The city of Kalamata from afar in "Mesa" by Dimitris Papaioannou, which concluded last year's Festival. The city of Kalamata and modern dance, a cult relationship that celebrates its twentieth anniversary this year, showcasing more than any other year the city itself. Tonight the Kalamata Dance Hall will be packed for the premiere of the 20th Kalamata International Dance Festival (art direction: Vicky Marangopoulou), where the performance of the much loved in Greece Nederlands Dans Theater will be presented. From much earlier on the streets of the city, in the squares, at the port, around the beautiful neoclassical buildings of Kalamata, one of the two workshops of this year's festival entitled "On the road" will have started. A great opening to the city community that follows similar pioneering actions that have been taking place for years abroad. "We are talking about an absolutely young festival", the mayor of Kalamata Panagiotis Nikas tells me from the other end of the phone line, who speaking to "K" about the economic dimension as well as the cultural impact of the Festival in the city of Kalamata pointed out the huge participation of young people not only as spectators but also as volunteers ("an attendance so great that it cannot be satisfied"). A new hotel complex may not have been built to meet the needs of the Festival, Nevertheless, as Panagiotis Nikas pointed out, "every year the transformation of the coastal zone of Kalamata during the days of the Festival is impressive. Athenians, Europeans, artists and spectators of all ages change the rhythms of the city". That's right. Those who have come to Kalamata for the dance festival know this well. Increase in overnight stays in the city's hotels, mainly during the days of the Festival, as well as an increase in transactions in catering and entertainment shops, Panagiotis Nikas points out as "direct benefits to the economic life of the city". Another exciting Kalamata International Dance Festival is ready for action. We look forward to it! DAILY Print Newspaper
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Premiere in Locarno for Sylla Tzoumerka's film
From: http://www.ethnos.gr/article.asp?catid=22800&subid=2&pubid=64037974
Sylla Tzoumerka's new film will have its world premiere in the competition section of the 67th Locarno Film Festival “A blast” starring Angeliki Papoulia as a rebellious mother and wife who wants to take her life back into her own hands.
Sylla Tzoumerka's new film will have its world premiere in the competition section of the 67th Locarno Film Festival “A blast” starring Angeliki Papoulia as a rebellious mother and wife who wants to take her life back into her own hands.
Filmed in Athens, Hamburg and Pieria, the film is a co-production of Greece, Germany and the Netherlands, with the support of the Hellenic and Dutch Film Center. "During the feverish years of the collapse of the Greek economy, the “A blast” talks about what it means to be rejected and to do something about it’ this", comments the director who signs his second feature film after "Country of Origin" which premiered at the Venice Film Festival in 2010, participated in many festivals and won five awards of the Hellenic Film Academy.
The Beatles… "come alive" in Herodion on 17 July
From: http://www.imerisia.gr/article.asp?catid=26513&subid=2&pubid=113309812
WITH THE CAMERA AND MANY GUESTS
The timeless songs of the Beatles will "come alive" at Herodio, on Thursday 17 July, with the Camerata - Orchestra of Friends of Music performing their music, under the musical direction of Miltos Logiadis, in the context of the Athens Festival.
The singers Kostas Vasiliagos, Gift of Demosthenes, Vassilis Gisdakis and Steve Kokkas will be "transformed" into the four Beatles, while special guest will be the band Melisses.
The most famous songs of the legendary group will come to life in imaginative symphonic orchestrations by the well-known composer Nikos Platyrrachos, who preserves the unique style and dynamics of the songs, enriching them with the greatness of the symphonic sound.
The Beatles were genius musicians who signed some of the greatest albums of all time and left behind classic songs that still hold their freshness today. Idols of the youth who experimented and evolved at the same time as the currents of their time and revolutionized with just one haircut. The awesome kids from Liverpool stayed together for ten years changing the course of music history forever.
