the German Record Critic’s Award (1/2005). In 2001, Kairos was the first ensemble to become fellows at the Academy Schloss Solitude. The many artistic partners of the Kairos Quartet include baritone Dietrich Henschel, Mayumi Miyata (sho), the sound poets Valeri Scherstjanoi and Michael Lentz, actress Martina Gedeck, the Schlagquartett Köln and the Vokalsolisten of the SWR. Programme Toshio Hosokawa (b. 1955) Landscape I (1992) 32 Ioannis Xenakis (1922 – 2001) ST/ 4 (1962) Giacinto Scelsi String Quartet No.3 (1963) Interval Evis Sammoutis (b.1979) Rhymes Georg Friedrich Haas (b.1953) String Quartet No. 2 (1998) A workshop with the Kairos String Quartet with the participation of young Cypriot instrumentalists and composers included a demonstration of extended instrumental techniques for strings as they appear in innovative key repertoire works for string quartet. The workshop was aimed at composers and performers and was jointly presented with the Goethe Institute Cyprus. Towards and Beyond - A screening of Barrie Gavin’s documentary about the British Composer Jonathan Harvey Born in 1939, composer Jonathan Harvey studied with Erwin Stein in Cambridge, after whose death he studied composition and analysis with Hans Keller, obtaining a PhD. At Cambridge, he was preoccupied with mystical ideas while becoming acquainted with procedures in medieval and renaissance music that later influenced his own compositions. During the 1960s Harvey composed freely, responding to a wide variety of musical and religious experiences in his settings of medieval texts. Schoenberg, Berg, Messiaen and Britten were also early influences, and Hans Keller helped to broaden Harvey’s list of influences. In 1964 Harvey joined the Music Department of Southampton University. It was at this time that the power of Stockhausen’s music first had a profound effect on Harvey, inspiring him to explore and develop his own complex and personal musical language – he later came into contact with Milton Babbit. In the early 1980s, Harvey was invited by Boulez to work at IRCAM, a position that has resulted in many new commissions in recent years. Harvey’s works are now being increasingly played all over the world. The transcendental quality of his music does not lose its force when he focuses on the more intimate genre of chamber music. British Director Barrie Gavin studied history at the University of Cambridge from 1954 to 1957 and British Composer Jonathan Harvey Nieuw Ensemble joined the BBC as an assistant film editor in 1961, where his fascination with contemporary music brought him into contact with Pierre Boulez. Over the next 40 years they collaborated on a series of analytical documentaries on the founding fathers of 20th century music: Schönberg, Berg, Webern, Bartók, Stravinsky, Ives, Varese, Messiaen and, of course, Boulez himself. From the 1970s until the end of the 20th century Gavin specialised in portraits of contemporary composers: Berio, Luigi Nono, Stockhausen, Takemitsu, Birtwistle, Peter Maxwell Davies, Mark-Anthony Turnage and many others. In 1977 Gavin was invited to Germany to make a film about Kurt Weill. This marked the beginning of a long association with German television, resulting not only in many adventurous documentaries but also in a new area of work for Gavin, directing concerts for television. To date he has been responsible for some 250 televised productions of concerts and operas. The vast majority of Gavin’s work has been about music, but he also produced a series on classic film directors in 1967 and a number of films about literature and the visual arts, including Sir William in Search of Xanadu (Award of Montreal Festival of Films on Art, 1984) and Images - A History of Early Photography (Award of New York Festival of Films on Art, 1989). Nieuw Ensemble Ernest Rombout / oboe Ernestine Stoop / harp Angel Gimeno / violin Frank Brakkee / viola Jeroen den Herder / cello The Nieuw Ensemble was founded in 1980 in Amsterdam. It has a unique instrumental structure, combining plucked instruments such as mandolin, guitar and harp with wind, string and percussion. The lack of literature for this group makes it dependent upon composers, as composers have always been upon musicians. The Nieuw Ensemble has thus set out to build its own repertoire, encouraged by continuous contact with composers from different cultures, countries and generations, and by long-term workshops for young composers. More than 500 pieces have been written for the ensemble. Ed Spanjaard has been its principal conductor since 1982. The Ensemble has been widely praised for its innovative programming. Its programmes have been those dedicated to the work of a single composer, 33 such as Berio, Boulez, Carter, Donatoni, Ferneyhough, Kagel, De Leeuw, Kurtág, Loevendie and Nono. The Ensemble has initiated festivals such as Complexity (1990); Rules & Games (1995); Improvisations (1996); the Multi-Cultural Festival of Plucked Instruments (1998); The Refined Ear (2003), on microtonality; Inspired Time (2004), on rhythm; Open Music (2005-2006) on computer aided composition, and Orientations (2006-2007) on western and non-western instruments. In 1998 the Nieuw Ensemble and its artistic director, Joël Bons, were awarded the Prince Bernhard Fund Music Prize for their “markedly lively and adventurous programming, which can be described as ground-breaking, both in the literal and figurative senses of the word.” Since 1991, programmes featuring new works written especially for the ensemble by Chinese composers such as Tan Dun, Qu Xiaosong, Xu Shuya, Chen Qigang and Guo Wenjing have attracted wide attention. In 1997, 2008 and 2010 the group performed concerts in Shanghai, Hong Kong and Beijing. The Nieuw Ensemble now enjoys a firm international standing – the Ensemble has performed in festivals such as the Venice Biennale, Settembre Musica, Ars Musica in Brussels, Donaueschinger Musiktage, Musica Strasbourg, Holland Festival, Warsaw Autumn, Huddersfield Festival, Agora, Stockholm New Music, the Festival d’Automne à Paris, Lincoln Center Festival and Sadler’s Wells in London. The Ensemble has released compact discs of Donatoni, Carter, Ferneyhough, Gerhard, Loevendie, Poulenc, Honegger, Guo Wenjing, Kagel, Tsoupaki and Chinese composers, and has produced documentary films about Boulez Eclat and about five Chinese composers. The Nieuw Ensemble also participates in the Atlas Ensemble, a unique chamber orchestra uniting thirty brilliant musicians from the East, the Near East and Europe. Programme Tasos Stylianou World Premiere Arnold Schönberg (1874 – 1951) String Trio, Op. 45 (1946) Musheng Chen World Premiere Interval Anton Webern (1883 – 1951) String Trio, Op. 20 34 Ensemble Aleph (1927) Jonathan Harvey (b. 1939) Death of Light/Light of Death for oboe, harp, violin, viola, cello (1998) Ensemble Aleph Dominique Clément / clarinet Sylvie Drouin / piano Monica Jordan / vocals Christopher Roy / cello Created in 1983, Ensemble Aleph is a collective of associated soloists, a set of performers and composers, a formation of variable geometry in search of new possibilities in relationships between sound and text, movement and music. With nearly 250 creations, Ensemble Aleph has established itself as a major relay of musical innovation. A laboratory dedicated to creation, Ensemble Aleph invites eligible young composers to benefit from its experience in a spirit of sharing and exchange, particularly through the International Forum for Young Composers, a project selected in 2000 by the European Commission Program “Culture 2000”, with 61 composers from 26 countries (the 7th Forum will take place in 2014). Ensemble Aleph enriches its practice by working with jugglers, VJ’s, choreographers, directors, writers and actors. For almost 30 years, the Ensemble has been developing collective projects, pooling efforts and sharing practices across more than 900 concerts. In 2008, Ensemble Aleph created LIEU, El Perro Andaluz European Instrumental Laboratory, which brings together musicians, ensembles and composers around musical creation. This will become a platform, “Live in Lieu,” in 2013. Programme Christina Athinodorou World premiere Dominique Clément (b. 1959) Poème incorrect II for voice, clarinet and piano(1988) Tomi Raisanen World premiere Ioannis Xenakis (1922 – 2001) Nomos Alpha for cello (1966) Interval Evis Sammoutis (b. 1979) Ghost Shadows for soprano and piano Helmut Lachenmann (b. 1935) Allegro Sostenuto for clarinet, cello and piano (1986-1988) John Cage (1912 – 1992) Aria, solo for voice (1958) El Perro Andaluz Albrecht Scharnweber / clarinet Yuri Matsuzaki / flute Torsten Reitz / piano Seong-Ryeom Lee / percussion Emily Yabe / violin Jakob Andert / cello Lennart Dohms / conductor Arising out of a 2007 project with composer Brian Ferneyhough in Dresden, the ensemble El Perro Andaluz quickly became one of Germany’s most excit- ing young ensembles for contemporary music. The Ensemble is famed for the cultural background of its members and for its partnerships with composers such as H. Lachenmann, R. Saunders, A. Hölszky, V. Tarnopolski, H. Hellstenius, G. Katzer and others. The Ensemble’s vision, to emphasise the position of New Music in society, is pursued through a wide range of musical activity, including installations, opera productions, concerts and educational projects. El Perro Andaluz was awarded the Kulturförderpreis of the city of Dresden in 2011. Alongside its projects in Germany, 2012 has seen the Ensemble invited to Spain, England and Austria, where this season it holds the position of Ensemble in residence at the University Mozarteum Salzburg. Programme Ivan Fedele (b. 1953) Immagini da Escher (2005) Sophia Serghi World premiere Ioannis Xenakis (1922-2001) Plekto for sextet (1993) Interval Thomas Simaku (b. 1958) A2 for violin & cello (2008) Brian Herrington World premiere Nicolaus A. Huber (b. 1939) La force du vertige for flute, clarinet, violin, cello & piano (1985) Pharos Arts Foundation Tel.: +35722663871 www.pharosartsfoundation.org 35 16th International Festival of Ancient Greek Drama A s it does every year, the month of July welcomed theatre friends from around the world to the Pafos Ancient Odeon, the Curium Ancient Theatre in Limassol and the Makarios III Amphitheatre in Nicosia for the 16th International Festival of Ancient Greek Drama 2012. The Festival was presented under the auspices of the Cyprus Presidency of the Council of the European Union and was organised by the Cyprus Centre of the International Theatre Institute in cooperation with the Cultural Services of the Ministry of Education and Culture and the Cyprus Tourism Organisation. The Festival programme was selected by the Festival Selection Committee. Agamemnon’s Children The Festival opened with a production of Agamemnon’s Children by the Hessian State Theatre of Wiesbaden, Germany. The adaptation combined Euripides’ Iphigeneiain Aulis, Orestes and Iphigeneia in Tauris, and Sophocles’ Electra into a single storyline. The synthesis of these four plays narrates the lives of Agamemnon’s children from different points of view. Their actions and their destinies make them both perpetrators and victims in the vicious cycle of violence endemic to Atreides’ myth. Direction: Konstanze Lauterbach Set design: Karen Simon Costumes: Hannah Hamburger Music: Achim Gieseler Cast: Doreen Nixdorf (Iphigenia), Sybille Weiser (Electra), Michael von Bennigsen (Orestes), Susanne Bard (Clytaemnestra), Michael Günther Bard (Agamemnon, Thoas), Michael von Burg (Pylades), Uwe Kraus (Menelaus), Jörg