Herod Atticus Conservatory: Dionysios Areopagitou Pedestrian Street, Makrigianni. Hours of operation: Daily: 9:00-14:00 and 18:00-21:00
Start time: 21:00
Ticket prices :Lower Diazoma normal 30, Upper Diazoma normal 15, student 10, unemployed 5, disabled 10 euro
Tickets for the Festival events can be secured: Online with credit card charge on website www.greekfestival.gr., By phone with a credit card charge at 210.3272000 daily (and Sundays) 9:00 – 21:00., From the publishing houses of the Festival, From PAPASOTIRIO Bookstores, PUBLIC Stores and Ianos Bookstores, University 39 (inside Pesmazoglou stoa)
Gearing up for Epidaurus
From: http://www.avgi.gr/article/3350630/stin-teliki-eutheia-gia-tin-epidauro
The Epidaurus Festival presented its latest summer productions and co-productions yesterday, now entering the final stretch for the completion of this year's Epidavrias. Three theatrical and one musical performance will share the stage of the ancient theater, as well as that of Little Epidaurus.
The principle will be this week, at 18 and 19 July, by Philoctetes of Sophocles, disclosed in co-production with DIPETHE Patras – “The only way to continue to exist”, as the director of Thodoris Ambatzis said. The director Kostas Filippoglou noted that the show is specially adapted for the area of Epidaurus, while he dwelled on his experimentation with dance, who takes a leading role. Michael Marmarinos, who plays the title role, He refused any reduction in today, as “we continue to be inside the myth”, while Konstantinos Markoulakis spoke of a performance that abolishes the academic opposition – research form.
The same weekend, in Mikri Epidaurus, Dimitris Bassis and Iota Nega will present a musical performance dedicated to the songs of xenity. Having emphasized the immigrant child, the popular singer explained that it is a choice 35-40 important songs, from traditional to modern, while C. Nega noted that they do not only concern those who leave, but also those who are looking for a second home here, after “the longing has no race or color”.
In the same theater, a week later, the first part will be presented in Peloponnesian war by Roula Pateraki. as explained, axes of this “relaxed in the connection of the theatrical action” are the first clashes, pestilence, the Epitaph of Pericles and Thucydides himself. Dimitris Lignadis will perform the demagoguery, who noted that the work of the ancient historian “reflects the modern Greek Narrative”.
End, for the second time will be at the theater argoliko, at 8-9 August, Angela Brouskou, which directs Bacchae, a “trekking along with Dionysus, which will go to Epidaurus”.
The principle will be this week, at 18 and 19 July, by Philoctetes of Sophocles, disclosed in co-production with DIPETHE Patras – “The only way to continue to exist”, as the director of Thodoris Ambatzis said. The director Kostas Filippoglou noted that the show is specially adapted for the area of Epidaurus, while he dwelled on his experimentation with dance, who takes a leading role. Michael Marmarinos, who plays the title role, He refused any reduction in today, as “we continue to be inside the myth”, while Konstantinos Markoulakis spoke of a performance that abolishes the academic opposition – research form.
The same weekend, in Mikri Epidaurus, Dimitris Bassis and Iota Nega will present a musical performance dedicated to the songs of xenity. Having emphasized the immigrant child, the popular singer explained that it is a choice 35-40 important songs, from traditional to modern, while C. Nega noted that they do not only concern those who leave, but also those who are looking for a second home here, after “the longing has no race or color”.
In the same theater, a week later, the first part will be presented in Peloponnesian war by Roula Pateraki. as explained, axes of this “relaxed in the connection of the theatrical action” are the first clashes, pestilence, the Epitaph of Pericles and Thucydides himself. Dimitris Lignadis will perform the demagoguery, who noted that the work of the ancient historian “reflects the modern Greek Narrative”.
End, for the second time will be at the theater argoliko, at 8-9 August, Angela Brouskou, which directs Bacchae, a “trekking along with Dionysus, which will go to Epidaurus”.
THE LETTER “N” AND ITS Abolition
THE Elpida Giannopoulou communicated photo from Sivadhyanam Saraswati.
THE LETTER “N” AND ITS Abolition
By Spyros Markos, director of the 3rd Primary School of Larissa
THE CYPRUS GOES TO EVEREST AND ASK FOR A SANDWICH
WITH TURIN AND DOMATAN AND PEPPERIAN AND CHERMYDIN.
THE GREEK CALLS HIM JOKING:
"YOU, THE CYPRIOTS, WHATEVER TO SAY ALL OF IT “N” ADD TO THE END…
YOU WANT SOMETHING ELSE INSIDE”;
WHEN, SHOCKED BY THE OBSERVATION, THE CYPRUS SAYS HESITATINGLY:
” ALSO PUT A LITTLE ZAMBOO AND BEIKO. ..”
Each letter of the Greek Alphabet emits a sound and an image.
Every word was put by the "Namers", accurately and not randomly
and has a direct relationship of Cause and Causation, between Signifier and Signified.
* The “N” tunes the brain.*
*Relatively recently (1996) in the Medical Journal MEDIZIN-JOURNAL
in Germany, a scientific paper was published, according to which:
"Pronouncing the letter 'N' transports oxygen to the brain
and that the placement of the "N" was no accident
right in the middle of the Alphabet – in the first Greek Alphabet with the 27 letters".
also, at Harvard, by medical investigations it was established.
that the recitation of the Homeric Epics in the original, besides the others,
it's good for the heart, as a breathing exercise.*
And I have the right to ask:
Why we became pursuers of "N";
As a combat instructor and author of the book: DYSLEXIA,
Athena 1994, GREEK LETTERS Publications, 6the Edition,
I am justified in asking, but also to recommend at the end:
The Greek language has now taken a form such that it does not need other extremes.
But I wonder:
Is it a coincidence that we removed the letter "N" at the end of words and our textbooks write "area" (!), instead of area!
In the school aids, however, we read "the area N", i.e. N is preserved there, while the official State in the books (MINISTRY OF, Pedagogical Institute) they have abolished it !!
Why this extreme?;
Why do we officially teach arbitrarily constructed rules in our schools, B.C. yesterday I met the Mayor (the friend, the Council etc.).
The letter N is organic and when we cut it it hurts.
It's like cutting off our little finger…
If anyone objects that this is an insignificant detail, we should tell him that "detail holds the Parthenon"!
But let me remember here the beautiful, ironic text of Od. Elytis:
"FOR AN OPTICS OF SOUND", where it ends,
“No Herod would have dared to order such genocide,
like that of the final -N-, unless his’ the vision of the sound was missing".
The G. Ritsos also wrote:
"And the words veins are. Blood flows inside them".
Unfortunately, Nevertheless, we find out today, that after Ni,
it's the turn of the final Sigma (s).
Some journalists on the channels are already saying:
"the method", the "street", "the complete! accession" (!)…
They thus arbitrarily cultivate a negative language pattern in our youth with the immense power of the media
and the school unable to react, but also society to passively accept this development as almost fatal.
After all this I formulate the following opinion and submit to your Congress my own "Theory" on the matter in question:
The unique musicality of the Greek Language is studied internationally
and its impact on man's spiritual clarity.
*The letter "N" stimulates the brain positively and activates a person to think correctly.*
*The final Sigma calms the man down.
Modern Psychiatry also accepts this.*
The Ancient Greeks knew all this and it is no coincidence
that only we, the Greeks, we say:
"I said goodbye to Ni and Sigma" and
we do not say in other letters (even though we have other letters at the end of the words),
because Ni activates our mind to think correctly and Sigma calms our soul, after we speak in public or in private.
Modern Psycholinguistics accepts that Language and Thought are born simultaneously and evolve in parallel and constitute at all times an inseparable unity.
*Language embodies Thought and Thought is transmuted into Language.*
It is a coin with two sides.
There cannot be one
side, without the other.
There could be no Greek Thought without the Greek Language.
It is a fact that the quality and quantity of "records" in Thought determines the mental level of each people.
Therefore, the mental level also determines the ability to create Culture.
* The Greek Alphabet, in the course of his thousands of years he was originally:
Ideographic, then the Pictorial was coined, then we arrived at Grammographic, then in Spelling (Linear A and B) and finally, the current Photographic system was established, which is unsurpassed and to which the creation of the Greek Language and the Greek Universal Culture is due.*
We have a duty to preserve, as the apple of an eye, the Greek Language and to resist its abuse.