Zirnstein (Servant, Messenger, Phrygian, Apollo, Arcas), Magdalena Höfner (Hermione) Chorus: Evelyn M. Faber, Magdalena Höfner, Franziska Werner 36 Agamemnon’s Children Electra and Orestes, the Trial Electra and Orestes, the Trial The Cyprus Theatre Organisation’s production, Electra and Orestes, the Trial, is an adaptation based on Sophocles’ Electra, Euripides’ Orestes and Aeschylus’ Eumenides. Both the adaptation and the direction are by Israeli stage director Hanan Snir and are based on the technique of a “play within a play”. The outer play deals with Electra and Orestes on trial at the Supreme Court for the crime of matricide. In court, the events that led to the murderous act are presented against the backdrop of a contemporary refugee camp. Translation: Vayos Liapis Adaptation/Direction: Hanan Snir Set Design-Costumes: Melita Couta, Harris Kafkarides Music: Demetris Zavros Bacchae Choreography: Fotis Nicolaou Lighting Design: Giorgos Koukoumas Assistant Director: Egli Spyridaki Cast: Thanasis Drakopoulos (Herald), Andreas Tsouris (Farmer), Lea Maleni (Electra), Nektarios Theodorou (Orestes), Andreas Tselepos (Pylades), Niovi Charalambous (Chrysothemis), Andreas Vasileiou (Pedagoge), Annita Santorineou (Clytemnestra), Neoklis Neokleous (Aegisthus), Giorgos Mouaimis (Apollo), Stela Firogeni (Athena) Chorus: Anna Yiagiozi, Niki Dragoumi, Elena Efstathiou, Iliana Kakkoura, Zoe Kyprianou, Ermina Kyriazi, Andri Kyriakou, Mara Constantinou, Christiana Larkou, Anna Papageorgiou, Kynthia Pavlidou, Christina Christofia Musicians: Alkis Agathocleous, Korina Vasiliou, Petros Giorkatzis, Evripides Dikeos, Mitko Topalov Bacchae With the production of Euripides’ Bacchae, the Mitos Theatre Group, Cyprus, concluded its innovative work on Euripides’ Bacchae that began in July 2009. The Group examined the conflict between King Pentheus and Dionysus and used the reality of our current situation to contextualise it. Poor Pentheus: his disrespect toward Dionysus and his punishment for it makes him a prominent figure among the tragic figures of Greek mythology. This new King of Thebes stands for moderation and self-restraint, in juxtaposition with Dionysus, who protects the vital acceptance of instinct. The Chorals were interpreted in ancient Greek and followed the rules of Prosody. Direction: Lucas Walewski Adaptation/Dramaturgy: Elena Agathokleous and Rania Iacovou Observer: Spyros Charalambous Voice couching in open space: Diomedis Koufteros Couching classical Indian music: Ravi Saundankar Choir leader: Lefkios Demosthenous Movement: Lucas Walewski Set construction: Giorgos Mavrogenis, Menelaos Papagiorgis Cast: Elena Agathokleous (Pentheus, Agaue, Messenger), Lucas Walewski (Leader of the Chorus, Cadmus), Diomedis Koufteros (Tiresias, Attendant, 37 Messenger) Chorus: Nikolas Arkadiou, Giorgos Onisiforou, Ravi Saundankar, Lefkios Demosthenous, Konstantinos Melides The Festival presented two more productions connected to the legend of the Atridae which were not adaptations, Sophocles’ Electra and Aeschylus’ The Eumenides. Electra Electra was presented by the Greek Theatre Company ‘Morphes Ekphrasis’. The performance paid homage to Dimitris Rondiris on the occasion of the 30th anniversary of the passing of the great director and teacher. Electra strives to continue her life after her mother murders her father, but she is obsessed with taking revenge. Her brother Orestes and his friend Pylades return to Argos to avenge Agamemnon’s murder. Orestes kills his mother, Clytaemnestra, and her lover, Aegisthus. Translation: Ioannis Griparis Direction: Thomas Kindinis Set design-Costumes: Anna Sevasti Tzima Music: Pan Kaperneka, Constantinos Roumelis Cast: Thomas Kindinis (Tutor to Orestes), Giannis Costaras (Orestes),Constantinos Roumelis (Pylades), Zoi Nalmpanti (Electra), Vlasia Ververi and Kleoniki Karachaliou (Chrysothemis), Elena Orfanidou, Sofia Lymperi (Clytaemnestra), Thomas Kindinis (Aegisthus) Chorus: Anna Sevasti Tzima, Vlasia Ververi, Kleoniki Karachaliou, Nancy Klampatsa, Evgenia Papadaki, Elena Orfanidou, Mikaela Zannou, Polina Lamprianidou, Sofia Lymperi, Angeliki Pardalidou, Eleana Finokalioti, Chrisi Gerardi, Foteini Kapellaki, Chrysa Pyli, Asteropi Charitidou, Paraskevi Politi The Eumenides The Ruth Kanner Theatre Group, an Israeli company, presented The Eumenides, by Aeschylus, based on the magnificent translation by poet Ted Hughes. The Eumenides is the third play in the trilogy Oresteia: the first two are Agamemnon and Libation Bearers. Supernatural powers, the Furies, chase Orestes, who has killed his mother. He takes refuge in the temple of the goddess Athena, who founds the first 38 court of justice. Orestes is acquitted of the murder of his mother, Clytaemnestra, who had murdered his father, Agamemnon, and the vindictive Furies are convinced to give up their pursuit of vengeance. The danger of inflamed violence is real and aweinspiring in context of our modern world. Athena’s warnings are particularly relevant, as if they had been uttered today: “Do not madden our young men, with the hiss of the whetstone, and the dream of the plunging blade…” Director: Ruth Kanner Music: Mika Danny Lighting Design: Shaked Vax Cast: Ronen Babluki (Orestes), Assaf Degani (Apollo), Milli Ravid (Athena), Sharron Harnoy (The ghost of Clytaemnestra), Neta Nadav (Priestess) Chorus of the Furies: Shirley Gal Segev, Tali Kark, Adi Meirovitch, Sharron Harnoy, Neta Nadav Musician: Avshalom Ariel The Assembly Women Two comedies by Aristophanes, The Assembly Women and Frogs, blew a fresh breeze toward festival goers who came to enjoy ancient Greek comedy under the starry Cyprus sky. The Assembly Women was presented by the Neos Cosmos Theatre, Greece; the performance was based on a free translation of the original text by Vassilis Mavrogeorgiou. What would happen in a city if all citizens had communal property rights and a “communal bed”? Would a law which demands that no man may sleep with a pretty young woman, unless he first sleeps with an ugly old one, be fair? The women of Athens, under the leadership of Praxagora, certainly thought so! Disguised as men, they appear in the Assembly, where they support the transfer of power to women. They win, and hence everything seems possible! Direction: Vangelis Theodoropoulos Free Translation: Vasilis Mavrogeorgiou Music: Thanos Mikroutsikos Set Design-Costumes: Angelos Mentis Choreography: Angeliki Stellatou Lighting design: Sakis Birbillis Music instruction: Thanasis Apostolopoulos Cast: Daphne Lamprogianni (Praxagora), Kostas Koklas (Blepyrus), Giorgos Pyrpasopoulos (Young The Eumenides Antigone man), Pantelis Dentakis (Chremes), Nikos Kardonis (First man), Stratos Christou (Second man), Georgia Georgoni (Young woman) Chorus: Mary Saousopoulou, Ntini Renti, Polyxeni Aklidi, Eirini Georgalaki, Maria Georgiadou, Georgia Georgoni, Andri Theodotou, Katerina Maoutsou, Sotiria Rouvoli, Eirini Fanarioti, Elena Hatjiafxenti The Frogs The Frogs was presented by Magdalena Zira and Fantastic Theatre, her theatre company. Zira adapted the play using Vayos Liapis’s new translation and combined innovative and traditional elements with music by Lefteris Moumtzis. Using the text as a foundation and inspired by the similarities between the play’s social framework and that of modern society, the direction and adaptation recasts The Frogs to reflect our current reality. The Frogs is a delightful comedy in which the god of drama himself, Dionysus, appears. Translation: Vaios Liapis Direction/Adaptation: Magdalena Zira Set Design: Demetris Alithinos Costumes: Elena Katsouri Composer: Lefteris Moumtzis Choreography: Chloe Melidou Music supervision: Sophronis Sophroniou Cast: Valentinos Kokkinos (Dionysus), Demetris Antoniou (Xanthias, Aeschylus), Michalis Sophocleous (Heracles, Pluto), Marinos Konsolos (Leader of the Chorus, Aeacus, Maid), Marina Vronti (Charon, Euripides, Plathani) Chorus of Frogs: Demetris Antoniou, Michalis Sophocleous, Marinos Konsolos, Marina Vronti, Andrea Demetriou, Marcos Ioulios Droushiotis, Maritsa Elia Antigone The Festival closed with Tommaso Traetta’s opera, Antigone, presented by Skull of Yorick Productions, UK. Antigone was directed by Zamira Pascieri and Kassandra Dimopoulou. Based on Sophocles’ tragedy, the work of the Italian composer Tommaso Traetta is presented in a new, groundbreaking production. Traetta’s music is delivered in a contemporary performance that blends modern sounds with Baroque music and the music of the ancient world. Antigone represents an innovative step for opera by combining traditional, classical and electronic instruments. Creon, king of Thebes, prohibits the burial of Polynices, who rose against Thebes, the city of his birth, and tried to conquer it. His sister, Antigone, convinced to follow divine law rather than arbitrary state law, secretly buries her brother and is sentenced to death. Not even Haemon, the son of Creon, who loves Antigone and protests against his father’s decree, manages to save her. Directors: Zamira Pasceri – Kassandra Dimopoulou Costumes/Set Design: ARTLUXE Orchestration: Philip Modinos Cast: Jenny Drivala (Antigone), Philip Modinos (Creon), Kassandra Dimopoulou (Iseme), Louisa Petais (Haemon),Marios Andreou (Priest/Guard) Chorus: Depi Mavropoulou (leader), Panikos Loizou, Marios Fylakoudias, Andreas Fylakoudias, Andreas Stylianou, Konstantinos Stylianou, Dimitris Nikoloulopoulos, Panagiotis Nikoloulopoulos, Frixos Nikoloulopoulos, Antonis Eyripidou, Giorgos Proto39 papas, Kostas Konstantinou, Aris Giannakas, Giannis Buhayar, Argyris Makris, Antreas X Stefanou, Giannos Xristofi, Giorgos Charalambous, Andreas Vasileiadis, Nikolas Neofytou, Andreas Kestas, Stella Kyriakidou, Anthi Kyriakidou, Eirini Charalambous, Natassa Athanasiou, Sabrina Leonidou, Ceca Varda Launch of the International Festival of Ancient Greek Drama By Neophytos Neophytou The launch of the International Festival of Ancient Greek Drama 16 years ago was a decision by the Board of Directors of the Cyprus Centre of the International Theatre Institute (I.T.I.), following a suggestion by then director Nicos Shafkalis. The motivation was to give ancient Greek drama a wider presence in the theatrical activities of the island. What has established the Festival as a distinct cultural event is its international character. The performances, many of which are original in their approach, cover the whole month of July every year now, but when the Festival commenced 16 years ago at the Pafos Ancient Odeon, it lasted one week. At the time, the Festival was organised by the Cyprus Centre of the I.T.I. and was subsidised by the Ministry of Education and Culture’s Cultural Services, with support from the Pafos Municipality. Today the Festival is co-organised by the Cyprus Centre of the I.T.I., the Cultural Services of the Ministry of Education and Culture and the Cyprus Tourism Organisation, with additional support from the Pafos Municipality and some other small organisations. The Festival now takes place at the Pafos Ancient Odeon, at the Curium Ancient Theatre, Limassol, and at the Makarios III Amphitheatre, Nicosia. The performances project the uniqueness of ancient Greek drama but also bear the intense colouring of the culture of the country they come from. Thus the audiences, which are international, as they comprise not only Cypriots but foreign visitors as well, have the unique opportunity of experiencing ancient Greek drama from different cultural perspectives – this affirms both its specificity and its universality. All foreign language