“… it's not an orchestra, it's a revolution …”
From: http://www.o-klooun.com/anadimosiefseis/den-einai-orxistra-einai-epanastasi#.U4uOoHaVBRx
“… is not orchestra, it's a revolution …”
You see it and you want to cry. Out of emotion ; Out of admiration; Out of grief for ours; I don't know. Many years ago a man in Venezuela set out to make a dream come true. It was Jose Abreu who collected children from every poor corner of his country and began to teach them music to draw them away from crime, the drugs, the misery and dangers it carries with it!!!
His plan was called el Systema.
A few years later, 250.000 (!) children learned music, and school orchestras began to be formed. Orchestras across the country surpassed the 100 and of these the 90 they are symphonic !
The best of these young musicians gather in central orchestras, με κορυφή την Ορχήστρα Σιμόν Μπολιβάρ, που αυτή την εποχή διευθύνει άλλο ένα προϊόν του el Sistema, the 28-year-old conductor Gustavo Dudamel, που είναι επίσης εδώ και λίγους μήνες ο νέος μαέστρος της Φιλαρμονικής του Λος Άντζελες.
Edgar grew up in one of the roughest neighborhoods in Caracas. He was afraid to leave his house and afraid to come back. Only music could distract him from the bad situation he was experiencing. He went to his neighborhood El Sistema branch and asked for a trumpet. They couldn't find him. But they gave him a bassoon. Now, Edgar believes that bassoon saved his life. El Sistema could be the name of a revolutionary organization from the 1930s. Perhaps this comes to mind because El Sistema was born and developed in Venezuela, a country that fought for many years for its independence but also for the abolition of totalitarian regimes.
El Sistema is a thought born in the mind of Jose Antonio Abreu, of an economist who loved people and music more than anything else. Abreu believed that, however poor a man may be, if he can access the music, his life will change. And he turned out to be absolutely right.
The beginning – the development
In 1975 Jose Antonio Abreu tried to create one orchestra where the musicians, instead of each studying alone, they would all study together.
There was already a similar experience in Venezuela, where school students would go after school to large halls and prepare their homework for the next day together.
This was not some kind of innovation in the way of studying. Simply, most parents worked late and, if the children returned to their neighborhoods, they would avoid studying as a result of which the country maintains its low educational level.
Additional, crime and drug use were rampant. So, the children were in danger at every step. Abreu was able to find children who had some musical talent as well as teachers from all over Venezuela.
His first orchestra, its National Youth Symphony Orchestra Venezuelas, was created on 12 of February 1975 and gave her first concert on 30 April of the same year.
Very quickly he connected with other orchestras and also recorded with many well-known conductors. THE orchestra it soon became a magnet for many young people. Very soon more and more people wanted to study Tchaikovsky, Mozart or Berlioz and almost everyone wanted to attend her concerts orchestras.
Any outside observer would think that all this effort would have no chance of success.
Abreu and his colleagues argued that they would succeed.
Their central message to the youth of the whole country was "Play and fight".
But the first ones who had to fight for the success of the program were themselves. They put all their energy and all their faith into’ this purpose.
Four years after her timid beginning orchestras, at 20 of February 1979, ο Abreu παίρνει το πράσινο φως να επεκτείνει το πρόγραμμα. Τώρα μπορεί κάθε πόλη ή και κάθε γειτονιά να δημιουργήσει τη δική της orchestra που θα αποτελείται από παιδιά και νέους. Each child will choose an instrument, he will take it for free and meet with the rest of the children in large halls to study under the direction of the best teachers in the country. Naturally, the program went through enormous difficulties.
Its funding was reduced in times of crisis – it spent several n Venezuela– causing Abreu and his team to fight hard to keep it alive.
But today, El Sistema, which is now developed into nucleos (cores), is under his supervision 150 youth orchestras and 70 children's orchestras, που βρίσκονται σχεδόν σε όλες τις πόλεις της Venezuelas. The country's best musicians are channeled into orchestra young Simon Bolivar, which is also the central one orchestra of the program. Το πρόγραμμα Τα παιδιά της προσχολικής ηλικίας αρχίζουν να δουλεύουν πάνω στην εκφραστικότητα του σώματος και τον ρυθμό.