performances are subtitled in English and Greek, and all Greek performances have English subtitles. The Centre has always believed that ancient Greek 40 Electra Morfes Ekfrasis drama, which is the wellspring of contemporary European drama and a core element of the world’s cultural heritage, has direct relevance to today’s world. Rapid technological development makes it even more crucial for us to find ways of using the capabilities presented by the open Ancient Greek mind to reflect on our current reality. The International Festival and the International Symposium on Ancient Greek Drama and their combined international repute strengthen the position of Cyprus on the global cultural map and contribute to intercultural dialogue. This dialogue helps preserve cultural identity and promotes respect for diversity, both of which are threatened by globalisation. The philosophy behind these activities comprises three goals: (a) the study of ancient drama as text and discussion of stage approaches to ancient drama in the context of contemporary reality; (b) the stage performance of ancient drama, and (c) ancient drama as a vehicle for theatre education. The first of these goals has been achieved by the International Symposium on Ancient Greek Drama, which was first established in 1990, but symposia are restricted to a limited number of people – one must be equipped with special qualifications to attend them. Dramatic texts, however, valuable though they may be as literature, cannot fulfil their purpose completely unless they reach the wider public. And this can be achieved only if they are translated during stage performances. Therefore, the need to make ancient drama accessible to the wider public was fulfilled with the establishment of the International Festival of Ancient Greek Drama. Our goal is to continuously upgrade the Festival to bring our audiences performances of the highest quality. The Cyprus Medical Museum A dentist in the old days Reconstruction of child birth 25 years of Planning and the First Donations A Difficult Road When the Committee of the Limassol Medical Association announced its decision to create a medical museum 25 years ago, not many people took it seriously. It was well known that such a project required a significant effort, and it was believed few doctors were very enthusiastic about historical medicine and old fashioned equipment. The construction of the museum was approved in 2001, and it was officially registered in 2003. The road to the success of the museum was a difficult one, however, and there were many obstacles. It was difficult to find storage space, and efforts to convince both state and municipal authorities to provide us with an appropriate location to establish the museum failed. A notable example is the famous abandoned Tritoftidis Clinic at the centre of Limassol, which was eventually demolished, while other buildings were used by the Limassol municipality for the establishment of other museums. So we were surprised to receive our first valuable donations from doctors and their families in Nicosia. These donations were soon followed by donations from the families of well known physicians in Limassol, some of whom had preserved heavy and complicated equipment left behind by the deceased. Soon thereafter, we received obsolete equipment and instruments from practicing physicians, which they donated to our museum, rather than disposing of it. We were ultimately able to accumulate an enormous collection of valuable medical artefacts. In the midst of our frustration and disappointment, the mayor of Kato Polemidia, George Georghiou, informed us his council was willing to offer us a unique old building in the historical sector of Polemidia which was slated for renovation under the supervision of the Department of Antiquities. We were delighted by and thankful for Mayor 41 Georghiou’s generosity, and we were quite pleased that the age of the building was in harmony with most of our exhibits. Important decisions by the Committee The Museum Committee immediately made a number of decisions. First, the exhibits were going to be grouped in eight entities of related specialties. With the use of lighted platforms and life-sized models, we would bring the operating, delivery and examining rooms of the previous century to life. Well known architect and set designer George Papadopoulos undertook this project. Another important decision was the creation of an electronic infrastructure, a database and a website. We decided to install touch screens throughout the museum, so that visitors could access information about each exhibit, including the period, the location where the items in the exhibit were used, how the items were used and who donated them to the collection. This project was undertaken by surgeon Marios Karaiskakis, whose hobbies include electronic structuring and Web design. The Museum’s Contents The Cyprus Medical Museum today houses 160 exhibits donated by 32 doctors and their families. The exhibits are grouped in eight units, all of them supported by touch screens. Some of the special items on exhibit in the museum include medical equipment used for the first time in Cyprus. This includes an electrocardiograph belonging to the late Mikis Constantinides from Nicosia (1940) and the first haemodialysis machine that was used privately by Greek and Turkish Cypriot patients in Limassol around 1970. Other impressive exhibits feature the delivery and care of a baby in 1930, surgery with general anaesthesia in 1950, ENT surgery in 1950 and orthopaedic surgery in 1960. Finally, the selection, transfer and description of the museum’s exhibits was overseen by Chris Messis, who was assisted by Michalis Korais. The translation of all museum information into English will soon be available on the website. The museum also features an impressive exhibit devoted to the outpatient performance of radiological procedures in the 1940s, including all the necessary protection used by the physician and the patient and film development equipment. Another interesting section of the museum comprises neurological equipment used on the island in the 1960s for electroencephalography (EEG), Electromyography (EMG) and electroconvulsive (ECT) treatment. Antiquated dentistry equipment, from the 1950s, is accompanied by a caricature by dentist and artist Stathis Economides. Former Health Minister Stavros Malas inaugurates the Cyprus Medical Museum Head of the Cyprus Medical Association, Dr Andreas Demetriou 42 Mr Kyriakos Yiannopoulos Secretary of the Cyprus Medical Museum Dr Christodoulos Messis the museum’s Vice President, shows Stavros Malas the exhibits Database, Touch Screens and Website near future, so our visitors will have the opportunity to compare 19th and 20th century medicine to that practiced millennia ago. A wealth of information is available on the museum’s website, www.cyprus-medical-musem. org, including photographs from medical meetings from all over Cyprus going back 60 years and videos from congresses and other events going back 40 years. Photos of our donors with their exhibits and photos from a number of functions held prior to the completion of the museum are also available on our website. Library Our collection of books and other writings on Cypriot medicine are meticulously preserved in the museum’s small library, although protocols and other historic documents are on exhibit at the entrance to the museum. Botanical Garden with Medicinal Plants A small botanical garden in the museum yard is home to medicinal plants used in Cyprus for therapeutic purposes. The garden was created with love by Dr John Ioannides. Antiquities Unfortunately, our initial desire to include ancient medical equipment found at various excavations in Cyprus, or identical copies, has gone unfulfilled, as our request was denied by the Department of Antiquities. We hope this decision will change in the Cost and Further Needs Thanks to volunteer work undertaken by members of the Cypriot medical community, we were able to establish the museum for approximately €100.000. We received generous contributions from physicians, pharmaceutical companies and other sources. We are expecting financial support from the state and elsewhere, so that we can expand and enrich our educational programs. Visitors We are welcoming professionals and students from the medical and paramedical sector, as well as primary and secondary school students. We also hope to welcome people from all over Cyprus to visit a unique museum where they can learn about the history of Cypriot medicine and the progress of medical technology, where they can compare the practice of medicine in the 19th and 20th centuries to the medicine of the 21st. Dr Marios Philippou MD (President of the Museum Committee) and Dr Chris Messis MD (Vice President and Curator of the Museum) 43 Pafos Aphrodite Festival 2012 T he 14th Pafos Aphrodite Festival raised its curtain this year on the Slovak National Theatre’s performance of Verdi’s Otello. The Festival was held on 7, 8 and 9 September at the Medieval Castle of Pafos, in Pafos Harbour. The performance was supertitled in Greek and English. The Plot An adaptation of one of William Shakespeare’s four great tragedies, Otello is set at the Castle of Famagusta in the 15th century, where Othello, governor of Cyprus, returns victorious from the war unaware that two of his men, Iago and Rodrigo, are plotting to destroy him. Iago, wishing to satisfy his own ambitions, defames Otello’s wife, Desdemona, convincing Otello that she was unfaithful to him with his Captain, Cassio. Blinded by jealousy, Otello kills Desdemona, but he soon finds out the truth of Iago’s treachery. Unable to bear the burden of her murder, he stabs himself and dies. Cyprus Presidency of the Council of the European Union Due to the symbolic connection of this opera with the occupied city of Famagusta, coupled with continued international acknowledgment of the Pafos Aphrodite Festival, this year’s Festival was held under the auspices of the Cyprus Presidency of the Council of the European Union, which enhanced the prestige of the Festival and brought it extra recognition. fos District Committee). These five organisations formed the Company to promote Pafos as an international centre for high profile cultural events and to contribute to the international promotion and advancement of Cyprus in the cultural and tourist sectors. The Company is a non-profit organisation that organises and manages the Pafos Aphrodite Festival and other cultural events in Pafos District. A Success, Despite Being Deemed Unfeasible Pafos Aphrodite Festival Cyprus – A Historical Overview The Company Pafos Aphrodite Festival Cyprus was founded in 1998 by the Municipality of Pafos, the Municipality of Geroskipou, the Municipality of Pegeia, the Pafos Chamber of Commerce and Industry and the Cyprus Hoteliers Association (Pa44 Prior to 1998 it was considered unfeasible for Cyprus to host a world renowned opera festival. Today, thanks to the hard work of people with vision and a passion for cultural development, as well as the decisive support of the state and the public and private sectors, the Pafos Aphrodite Festival has emerged as an institution of international scope, one that occupies a significant place on the European cultural map. Even more important is the confidence the Cypriot public has in the Festival, combined with the number of foreign visitors who return year after year to attend the performances. After 14 years of contributing to the cultural development of Cyprus, the Festival has helped to increase awareness of the arts and has contributed to shaping Cyprus into a vibrant melting pot of people and cultures. This goal was achieved after painstaking efforts to promote the Festival abroad as a tourist destination via tourism trade fairs; partnerships with overseas tour operators; advertisements in the international press and on radio and TV stations; press conferences; direct invitations to government officials in various countries, and contacts with global opera companies, as well as outreach to embassies and institutions in Cyprus and abroad. Up until three years ago, the number of foreigners attending the Festival outnumbered Cypriot attendees 60 to 40. The increased participation of Cypriot soloists in the productions, and the publication of programmes and the implementation of supertitles in Greek and English, has helped draw more Cypriots to the Festival. The Pafos Aphrodite Festival is already in search of the next producer and in consultation with vari- ous agencies, as proper planning is essential to cooperation with world renowned opera companies. Fortunately for the Festival, many famous directors of large production houses have been inspired by the breathtaking setting of the Medieval Castle of Pafos. Although every year the Festival encounters a number of difficulties arising from staging a large production in the open area of the square, it is a unique performance space, one that draws opera companies from all over Europe. The organisation of the Festival is a flurry of yearround activity, including design (cultural policy, strategy, structure and function); enrichment of the product; sourcing and managing sponsorships; marketing and public relations, and the overall organisation of all activities related to the Festival. The Pafos Aphrodite Festival Company evaluates statistical data, delivers measurable results and assesses the company and its operations once the Festival has concluded – the Company undertakes analysis and prediction, including market research and evaluation, in tandem with product development and design. An underlying objective of the Pafos Aphrodite Festival Cyprus is to increase cultural awareness in Cyprus, thus the Company directly associates its activities with education and training and plans to Act 1 of the performance at Pafos Castle 45 Act 4 of the performance at Pafos Castle (past September) fold workshops, seminars, school lectures, master classes and music competitions into its programme going forward. The Company is also looking to stage co-productions, both in Cyprus and abroad, with renowned lyrical organisations. Funding The Company is largely and mainly supported by state sponsorship, by private sponsors and by ticket sales. Unfortunately, private sponsorships are an inconsistent source of funding, as private companies are always subject to national and international economic conditions. The path the Festival has taken has resulted in its significant presence on the contemporary arts scene. Its success speaks for the continued growth of the Festival and its contribution to contemporary artistic creation. Developments in the international arena, as well as modern approaches to cultural events, require the Pafos Aphrodite Festival Company to continually adjust its trajectory and develop new structures. It is crucial for the Company to remain true to its vision and strategic goals. 46 Synopsis of the Opera Act One The people of Cyprus anxiously watch as a storm rages on the sea and the ship carrying Otello, the hero of the military expedition against the Turks, desperately tries to make it into port. The storm settles, the ship anchors safely and cheering Cypriots welcome the hero (Otello’s triumphant ‘Esultate!’). Only Ιago, the ensign, does not cheer. Since Otello promoted Cassio to captain over Iago, Iago hates Otello and plots revenge. Iago encourages Cassio to court Otello’s wife, Desdemona, and urges him to drink (Iago’s ‘brindisi Qua, ragazzi, del vino!’). Cassio gets drunk and engages in a quarrel with the former Cypriot governor, Montano. Otello arrives and recalls Cassio’s recent promotion. Night descends, and Otello and Desdemona recall their courtship under the starry sky. Act Two Iago suggests that Cassio ask Desdemona to talk to her husband about his demotion, in the hope by defending Cassio. Iago tricks Cassio into speaking with him while Otello, hidden nearby, listens, and Iago manipulates the conversation in a way that convinces Otello of Desdemona’s guilt. Otello has no doubts about Desdemona’s guilt once he sees Cassio with Desdemona’s handkerchief – he doesn’t know Iago tossed it through a window into the room prior to his meeting with Cassio. Otello is in deep despair. An envoy arrives from Venice. The Doge has summoned Otello to Venice and appointed Cassio as general. Otello is enraged. He insults Desdemona in front of the assembled court and collapses to the ground. Everyone leaves the room. Iago puts his heel to Otello’s forehead in triumph. Act Four Τhe performance at Pafos Castle showing Otello and Desdemona that Cassio’s conversation with Desdemona will make Otello jealous. Iago’s desire to destroy Otello is devilish; his creed is the essence of malice and nihilism. With cunning intrigue, he succeeds in convincing Otello that Desdemona and Cassio have become lovers. One of Iago’s tricks is to obtain Desdemona’s handkerchief, which had been a gift to Desdemona from Otello – Iago acquires the handkerchief with the help of his wife, Emilia, Desdemona’s attendant, who is unaware of her husband’s plan. Otello’s jealousy is inflamed, and Desdemona’s pleas on Cassio’s behalf only enrage him. To fan the flames, Iago insinuates that he once heard Cassio speak lovingly of Desdemona in his sleep. He then produces the handkerchief, which he alleges Desdemona gave to Cassio. Otello becomes desperate and swears he will have vengeance. In her chamber, Desdemona is tormented by her husband’s behaviour and reminisces about life in her native town. She prays and falls asleep. Otello enters, wakes her and accuses her of infidelity. He strangles her. Alarmed by the noise, Emilia runs into the room and announces that Cassio has killed Rodrigo. She reveals Iago’s intrigues and, together with Cassio, explains how Iago obtained Desdemona’s handkerchief. Iago escapes. Otello stabs himself and drags himself to Desdemona’s body, dying after a final kiss. Act Three Otello accuses Desdemona of infidelity. She unwittingly enrages her husband even more Performance of Otello at the Slovak National Theatre 47 Terra Mediterranea–In Crisis Programme 4 July – 30 December 2012 Τ erra Mediterranea–In Crisis is a contemporary art program organised by the Nicosia Municipal Arts Centre and the Pierides Foundation under the auspices of the Cyprus Presidency of the Council of the EU. Aside from the Terra Mediterranea–In Crisis contemporary art exhibition, curated by Yiannis Toumazis at the Nicosia Municipal Arts Centre [Old Power House], the project includes a second contemporary art exhibition, [at Maroudia’s], curated by the Re Aphrodite team at the Ethnological Museum–House of Hadjigeorgakis Kornesios. An educational and academic programme accompanies the two exhibitions. The project also includes a special edition of the journal The Cyprus Dossier, a monthly series of social and food events and interventions in public spaces. 48 Terra Mediterranea–In Crisis Curator: Yiannis Toumazis at the Nicosia Municipal Arts Centre [Old Power House] Terra Mediterranea–In Crisis, at the Nicosia Municipal Arts Centre, attempts to detect, investigate and present contemporary artists’ reflections on today’s universal economic, political, religious and social scenes, in tandem with a deep existential crisis. The Mediterranean is both an enclosed sea and, in essence, a political space. It has operated as a conduit for “transferring energy” from the Orient to the Occident and from the Occident to the Orient since ancient times. This transfer has included peoples, innovative ideas and ideologies, in times of war and peace. Our current global economic crisis is recognised as having a universal effect on socio-political, economic, ethnic and cultural structures worldwide. In addition, and to a very significant degree, the contemporary post-colonial realities of the Eastern Mediterranean, an area with a long colonial past and a charged political fate, contribute to the evolution of East-West relations. A dynamic group of 41 artists from Cyprus, the surrounding area and beyond (Bulgaria, Egypt, Great Britain, Greece, Israel, Lebanon, Turkey and the United States) will scrutinise our current global turbulence through “Mediterranean” eyes from promontories both political and poetic. Within the framework of the exhibition, some of the participating artists will collaborate with the Research and Restoration Centre of the Museums of France housed at the Louvre Palace. They will produce new works inspired by their research at the Louvre. [At Maroudia’s] Exhibition Curators: Group Re Aphrodite (Evi Tselika & Chrystalleni Loizidou) at The Ethnological Museum - House of Hadjigeorgakis Kornesios Another part of the Terra Mediterranea–In Crisis programme is the collaboration of the Nicosia Municipal Arts Centre, the Pierides Foundation and the Department of Antiquities of Cyprus with Group Re Aphrodite, a curatorial and research group devoted to exploring of art and difference. Re Aphrodite will curate an exhibition for the Ethnological Museum–House of Hadjigeorgakis Kornesios entitled [at Maroudia’s] with 27 artists participating. The exhibition and an affiliated series of events comprise existing and new contemporary art works, as well as research. The exhibition presents the unwritten histories of Cypriot women. It makes use of the layered history of the house to challenge old myths and narratives and develop new ones, while reflecting on a number of real and perceived crises. The exhibition touches upon social, educational and ethical concerns around sexuality, gender issues and conflicts. The works of art are concerned with the effects of tourism on tradition, heritage and nationhood; the body (its portrayal, beauty, mortality and sexuality); the trivial and the kitschy, as well as more general issues of difference. A number of performances and critical workshops will be held within the museum space. 