Η ενθάρρυνση των παιδιών να κρατήσουν το σώμα τους ενεργό την ώρα που παίζουν, είναι ένα από τα κλειδιά της ανάπτυξης του προγράμματος. At the age of five, τα παιδιά παίρνουν τα πρώτα τους όργανα, usually wooden flutes and percussion. At the same time they also join a choir, έτσι ώστε να αρχίσουν να συνηθίζουν στην ομαδική δουλειά. At the age of seven, τα παιδιά μπορούν να πάρουν το πρώτο έγχορδο ή πνευστό τους όργανο. Μπορούν να αλλάζουν όργανα, but they are not encouraged to do so often. Η αρχική τους εκπαίδευση περιλαμβάνει τραγούδι και μελέτη του οργάνου.
Συχνά συγκεντρώνονται στο παίξιμο μίας και μόνο νότας έτσι ώστε να αποκτήσουν την αίσθηση της ποιότητας του ήχου για το όργανό τους. There are three levels of daily study: Στο πρώτο, children work with the whole orchestra, in the second they play in smaller ensembles and in the third they study individually. At all these levels, each child's teacher is the same. Αυτό έχει ως αποτέλεσμα η διαδικασία εκμάθησης να προχωράει πιο γρήγορα, καθώς ο δάσκαλος γνωρίζει από νωρίς τα δυνατά και τα αδύνατα σημεία κάθε μαθητή.
Οι μαθητές παίζουν μπροστά σε κοινό όσο το δυνατόν περισσότερο, πράγμα που μειώνει το άγχος της έκθεσης καθώς η συναυλία γίνεται φυσικό μέρος της καλλιτεχνικής διαδικασία. also, οι νέοι μουσικοί ενθαρρύνονται να παρακολουθούν άλλες ορχήστρες νέων έτσι ώστε να παίρνουν έμπνευση από αυτούς. Από πολύ νωρίς τα παιδιά παίζουν και με άλλες ορχήστρες πέρα από τη δική τους. Μάλιστα συμμετέχουν ακόμη και στην orchestra Simon Bolivar, in which the best musicians of the country become regular members.
Ο βασικός σκοπός του El Sistema είναι να δημιουργήσει την αίσθηση της ασφάλειας και της χαράς στους νέους μουσικούς, χτίζοντας ταυτόχρονα την αυτοπεποίθησή τους μέσα από την αίσθηση της αξίας του ατόμου μέσα στην ομάδα. Η πειθαρχία δεν είναι το βασικότερο κομμάτι της διαδικασίας αλλά, όταν δεν είναι αποτέλεσμα πίεσης, considered a useful tool. Η παρακολούθηση των μαθημάτων δεν είναι υποχρεωτική. Children participate for themselves, τους φίλους και τους δασκάλους τους.
Χωρίς σκληρή δουλειά από την πλευρά των μαθητών, the program would be headed for certain failure. Nevertheless, η διασκέδαση και το παιχνίδι δεν ξεχνιέται ποτέ.
Η μεγάλη πλειονότητα των δασκάλων και των στελεχών κάθε πυρήνα, προέρχεται από παλαιότερους σπουδαστές του προγράμματος. Είναι εκείνοι που καταλαβαίνουν καλύτερα τους στόχους και τις ανάγκες της διαδικασίας, είναι εκείνοι που καταλαβαίνουν πώς αισθάνονται οι νέοι μουσικοί. Οι δάσκαλοι ασχολούνται με κάθε παιδί ξεχωριστά.
Αν κάποιο παιδί λείψει δύο συνεχείς φορές από το μάθημα, they go to his house to see what's going on. Ο στόχος τους δεν είναι να κάνουν παρατήρηση στο παιδί, αλλά να συζητήσουν μαζί του τους λόγους για τους οποίους δεν ήρθε στα μαθήματα,so that they make it feel better.