49 Educational and Academic Events Developed by the Nicosia Municipal Arts Centre and Re Aphrodite The two exhibitions will be accompanied and united by an educational program. This programme features workshops and academic roundtables for students, professionals and the wider public. The Cyprus Dossier (Publication Project) Aside from the exhibition catalogue, a special issue of the critical magazine The Cyprus Dossier will be published. The theme is crisis, and it will include texts by eminent academics and researchers from Cyprus and abroad. Editors Peter Eramian, Entafianos A. Entafianos and Marios Menelaou issued an open call for cooperation: Crisis has come to define the post 9/11 era. It has become so central to our thinking and language that we hear it uttered in the media almost every day. But what does it mean? From politics and the economy to identity and consciousness, crisis has become an everyday existential historical reality we take for granted. There is an urgency to understand crisis more critically. When is it used to oppress, when is it a device for legitimisation, and when can it provoke resistance? Social Ride 242 art group Old Powerhouse Restaurant Second Tuesday of every month Another unique dimension to the Terra Mediterranea–In Crisis project has been contributed by 242 art group and will take place in The Old Power House restaurant of the Nicosia Municipal Arts Centre under the general title Social Ride. Costas Mantzalos and Constantinos Kounnis, together with the curator of the exhibition and a group of individuals from the arts and design industry, will convert the restaurant to welcome and accommodate 24 people from marginalized social groups, including financial immigrants, prisoners and people with addictions. The selection of the guests will be decided after consultation with Ms Andrea Athanasiou of the Social Work Department of Frederick University and through various state and non-governmental bodies such as KISA, the Red 50 Cross, the Welfare Office and others. The process will initially involve a guided tour to the Nicosia Municipal Arts Centre and will conclude with a dinner, which will be designed and prepared especially by the 242 art group and their Social Ride collaborators. Each month the entire event will be different. Something Feasible Phanos Kyriacou Nicosia Municipal Arts Centre (19, PaliasIlekrikis Street) Corner of Stasinou Avenue & Aigeos Street (opposite Caraffa Bastione, Famagusta Gate) Old GSP Stadium (Corner of Evagorou & Gregori Afxentiou Avenue) Three “urban” installations at public spaces in Nicosia. As the artist says, his aim is to create “places of socio-political commentary and reaction in our space and time proposing a historically and aesthetically detached landmark, a landmark capable of operating as a core of probability, encounter and communication.” Participating Artists Nicosia Municipal Arts Centre Klitsa Antoniou Katerina Attalidou Banu Cennetoğlu Savvas Christodoulides Kyriaki Costa Joseph Dadoune Tom Dale Peter Eramian Sumer Erek Theodoulos Gregoriou Elizabeth Hoak-Doering Mustafa Hulusi Pravdo Ivanov Lamia Joreige Constantinos Kalisperas Stelios Kallinikou Stefanos Karambabas Gülsün Karamustafa Susan Kleinberg Servet Kocyigit Glavkos Koumides Νikos Kouroussis Phanos Kyriacou Yannis Kyriakides Michel Lasserre Υοussef Limoud Maria Loizidou Martin Meason Panayiotis Michael Panagiotis Mina Demetris Neocleous Erkan Özgen Vicky Pericleous Yorgos Sapountzis Andreas Savva Efi Savvides Socratis Socratous Constantinos Taliotis Paola Yacoub Akram Zaatari 242 art group The Ethnological Museum House of Hadjigeorgakis Kornesios Αntonis Antoniou Christos Avraam Yiannis Christofides Daphne Christoforou Melita Couta Özge Ertanin Alkis Hadjiandreou Christos Hadjichristos Mayia Hadjigeorgiou Yioula Hadjigeorgiou Sophia Hadjipapa-Gee Katerina Iacovides Alana Kakoyiannis Orestis Lambrou Lia Lapithi Latiterranean Pembe Mentesh Maria Papacharalambous Despo Pasia Haris Pellapaisiotis Νikos Philippou Mary Plant Rozy Sarkis Vasso Sergiou Elena Stylianou Theopisti Stylianou-Lambert Natalie Yiaxi Social Ride 10 July 2012: Maria Anaxagora and Christophoros Charalambous 11 September 2012: Maroula Antoniadou and Erotokritos Antoniades 10 October 2012: Elma Panayidou and Elena Parouti 13 November 2012: Marika Ioannou and Andreas Coutas 11 December 2012: Melina Shukuroglu 18 December 2012: Myrna Pattichi 51 Painting and Photography Exhibition by Cypriot Armenian Artists Τ he European Presidency has inevitably drawn much attention to the Republic of Cyprus, and the Armenian Community took this wonderful opportunity to display a small fragment of the multicultural mosaic of what we describe as the civilisation of Cyprus. This civilisation comprises various ethnic and religious groups, all of which serve our homeland in their own way. Thus the Armenian Representative, Vartkes Mahdessian, organised a unique exhibition within the framework of the Cyprus Presidency of the Council of the European Union featuring work by nine Armenian painters and six Armenian photographers. On 16 July, the President of the Republic of Cyprus, Mr Demetris Christofias, inaugurated the exhibition – the event was attended by ambassadors, consuls, representatives of political parties and permanent secretaries of ministries. The exhibition was housed in the superb Casteliotissa Hall and remained open until 31 July. The photographs on display took visitors on a trip through time to the idyllic Cyprus of the mid-20th century, while President Christofias poses with some of the participating artists 52 the paintings provided a glimpse of the richness of Armenian culture and heritage. The entire twoweek exhibition was a tremendous success. Artist Biographies Garbis Bezdikian was born in Cairo in 1923. After graduating from the Melkonian Educational Institute, he worked as a graphic designer, a cartographer and a comic artist, but his chief occupation was as a music producer for Turkish radio programmes at the CyBC. He was a member of the Chamber of Fine Arts, as well as a member of the Artists’ International Association and an honorary President of the Selftaught Artists of Cyprus. The subjects of his paintings were always life and people. He passed away in 2009, leaving behind works full of life. Sossee Eskidjian Nikolaides was born in Nicosia in 1969 and received her BA in Fine Arts from Southwestern Oklahoma State University. She has been working as a set and costume designer and an art director, having directed a number of Painting and Photography Exhibition by Cypriot Armenian Artists - at the superb Castelliotissa Hall TV commercials and launching events in Cyprus and abroad. Her art is influenced by her long experience in costume and stage design, and the materials she chooses include threads, fabrics, pins, wires and various metals, components which no longer have a utilitarian value but which have accrued emotional substance and artistic importance. She had her first solo art show in 2009. Tatiana Ferahian was born in Lebanon in 1970 and fled to Limassol during the Lebanese Civil War. She holds a BA in Fine Arts from Empire State College and an MA in Liberal Studies from the University of Denver. A well-known cartoonist, her work explores local standards and the boundaries imposed by our current cultural, religious and political milieu, with the intent of raising awareness and interest. Tatiana has exhibited locally and has represented Cyprus in numerous exhibitions and Biennales in Europe, Egypt, Turkey, Korea, China and the USA. She is currently an art teacher at Nareg Armenian Schools. John Guevherian was born in Ethiopia in 1948. After graduating from the Melkonian Educational Institute, he received his BA in Architecture from the American University of Beirut. An architect by profession, he has distinguished himself by participating in Pancyprian competitions and winning several first prizes – he also designed the Armenian Genocide monument in Nicosia. Guevherian’s nostalgia for his homeland is apparent in his paintings of ancient Armenian churches, while the Cyprus landscape and Greek mythology also inspire him. He maintains a steady presence in the art world, which includes 11 solo exhibitions and more than 30 group exhibitions. He is actively involved in the Armenian community. Sevan Malikyan, of Armenian-Cypriot parentage, was born in London in 1972. He received his BA Hons in Fine Arts from the Bath School of Art and Design and is considered one of the outstanding young artists of London, where he has exhibited work at various venues. His extensive portfolio demonstrates a dramatic and inventive technique which documents sensation through the use of colour. His work, which is rife with social and personal drama, can be found in private collections in 53 President Demetris Christofias inaugurates the exhibition Visitors had the opportunity to enjoy artwork by Armenian painters and photographers Cyprus, England, Barcelona and Tunisia. After graduating from the Melkonian Educational Institute and the American University of Beirut, he settled in Nicosia. Today Tashdjian is one of the most important contemporary artists in Cyprus. His paintings are a celebration of the beauty of nature and life – the diverse landscapes of Cyprus are one of his primary inspirations. An internationally renowned artist, he has had 47 solo exhibitions in Cyprus and abroad, as well as group exhibitions in various cities. His work can be found in public and private collections all over the world and at his gallery in Nicosia. Tashdjian is actively involved in the Armenian community. Aznive Papazian was born in Larnaca in 1956. She graduated from the Melkonian Educational Institute, where she also taught. Papazian studied painting, drawing, engraving and mosaic art, as well as wood and small-scale clay sculpture. She also worked with the painter Raphael Atoyan in Armenia for two consecutive summers. Papazian’s art exists within the sphere of figurative and abstract expressionism – the two-way interplay between man and the world is the inspiration for Papazian’s work and its main axis. Her interests are portraits, landscapes, still life, compositions featuring the human figure and life drawing. Papazian has had solo exhibitions in Armenia and in Nicosia and has also taken part in a number of group exhibitions in Cyprus. Nanor Tashdjian was born in Nicosia in 1974. She holds a BA in Graphic Arts from Frederick University in Nicosia and an MA in Fine Arts from the University of Wales in Cardiff. She loves experimenting with different arts and crafts by combining different colours, media and materials in her paintings – she also works with glass fusing and framework. The ocean is a prevalent theme in her work. Tashdjian is an accomplished artist who has presented her work in many solo and group exhibitions in Cyprus, the UK, Sydney and Bangkok. She lives and works in Cardiff, Wales. Vartan Tashdjian was born in Lebanon in 1941. 