Often, οι πυρήνες προσαρμόζουν κατά ένα ποσοστό τη λειτουργία τους στις ανάγκες των παιδιών. Το El Sistema έχει πλέον μια σειρά από συγκεκριμένους κανόνες, που μέσα στα χρόνια λειτουργίας του, have proven effective. For example, σε μουσικό επίπεδο, οι υπεύθυνοι του προγράμματος έχουν βρει ότι είναι καλύτερα να επιλέγουν την απλούστερη δυνατή ενορχήστρωση, έτσι ώστε να παίζουν μαζί όλα τα παιδιά και να βγάζουν πολύ δυνατό ήχο.
Of course, η ενορχήστωση αλλάζει όσο τα παιδιά ανεβαίνουν επίπεδο. Όμως ο δυνατός ήχος που παράγεται από πολλά όργανα που παίζουν μαζί παραμένει. As her manager says orchestraς νέων Simon Bolivar, Gustavo Dudamel, «όταν παίζουμε για παράδειγμα την Πέμπτη του Beethoven, η Πέμπτη γίνεται το πιο μεγάλο και πιο σημαντικό ζήτημα του κόσμου». Οι ορχήστρες ασχολούνται με τα έργα των γνωστών και μεγάλων κλασικών συνθετών αλλά και με πολλά έργα από το ρεπερτόριο των συνθετών της Λατινικής Αμερικής, που είναι άλλωστε και πολύ πιο κοντά στους ήχους που έχουν τα παιδιά στο αυτί τους από τη στιγμή που γεννήθηκαν. Το πρόγραμμα συνεργάζεται πολύ στενά με τους γονείς των παιδιών.
When a child turns two or three years old, οι υπέυθυνοι του προγράμματος συναντούν τους γονείς του και τους εξηγούν όλες τις λεπτομέρειες και τις δυσκολίες που μπορεί να συναντήσουν. Όταν τα παιδιά παίρνουν τα πρώτα τους όργανα, οι δάσκαλοι μιλούν στους γονείς για τον τρόπο με τον οποίο πρέπει να συμπεριφέρονται στα παιδιά και να τα ενθαρρύνουν στη μελέτη τους. Από τη στιγμή που ένα παιδί αποφασίζει να μπει σε μια orchestra, he gets a scholarship. Αυτό αποτελεί τιμή για την οικογένειά του αλλά έχει και πρακτική αξία: το παιδί δεν θα χρειαστεί πλέον να φύγει από το πρόγραμμα επειδή πρέπει να δουλέψει.
Το El Sistema ξεκίνησε περισότερο από αγάπη στα παιδιά και λιγότερο από αγάπη στη μουσική. Η έμφαση βρίσκεται στην ανάπτυξη της κοινότητας και στην αλληλεγγύη. The teachers, οι μαθητές και οι γονείς βρίσκονται σε μια ατμόσφαιρα αλληλοσεβασμού και αγάπης που τους κάνει να νιώθουν ασφαλείς και ευτυχισμένοι. Μέσα σε μια χώρα που πέρασε πολύ δύσκολες στιγμές, το να νιώθει κανείς ότι κρατάει τη ζωή του στα χέρια του είναι πολύ θετικό πράγμα. Και τα παιδιά του El Sistema όχι μόνο νιώθουν ότι μπορούν να ζήσουν όσο όμορφα θέλουν, αλλά και ότι μπορούν να αλλάξουν τον κόσμο.
Η αναγνώριση Οι περισσότερο παγκόσμιοι οργανισμοί έχουν αναγνωρίσει το El Sistema ως ένα σπουδαίο κοινωνικό πείραμα στο βαθμό που κατόρθωσε να μειώσει τη φτώχεια και να ανεβάσει το μορφωτικό επίπεδο του λαού της Venezuelas. But at the same time, it is also a great music learning program. Countries like Argentina, Australia, Bolivia, Brazil, Canada, η Κόστα Ρίκα, Cuba, Ecuador, Peru, η Σκοτία και πολύ πρόσφατα οι περισσότερες πολιτείες της Βόρειας Αμερικής, θέλησαν να το δοκιμάσουν. Ίσως κανείς δεν περίμενε πριν από μερικά χρόνια ότι μια χώρα που έχει περάσει από δεκάδες μεγάλα προβλήματα, like the Venezuela, could be a model for so many countries.