54 Hourig Torossian was born in Nicosia in 1967. She holds an Honours BA from the Wimbledon School of Art and an MA in Fine Arts from the Royal College of Art. Since graduating in 1994, she has been an active artist, exhibiting in Cyprus, Greece and the UK. In 2005 she represented Cyprus in Austria in an exhibition highlighting artists from the ten countries that joined the EU in 2004. Torossian’s large-scale colour paintings on canvas are essentially transformed from monochromatic imagery. The raw materials for her figurative work come from old family photographs or from decorative iron window guards. Hourig is currently an Assistant Professor in the Applied Arts Department of Frederick University in Nicosia. Georges Karnig Der Parthogh was a veteran journalist, an international news photographer and an active member of the Armenian community. Born in Ethiopia in 1923, Georges came to Cyprus with his family in 1935, where he attended the English School and served with the Air Ministry. He then joined the Times of Cyprus (1955-1959) and later worked as a correspondent for Reuters (1959-1963) and UPI (1963-1979), covering wars and civil commotion in Cyprus, Malta, the Middle East, Iran and East Africa. In 1979 he co-founded the Cyprus Weekly, and beginning in 1989 he served as a correspondent for Azg newspaper in Yerevan and for the Armenian Mirror-Spectator in Boston. Georges actively supported photography – he encouraged young photographers and received several awards as a member of the Cyprus Photographic Society. He passed away in 2008. Edward Voskeritchian was born in Zeitoun, Cilicia in 1902. His family witnessed the tragic Genocide of the Armenian people, during which they were forced to abandon their hometown for the nearby island of Cyprus. Kyrenia offered its hospitality to the Voskeritchian family, and after a short stay, they left for Nicosia. Life proved difficult there, so the large family moved to Larnaca, where they opened a photo shop which soon closed. In 1920, well-known businessman Movses Soultanian encouraged Voskeritchian to move to Limassol to apprentice with photographer John P. Foscolo. Voskeritchian established his own business, Edward’s Photo Studio in 1926. He loved Limassol and lived there until his death in 1990. Veronica Mahdessian was born in Nicosia in 1968. She holds an MA in Photography from the London College of Printing and Distributive Trades. She has had one solo exhibition in Beirut, in 1997, and she has participated in numerous group exhibitions in Cyprus and London. Amongst her awards is the third prize for photojournalism at the 25th Dunhill Pancyprian Photographic exhibition, which was organised by the Cyprus Photographic Society in 1995. Veronica lives and works in Thessalonica, Greece, where she and her husband own and operate Kalfayan Galleries, a well-known familyowned gallery that organises art exhibitions in Athens, Thessalonica and worldwide. Sebough Voskeritchian was born in Limassol in 1975. The fourth generation of this talented and pioneering photographic family, Voskeritchian blends the acutely sensitive and artistic side of his late grandfather, Edward, with the advanced technical knowledge of his late father, Albert. Voskeritchian pushes the boundaries of photography into the realm of modern-day art and multimedia. He has taken part in many international group exhibitions and has won numerous photographic awards – he has also had a solo exhibition in Cyprus. Voskeritchian’s keen eye is unparalleled, and his application of mixed media has made him one of the most exciting and talented young photographers in Europe. Haigaz Mangoian was born in Adana, Cilicia in 1907. Having suffered persecution by the Ottomans and the Young Turks, he and his large family arrived in Cyprus in December 1920. After Mangoian graduated from the American Academy in Larnaca, he and his brother, Levon, started a photographic studio, the first in Larnaca. They then opened a photographic studio, briefly, in Famagusta, before settling in Nicosia. Their Nicosia studio developed successfully, particularly after World War II. In 1947, together with Levon, Mangoian published a travel guide, The Island of Cyprus. Mangoian continued with his photography, both in the studio and beyond it, where he photographed the places and faces of Cyprus, the country he came to love, until his untimely death in 1970. Giragos Zartarian was born in Adana, Cilicia in 1915. In 1921, due to the political situation in Cilicia, in which the region’s Christian population faced continuous threats from the Turks, Zartarian and his family immigrated to Cyprus. After graduating from the Melkonian Educational Institute, Zartarian established his own photographic studio in Nicosia in 1935 and for some years was an official photographer for the colonial government. He is considered to be a prominent publisher of postcards of Cyprus; his postcard images capture the landscape of Cyprus during the middle of the 20th century. After losing his wife in 1957, Zartarian closed his studio. In 1959 he and his family immigrated to England, where he died tragically in 1962 of a heart attack. 55 United States of Europe (U.S.E) A travelling exhibition about European identity and today’s Europe Opening from 17 September until 14 October 2012 D o you feel European? Does Mr O’Keeffe in Ireland feel more or less European than Mrs Stylianou in Cyprus? And if so, why? What is the idea behind Europe and do Europeans feel included? Do Europeans trust their leaders? Maybe there are as many different answers to these questions as there are citizens in Europe. The artistic project United States of Europe (U.S.E) deals with these questions in the context of a travelling exhibition through ten European countries. The exhibition opened in Lodz, Poland, in November 2011; the second destination was Helsinki, the third was Vilnius and the fourth was Guimarães. In September the exhibition opened in Nicosia, as part of the cultural programme of the Cyprus Presidency of the Council of the European Union. United States of Europe (U.S.E), a large-scale collaboration project about European identity, will also be presented in public spaces, galleries and museums in Germany, Bulgaria, France, Ireland and Belgium until spring 2013. 56 The concept U.S.E is not propaganda for a federal Europe. It aims to create commitment in the Europe in which we live and to function as a communication platform for people living in Europe. The exhibition offers a lot of different interpretations on European identity through diverse disciplines and from different angles. U.S.E comprises four dimensions: 1. Artists interpretations: Curators and artists have been invited to give their interpretations of European identity through photos, multimedia, video and other installations. 2. Sociological studies: 50 people from 10 different countries have been interviewed. The result is video-recorded interviews that give comparable results of a potential belonging to a European entity. 3. An interactive laboratory: This is a place in the exhibition where the artistic and sociological parts are combined. The laboratory is a creative environment for real-time exchanges about Europe today. 4. A series of debates: Several aspects will be discussed: “What does it mean to be European and how is contemporary art dealing or not with that question?” and “Europe, its politicians and the people – about confidence and commitment today”. Johanna Suo (Sweden/France/UK) has initiated the project and created the exhibition concept. The sociological core team includes Professor Andrzej Piotrowski (University of Lodz), Dr Tomasz Ferenc (University of Lodz) and Dr Lyudmila Nurse (Oxford XXI, UK). Ten local sociologists conducted five interviews in each participating country. The U.S.E in Nicosia The artists Diversity, which is the core of the U.S.E., is embodied by the artistic team. Three curators, Ryszard W. Kluszczyński (Poland), Anna Bitkina (Russia) and Sinziana Ravini (France) have each selected a group of artists. The chosen artists have international and multicultural backgrounds, and they all deal with identity questions. U.S.E presents works by Luchezar Boyadjiev (Bulgaria), Anna Konik (Poland), Gerda Lampalzer (Austria), Maria Lusitano-Santos (Portugal), Deimantas Narkevicius (Lithuania), Artur Zmijewski (Poland), Jean-Charles Hue (France), Kaarina Kaikkonen (Finland), REINIGUNGSGESELLSCHAFT (Germany), Tanja Muravskaja (Estonia), Kennedy Browne (Ireland), Apostolis Polymeris (Belgium), Kyriaki Costa (Cyprus) and Anu Pennanen (Finland). The multimedia artist and researcher Jānis Garančs (Latvia) created the interactive laboratory. In the lab you can see interviews with people from all over Europe, you can interact and share your points of view, and you can view 3D visualisations. In Nicosia a walk was organised through the city: “Discover your city and discover Europe.” Several different venues were included to open the exhibition to a wide audience. Among the presentations of the interactive laboratory was an interview with the former Mayor of Nicosia, Eleni Mavrou (visual-audio). The artist Kyriaki Costa presented brand new work created for the U.S.E exhibition at the new Loukia and Michael Zampelas Art Museum. The exhibition in Nicosia was organised by the Pharos Arts Foundation, in collaboration with the Goethe-Institut Paris, the Goethe-Institut Cyprus, Loukia and Michael Zampelas Art Museum, Institut Français Cyprus, the Embassy of the Republic of Poland in Cyprus, Nicosia Municipality, Classic Hotel, Temporary Space, Ledra Properties, The European University Cyprus, Cyprus Theatre Organisation and the Cyprus Presidency of the Council of the European Union. Your participation U.S.E is a project for citizens by citizens, and it aims to work as a communication platform. On the 57 21st century Iconoclasm by Kyriaki Costa Lab Presentation website http://www.go-use.eu, as well as in the laboratory on site, visitors are encouraged to express themselves and share their experiences in the form of photos or stories on the theme “My Europe”. Look for the headline “Participate” and “Stories from Europe” on the website. Information is also available in the exhibition passport. social, economic and political dimensions. In the exhibition, these young students have their say about their plans and expectations. The Pharos Arts Foundation was pleased to collaborate with the Goethe-Institut in Paris and with a number of organisations in Cyprus for the exhibition. REINIGUNGSGESELLSCHAFT (which could be translated with “Cleaning Service” or “Purification Society”) is an artists’ project group that works at the point of intersection between art and social reality. A Connection (2011) Kaarina Kaikkonen (born 1952, Finland) Site-specific public space installations United States of Europe - Artists’ Presentations REINIGUNGSGESELLSCHAFT (Artist duo: Henrik Mayer, born 1971 & Martin Keil, born 1968, Germany) Risk Society Projection and flat screen 26: 15 min, HDV 16:9 2011, loop This project examines the prospects and life perspectives of young people in today’s Germany. They inherit the legacy of a society that is aware that economic growth and consumption won’t provide the determinant odds for development. The sociologist Ulrich Beck described the sociological change from wealth production towards risk production with the term Risk society in his book of 1986, Risk society. This transition takes place on the micro level of people as well as on the macro level of corporate and global changes. It comprises 58 For the United States of Europe exhibition the artist presents new site-specific installations related to the space and to present day Europe. In each city her work is adapted to a venue and the site. One of the new pieces that Kaarina creates for the exhibition is called A Connection, shirts in many colours and sizes represent connections between people and countries. The work has been presented once in Lodz, Poland, where the shirts were attached to a long pipe running from a walking zone in the city, leading the visitor to the main exhibition space in an old textile factory. Kaarina has so far created one more work for U.S.E., “Where is my home?”, a house made of bags and luggage of different kinds. It can be seen as a small house that is collapsing or that isn’t completely constructed. The piece tells a story about different kinds of people and states trying to live together, but it’s difficult...The work was installed at Helsinki Main Railway station and at Vilnius In- ternational Airport. Kaarina Kaikkonen is known for her large installations made from men’s jackets, ladies’ shoes, shirts and found objects exhibited in different spaces, both indoors and outdoors. She has participated in numerous international exhibitions, most recently in the Cairo Biennale 2009, the Liverpool Biennale 2010, the Vancouver Biennale 2010 and the Venice Biennale Collateral Event, 2011. At the moment Kaarina is working on several projects, one in Italy and one in Chile. She recently did an installation at Art Miami. the leaders removed and sent “On Vacation”. This is a symbolic unification by liberating the public space from its past and opening it up for the future. Luchezar’s work has been presented