On a purely musical level, νέοι που ξεκίνησαν μέσα από το El Sistema βρέθηκαν μέσα στα χρόνια σε μερικές από τις καλύτερες ορχήστρες σε ολόκληρο τον κόσμο. But also the central one orchestra of the program, or orchestra young Simon Bolivar, is considered today as one of the most important. Gustavo Dudamel has also played a major role in this development, ο διευθυντής της orchestras, που ξεκίνησε κι αυτός ως ένας σπουδαστής του προγράμματος. Dudamel was born on 1981 in a family of musicians. Ο πατέρας του ήταν τρομπονίστας και η μητέρα του δασκάλα ωδικής. Το κύριο όργανό του ήταν το βιολί αλλά πολύ γρήγορα, at just fourteen years old, began to study conducting orchestrawith Jose Antonio Abreu himself as a teacher.
Ο Dudamel άρχισε να κερδίζει τον ένα διαγωνισμό μετά τον άλλο και πολύ γρήγορα η αξία του αναγνωρίστηκε από μαέστρους όπως ο Claudio Abbado και ο sir Simon Rattle. Έχει ηχογραφήσει τέσσερις δίσκους με την orchestra new Simon Bolivar and several more with other orchestras.
Από τον περασμένο Σεπτέμβριο είναι διευθυντής της Φιλαρμονικής του Los Angeles, με την οποία ερμήνευσε στην εναρκτήρια βραδιά την Πρώτη συμφωνία του Gustav Mahler, έργο που ηχογραφήθηκε και κυκλοφόρησε σε dvd αλλά και μέσω του i-tunes. Naturally, ο Dudamel δεν εγκατέλειψε την orchestra young Simon Bolivar, with which it will continue to appear throughout the world. THE orchestra έχει προκαλέσει το ενδιαφέρον των μεγαλύτερων φεστιβάλ κι έχει εμφανιστεί στις περισσότερες πόλεις της Ευρώπης και της Αμερικής, όχι μόνο επειδή αποτελεί το προϊόν ενός τόσο σημαντικού κοινωνικού πειράματος, but also because it is one of the most dynamic musical ensembles. Σε μια κοινωνική πραγματικότητα που κάνει τους ανθρώπους να απομονώνονται όλο και περισσότερο, σε έναν κόσμο όπου η καχυποψία έχει αντικαταστήσει τη διάθεση για επικοινωνία, or orchestra νέων Simon Bolivar αποδεικνύει ότι μπορεί να υπάρξει μια διαφορετική προοπτική. Για να νιώσει κανείς πόση χαρά μπορεί να κρύβει η αγάπη για τη μουσική και πάνω απ’ όλα πόση ελπίδα μπορεί να έχει το να μοιράζεσαι αυτή την αγάπη, he just has to listen to them perform Danzon No 2 by Arturo Marquez.
Or even more, to see them, while hunched over their sheet music, to stand up at the explosive finale.
Let each of us have some role model to draw courage but also to move forward beneficially and victoriously through the difficult life.
Dear friends! Hello again!!
The judges of “THE VOICE”, Despina Vandi, Melina Aslanidou, Antonis Remos and Michalis/Stavento, in collaboration with the Charity Organization "Apostoli" and the ANTENNA Group organize a concert on 3 July at OAKA. The proceeds will be dedicated to the actions of love of the Archdiocese of Athens, to children and families who are tormented by poverty and difficulties.
A big BRAVO to these four kids who showed great morals and love in all the shows of “THE VOICE”, and continue to set an example for all of Greece!! Truth, who is not enslaved by the sensitivity of their soul;;
Their example obliges all of us, wherever we are and with whatever economic power we have, to keep our eyes alert for our fellow human beings who are in difficulty. Today they… who knows. tomorrow we;
I know kind souls who exemplify other than Mrs. Latsis, others from Mrs. Vardinogianni for the charity work they do, and others from others known or unknown. Let each of us have some role model to draw courage but also to move forward beneficially and victoriously through the difficult life. After all, what else will be left for us other than our humanity and love!!
Friendship,
George
http://www.viva.gr/tickets/music/mia-xora-mia-foni/