widely and internationally, both in solo and group exhibitions. Luchezar is also active as a curator, and he has organised numerous lectures and presentations. His work can be found at the CAMK (Contemporary Art Museum of Kumamoto, Japan), the Fabric Workshop and Museum, Philadelphia, USA, the National Art Gallery, Tirana, Albania and elsewhere. On Vacation (2004-2011) Thoughts Are Free (2011) Luchezar Boyadijev (born 1957, Bulgaria) Gerda Lampalzer (born 1959, Austria) On-going cycle of 15 digital prints, each one 53 x 73 or 73 x 53 cm Video projection, 3 minutes, loop On vacation is a funny series, but at the same time it undertakes in a serious way the problem of histories of particular countries and the role these histories play in the process of political and cultural integrations of European countries and societies. Boyadjiev began discussions of European identities in 1997 at the Documenta X, when he proposed the concept of overlapping identities. Images from On vacation represent equestrian monuments from various European countries, with figures of Lab Projections Winter by Juha Niemi This single channel video installation examines the relations between different European countries with regard to languages. This examination looks at problems other than language barriers, however – Lampalzer’s work looks at how people from different European countries observe each other; what sort of relations are created at the governmental level; to what extent their relation to power shapes the way people experience their belonging to any community and how it affects the way they build their collective identities. The video addresses the lack of linguistic exchange between Austria and its so-called “former eastern European” neighbours. The borders have been open for years, but even now hardly any Austrians speak these languages. In the video the texts of four people speaking Czech, Slovak, Hungarian and Slovenian are cut apart and reconstructed into the German phrase “Die Gedanken sind frei” (Thoughts are free). This technical trick is an ironic comment on the situation, especially because “Thoughts Are Free” is often associated with liberation movements, which are re-uniting Europe as it should have been. Gerda Lampalzer has worked since 1980 as the executive of the Medienwerkstatt Wien. Since 1987, she has been teaching for Applied Arts in Wien. She is active professionally as a media artist, lecturer and curator. 59 Uprooting: The story of our grandfathers (2011) The Lord’s Ride (2010) Apostolos Polymeris (born 1984, Belgium) Jean-Charles Hue (born 1968, France) Video installation, 2:32 minutes, loop Feature film: 1h 24 min This installation tells the very personal and moving history of the artist’s grandfather and his immigration to Belgium in 1972. The video is shown in a very impersonal archive environment that makes Kafkaesque associations with the big archives that house stories of uncountable numbers of people. One of these stories is brought to life in the artist’s video. The film is about the life of a Roma family, thus presenting a living symbol of a constant metamorphosis of identity. Jean-Charles Hue searches for his origins. He spent some time with the Dorkels, a Gypsy/Yeniche family on the outskirts of society in the north of France, and filmed their daily life. This film recounts the search for origins in these marginalised worlds, worlds that prefer to remain separate rather than integrate. The film relates the events that punctuate a nomadic life spent in caravans: poaching, a strange conversation, a quest for redemption...This unconventional reality seems fictional to the viewer, as the events are so foreign to normal life. The camera records everything, even the explosion of a bullet a few inches from the artist one drunken night. “In the building of the archives in Brussels, in a small room with hundreds of lists with names of foreigners who had moved there until the middle of the 1970’s, I found my grandfather’s name. He and his family immigrated to Belgium in 1972. The video illustrates the difficulties they faced in Istanbul and how they decided to move to a new country, hoping for a better life.” Apostolos Polymeris Apostolos is an artist and graphic designer born in Brussels but with roots in Greece. In Brussels he studied at the Royal Academy of Fine Arts. His main fields are poster and book design, illustration, animation and film. Jean-Charles Hue is an artist and video filmmaker who specialises in documentary films. JeanCharles’s grandfather was Yenniche, giving him a blood tie to this people. In 2009, Hue also explored the life in marginal areas together with the inhabitants of Tijuana, a border city between Mexico and the United States, in his film, Tijuana Carne Viva. In the Middle of the Way (work in progress, 2001-2007) Anna Konik (born 1974, Poland) Seven-channel video installation, loop Lab touchscreen and projection background 60 In this seven-channel video installation, Anna Konik presents a very personal narrative about the lives of several people living in different cities. They are homeless, marginalised people, but at the same time full of dignity. The artist follows them in their everyday activities, giving them a chance to present themselves in very different ways. At the same time, Konik reflects on her own nomadic way of living, which she does between three cities and two countries (Dobrodzien and Warsaw in Poland and Berlin in Germany). The issue of home and its role in the process of forming identity is the very focus of the installation. “The mobility of Tadeusz, Herman, Svetlana, Gerard, Hans-Dieter, Jana & Pele and Anna opens up a dialogue in which geographical boundaries and nationalities are not important. Instead, their individual stories, experiences and dreams build their unique identities and confirm their differentness in a world where nationalities are fluid. Every person I met dreams of a better life, of respect and freedom, they are all trying to find their way in the new reality of the EU.” - Anna Konik Konik makes video installations, and her practice combines video semi-documentary, installation, performance and sculpture. She has been exhibiting widely and internationally since 2000. 21st century Iconoclasm Kyriaki Costa (born 1971, Cyprus) Video stills, 6 photos, 24x30cm The project is a ‘visual sequence’ of six photos of significant monuments (i.e., sites and personalities) of both European and non-European origin, all placed around the Athenian Acropolis, a symbol (par excellence) of democracy. Initially, the viewer’s eye is puzzled as to whether these images speak of symbiosis or disorder. Ultimately, the answer to this dilemma brings us to the concepts of fluidity and mobility. In this photo series, the artist has allowed herself to mix monuments as a ‘virtual place’ (in her mind? in her heart?) where everything fits; a (peaceful or restless?) dream is born. Just as in everyday life, the triptych of history, experience and memory is always an issue of boundaries (their acceptance or negation): What do we perceive as ‘reality’ or ‘dream’? How do we understand ‘fact’ or ‘fiction’? Where does ‘sense’ end and ‘nonsense’ start? How do we draw the line between ‘emotion’ and ‘logic’? Finally, how does Europe fit in all this? Are we or are we not ‘Europeans’? Should we speak of belonging or fragmentation? Are we ‘at home’ or ‘homeless’? At the onset of the 21st century, these are absolutely crucial questions that spark artistic creativity, especially in countries at the outskirts of Europe, like Cyprus. Estonian Race (2010) Tanja Muravskaja (born 1978, Estonia) Digital C-type photograph, 92x68cm, 68x50cm, 12 photos in series The aim of this portrait series of strong Nordic faces was a portrayal of a modern post-Soviet state developing in the mono-national way. There is no such race as an Estonian race. This project asks us to reflect on historical mistakes, on dominance of the “main” nation, tolerance – all of the issues which are still relevant in the new European countries. The photo series addresses one of the “elementary particles” of nationalism as an ideology - race. Muravskaja is using encyclopaedic thoroughness to find the most typical, the “purest Estonians” among Estonian people, turning to academic authorities for help and portraying the young men who have no names or social security numbers, let alone life stories or identities in the exhibition hall, but who obviously have a nationality, at least within the framework of this visual story. This artistic search could also lead us to a question about a “pure European identity.” Can we possibly define it? What does it mean to be a European nowadays? Tanja has previously worked on the subject of identity – her work, ‘Positions’ (7 photos in series, 2007), is part of the collection of the Tartu Art Museum. ‘Positions’ was the artist’s first work on the subject of contemporary Estonian identity and opened a period of four years dedicated to it. Works reflecting modern Estonia, the elite of the Russian speaking minority in Estonia, and the recent Soviet past followed this series. 61 Ausgeträumt (2010) whole series of the travelling exhibitions to come. Deimantas Narkevičius (born 1964, Lithuania) The ‘Lab’ is a feedback/communication platform for you, the visitor, where you can talk about your ideas. You can submit ‘your European story’ or photos, check out a quiz, answer a questionnaire or just get in touch by visiting the online guestbook. All these can be found on the website www.go-use. eu, where people will be able to read your thoughts and follow your feedback. Music video installation, 5:30 minutes, loop The title could be translated into English as a state between dream and reality on the cusp of waking up, or it could simply mean the dream is over. Sometimes one has to approach a theme through a beautiful and meditative film, rather than with a strong message. Ausgeträumt shows a bunch of young men playing in an empty cafeteria – they have just started a band. They look beautiful but sad. The video is about their vision of their future, their reflections on their political or, more importantly, their unsatisfying cultural environment. Outside they are surrounded by a snowy landscape. Now and then a car drives through a city and onto a road leading nowhere. The scene is filmed in Lithuania. What is the future in this country, for this generation? For the young boy who happens to be the son of the artist? Where will these snowy roads lead them? Ausgeträumt approaches the notion of cultural identity in the most simple and fascinating way. Narkevičius is one of the most consistent and widely recognised Lithuanian artists on the international scene. He represented his country at the 49th Venice Biennale in 2001 and exhibited at the 50th Venice Biennale in 2003 in “Utopia Station.” The Laboratory Please enter the United States of Europe laboratory… Find out what, for instance, Maria from Cyprus thinks about European unification, or how John from Ireland perceives European citizenship. In these videos you can watch interviews with citizens from ten different European countries, which form part of the U.S.E project’s sociological study. It is here, in ‘the Lab’, where sociology meets art. A work in progress, the ‘Lab’ is being developed by the Latvian multimedia artist Jānis Garančs who, together with other international collaborators, will advance the laboratory further over the 62 The Laboratory By Jānis Garančs* As Europe can mean so many different things from the perspective of political powers, business “markets,” large and small countries, nationalities and families and individuals, the approach in the Laboratory is to explore the complexity of European identities as an interplay of historical, demographic, geopolitical, economic and cultural concepts. I encourage the interpretation of the project’s title not only through its politically-coloured meaning (a state as a country), but also through its more abstract meaning, at least in English – i.e., a state as a condition/status. The workshop participants, on-site as well as online, can submit their reflections as text messages, images and even video sequences. The Laboratory will feature several interactive screens and projections, webcams and computer terminals for short text input. It will act as a temporary virtual embassy of the United States of Europe, connecting U.S.E exhibition venues with satellite events and locations. Thus, the Laboratory works as a ‘processing device’ – that travels from place to place and adapts accordingly – that will collate the co-creators’ and visitors’ input and manifest itself as a self-organizing map or overview, offering multiple layers for exploration, and becoming, through immersive 3D visualisations and sonifications (also featuring computer generated stereoscopic projection and multi channel audio), an evolving multimedia artwork itself. *Multimedia artist and researcher, Riga, Latvia Christos Bokoros - “Odos Eleftherias” Exhibition at The Office Gallery T he Office Gallery is tucked deep within the Venetian city walls of Nicosia, having taken root at the edge of town but standing at its innermost centre. Located on the eerie and removed Kleanthi Christofidi Street, at number 32, it walks a tightrope over the divide of history. Before it became a war zone, Kleanthi Christofidi was an industrious street lined with stable shops – now time is imprinted in disintegration and rust on the shuttered storefronts standing in an almost military formation along this narrow, high street. To look down Kleanthi Christofidi is to trigger a visceral connection to history, to implicitly feel its former crowded- ness. It is a place both disconcerting and intriguing. It is open to redefinition. An evocation of the craftsmen of old Nicosia The Office Gallery was deliberately conceived in this setting in an attempt to shake the foundations of conventional urban living in Nicosia, to stimulate its nervous system from the centre. The premises of the Office Gallery were used for over half a century as the workshop of shoemaker Andreas Matsas and even today the space is home to the aura Matsas created; his signature is visible in the space, an evocation of the craftsmen of old Nicosia. National Memory by Christos Bokoros Candles (at the memory front) 63 Candle in the Trench If, as Seferis reminds us, “the strong craftsman is one of the most responsible individuals born in this world,” then the Office Gallery maintains and upholds that sense of responsibility. As a place of “handcrafted” ideas, the Office Gallery continues the heritage of the handmade, while at the same time refining and redefining craft, demonstrating a postmodern willingness to pose tradition against the new, to draw from and blend both the dark and bright sides of all traditions. How does the Office Gallery function? The Office Gallery serves as a meeting place for “handcrafted” ideas through thematic exhibitions. It hosts the work of the niche fashion designer Carol Christian Poell and functions as a personal and professional escape for writer Tassos A. Gkekas. The Office Gallery stands as a triptych comprising three separate yet linked functions: a meeting place for the Handmade, escape and professional lieu. Each of its functions is autonomous and distinct but, much like a Francis Bacon triptych that acts as a single indivisible entity narrating a particular story, the functions of the Office Gallery meet and complement each other. Like the unifying flow of mercury, dialectics and discourse connect its three facets. “Odos Eleftherias” by Tassos A. Gkekas, Director of The Office Gallery With the launch of the series of paintings titled “Odos Eleftherias,” Christos Bokoros attempts a direct conversation with spaces, buildings and roads which are adjacent to or which lead to the Green Line in Nicosia. Many of these buildings are damaged and worn. One could say that they, 64 in turn, create the second crack next to that of the Green Line. Amongst these trenches, the artist has installed his own paintings, planting his own “Freedom Street,” in the hope that he will offer new fruits and joyful vibrations to the centre of town, quietly and humbly “conspiring” with all the domestic rejuvenating powers. Bokoros’s flames: small, genuine carriers of “Romiosini” (Greekness), of sorrows and of desires, in their own way warm up a vital part of the town within the walls. The artist communicates directly with the spaces and monuments which remain the birthplaces of Hellenism; he rekindles the interest centres in the heart of the capital. As long as Bokoros sows his rogue paintings as “signals” at the “border” points in the trenches of old Nicosia, he continues to remind us that broader parts of our country, the very ends of our state, when illuminated sufficiently, emerge gleaming and alive. In the Artist’s Words “I use surfaces damaged by previous organic uses to incarnate my pieces, aside from the theme and any representational skill, as a constant reminder of a collective time and place from which my reasoning originates, which I address in the final outcome of my craft. I select my subjects on the basis of recognition, both as native signals and as universal symbols of communication between people and the ineffable intimacy of the mystery which surrounds the material objects around us. The process of preparation and painting leads me, at times of concentration and discipline, to unexpected realizations of self and conciliation with our common condition, the accomplished world. There, the surface of beauty is revealed, and exceeded eternity and truth come together. I yearn for these clearings, and these are what I work for. I speak words, and painting moves further, as if the matter and spirit it embodies is always elsewhere, away from the images and their descriptions. It holds a distance, however close. In this distance, the aura preserves the secret and saves us.” The World Youth Choir in Cyprus F or the first time ever in Cyprus, we got the chance to enjoy concerts by the World Youth Choir. The choir performed three a cappella concerts of works by F. Poulenc, B. Britten and others, under the direction of conductor Cecilia Rydinger Alin. There were performances across the island: on 16 August in Pedoulas, on 18 August in Paphos and on 19 August in Ayia Napa. The Cyprus Symphony Orchestra Foundation invited the choir to Cyprus, and the choir gave a series of concerts with the Cyprus Youth Symphony Orchestra as part of the 2012 Kypria International Festival, two evening concerts titled “Towards a Europe of Peace” under the direction of Ayis Ioannides. To prepare for the 2012 Kypria International Festival programme, the choir, which comprises 60 members, participated in the International Summer Music Academy of the Cyprus Youth Symphony Orchestra. This year, like every year, the International Summer Music Academy took place in the mountain village of Pedoulas from 20 August until 2 September 2012. World Youth Choir 2012 An original concept, the World Youth Choir (WYC) brings together talented young singers aged 17 to 26 years old from all over the world. Managed by the World Youth Choir Foundation, WYC was founded by three organisations: the International Federation for Choral Music, the European Choral Association-Europa Cantat, and the Jeunesses Musicales International. Its principal office is at the World Forum in The Hague, Netherlands. Since it was founded in 1989, the WYC has established itself as one of the most remarkable musical and intercultural experiences available to young European musicians. Every summer the World Youth Choir, made up of half new, half re-invited singers, meets in a different country for two weeks of intensive rehearsal of a new repertoire with two different conductors with contrasting programs. This is followed by a two-week tour of the host country and neighbouring countries – the choir performs in major concert halls and prestigious cultural centres. During the tour, the choir fulfils its social and pedagogical mission by interacting with local schools, choirs and music lovers, through master classes, workshops and clinics. Regardless of political or cultural differences, thanks to the WYC up to 100 young people with a common passion for music and a love of singing share a month of their lives together, a month of work, play, conversation and debate. This creates a genuine spirit of friendship, helping the group cohere and imbuing it with a unique brightness which amazes those who attend WYC concerts. Without any speeches or banners, the World Youth 65 Choir brings with it on tour beautiful music and, with its presence, a message of international peace, brotherhood, and the vitality of life itself. This is why UNESCO has named the project “Artists for Peace” in honour of its social and artistic mission. The diversity of the World Youth Choir repertoire reflects the cultural diversity of its members. Over the past 23 years, the choir has had the privilege of performing beneath the baton of a number of world renowned conductors. Its annual sessions have thus far taken the choir to more than 30 countries around the globe, including 16 European countries, South Africa, the Far East, the USA, Canada and Latin America. The choir performed at the Olympic Gala in Barcelona in 1992, at the opening ceremonies of the Olympic Equestrian Games in Hong Kong in 2008, and at the Nobel Peace Prize award ceremony on 10 December 2011. On 11 December 2011, the choir performed at the Nobel Peace Prize Concert in Oslo, the annual musical tribute to the year’s Nobel Peace Prize laureate. Cecilia Rydinger Alin – Conductor Cecilia Rydinger Alin is a leading figure in Swedish musical life. Her wide range of activities encompasses orchestral concerts, opera, choral conducting and teaching, in addition to her regular 66 appearances with Swedish and other Scandinavian symphony orchestras. She was the principal conductor of the Wermland Opera in Karlstad from 1994 until 1998; she has also conducted opera productions at the Royal Swedish Opera and at Denmark’s Jyske Opera, as well as highly regarded Wagner productions at the Dalhalla limestone quarry. From 1988 until 2009, Cecilia Rydinger Alin was the artistic director of the mixed choir Allmänna Sången. She won a number of international choral competitions while at the helm of Allmänna Sången, including the 2005 European Choral Grand Prix in Varna, Bulgaria. In the autumn of 2008 she was elected conductor and artistic director of male-voice choir Orphei Drängar in Uppsala. Ms. Rydinger Alin is Professor of Orchestral Conducting at the Royal College of Music in Stockholm, and during the 2012-2013 academic year she will serve as deputy Principal at the Royal College of Music. Cecilia Rydinger Alin has been a member of the Royal Swedish Academy of Music since 2004. She was awarded the medal ‘Litteriset Artibus’ by King Carl Gustaf XVI for her contribution to Swedish musical life in 2005, and she received the Swedish Choral Society’s Choral Conductor of the Year award in 2009.