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| Wednesday, August 26th, 2009 | | 5:56 pm |
I'm again in Europe, we can say that Africa has finished tragically for me. I dont want to enter into details, but I'm happy that we are again on the Old continent! But here in Athens in the place where Europe began, I realized that i'm not in love with Hellas anymore...
I fell in love with Slovenia,
country in which we have stayed 7 years.
the green gem, long hidden away in Central Europe.
I love Ljubljana
its capital
ljubl is the root of the word love in Slavic languages
 Finding Slovenia: A Guide to Old Europe’s New Country is an extremely interesting and detailed presentation of Slovenia, with stunning photographs of major tourist destinations as well as of numerous hidden treasures, only known to locals or to one well acquainted with the country. 
The book presents an inside-outside view, exploring centuries-long favorite places like Ljubljana and Bled, but also less-known parks, trails and footpaths.
The reader learns how to share Slovenia’s love of nature in hiking, skiing, swimming, fishing, boating, climbing, outdoor dining and wineing, as well as how to stay in tourist farms, hot spring spas or historic castles. Stanford-educated attorney Jacqueline Widmar Stewart’s new book portrays the natural and cultural history of the green gem, long hidden away in Central Europe.
With full-color photographs, maps, charts and illustrations, the 200-page hardbound book was published in Slovenia by Mladinska knjiga založba.
Interview with Jacqueline Widmar Stewart, Author of Finding Slovenia In a word how would you describe Slovenia? “Stunning” - both in the beauty of the land and magnitude of its peoples’ accomplishments. My purpose in writing the book is to celebrate both. What accomplishments? In 1991, for the first time in its history, Slovenia became an independent nation. Just two generations ago, when my grandparents left around 1900, it was a feudalistic society. What were your early ideas for the book – Where did it begin? Our relatives have always taken us to the thermal baths when we visit, and I really wanted to do a guideto the thermal spas – one that would show biking areas,restaurants and amenities in the area. What questions were you trying to answer in your research? I asked myself “What makes this country so extraordinary? What does it have that other places don’t?” My answer became “The Essence of Slovenia” section of the book. Your undergraduate work was in French and German, you have a master’s in French and a law degree. How did your educational background play into your research on Slovenia?
When I began studying French and German in high school, I became intrigued by foreign studies.
Once I started college, I had the chance to study Classics in Greece and really thought I’d landed in paradise. I loved marketplace – for food, commerce and ideas. My favorite poem since that time has been Ithaka by Constantine Cavafy that talks about the journey as being even moreimportant than the destination – how experiences along the way should be savored and treasured whether or not you reach your ultimate goal. The study of French literature further broadened that view to societal dimensions – the journey of the whole group - and how the well-being of the entirety depends on the fairness and contentment of the individual.
From my first impressions onward, Slovenia has seemed to me to excel in this regard. To my eye, its egalitarianism is apparent everywhere. Slovenians care about the well-being of others: they are not happy unless you are. To better understand how this came to be so in Slovenia, I had to study the language. Language opensa window into understanding culture. How ideas and concepts are expressed gives a sense of what peoplefeel is important and their approach to life. It’s a never-ending source of fascination for me. The tie-in with law relates to fairness. Equal protection of the law carries special significance in Slovenia, since for so many centuries it was unavailable. How do you communicate in Slovenia? Anyone who studies English wants to practice. The further away from Ljubljana I go, the more opportunity I have to speak Slovenian. How good is your Slovenian? I can get around. In the late ‘60s, I studied it for a year at the University of Ljubljana after I had finished my master’s degree in French and before I went back to study law. In writing the book for the past few years, I have been going back frequently. Hearing it more often really helps my speaking. In your book you talk about how Slovenia felt like home the first time you visited. Has that changed? Life in Slovenia has modernized greatly since the ‘60s, but I don’t think that’s changed the core of Slovenian living. Cell phones and computers tend to be universal – we get cell service even hiking in the Alps – but mountain huts will still serve you whatever they can when you appear at their door, and the outdoor cafés won’t chase you away if you aren’t ordering food every second. It’s still wonderful to have a good laugh with my cousins, and to enjoy just being together - which always involves a table full of food and wine. Your resumé evidences a strong interest in education. In California, you started and ran an educational foundation for economically disadvantaged children.
How important is education in Slovenia? This country prizes its education. The literacy rate is close to 100%. Traditionally, the elementary school year has includ ed a week of swim lessons at the seacoast and a week of skiing in the Alps. High school is so important that children leave their homes in the village to attend high school in the cities. At the end of high school, main streets all over Slovenia are closed to traffic and graduates literally dance in the streets. Higher education earns great respect both socially and professionally. What about environmentalism there, noting that you’ve worked for public land acquisition in California. My daughter says that Slovenia lives close to nature, and I think that’s a good description. The whole landscape is blanketed with woods. The farms look as though they “belong to the land,” in the words of Slovenian-American author Louis Adamic, especially the iconic kozolec - the roofed, wooden hay-drying rack. Some people supply all the timber they need for building and heating by cleaning and selectively cutting trees from their own nearby woods.Garden-fresh is not a phrase taken lightly because gardens are everywhere. When I studied in Ljubljana, the student dorm even had its own community garden. How did you choose the title Finding Slovenia? Writing the book has been a journey with a wealth of experiences and acquaintances I otherwise never would have known. The process of discovering Slovenia is ongoing, and much too good to keep to myself. Jacqueline Widmar Stewart, Author of Finding Slovenia | | 11:44 am |
| | Tuesday, May 6th, 2008 | | 11:35 am |
I start liking Africa!
  I was a little bit depressed in Africa as we moved there. My husband gave me this charming book in present. It made me change my mood! And deal with the depression! A lot of thanks to Tippi!
Je me sentais déprimée après notre transfert en Afrique. Mon mari m’a fait un cadeau charmant. Ce livre m’a fait vraiment changer d’humeur ! Merci beaucoup à Tippi !
 My book of Africa takes the reader on a delightful journey into Africa and into the world of a little girl called Tippi who tells her unforgettable story on her return from Africa to France at the age of ten.
Tippi was born in Windhoek, Namibia in 1990 and named Tippi Benjamine Okanti Degré. It’s because of the work of her French parent, wildlife photographers Sylvie Robert and Alain Degré that she was born in Africa. Tippi’s second middle name, Okanti, means mongoose or meerkat. Before Tippi was born, her parents spent seven years living and working in the Kalahari Desert photographing the meerkats.
Tippi is no ordinary child. She believes that she has the gift of talking to animals and they are like brothers to her. Her world is filled with characters like Leon the chameleon, Abu the elephant whom she calls ‘‘my brother’’, and leopards, snakes, baboons, lions and ostriches…
’’I speak to them with my mind, or through my eyes, my heart or my soul, and I see that they understand and answer me’’
In this charming book, young Tippi shares her thoughts and wisdom on Africa, its people and the animals she has come to know and love. Often her wisdom is beyond her years, and her innocence and obvious rapport with the animals is both fascinating and charming. She talks about her animal friends as children of her age would talk about their classmates. But to her it’s normal because she was born among them in Africa.
Simply, but also in an incredibly mature way, Tippi shares her secrets of the universe. Her parents have captured her on film with some of Africa’s most beautiful and dangerous animals.
This unforgettable photo album takes the reader on a marvelous journey with an unusual little girl who talks to animals but also to the reader’s heart and soul.
My book of Africa contains the words of a little girl who has the gift of reaching out and touching the people and the animals of Africa. It’s beautifully illustrated with over a hundred magical photographs taken by her parents, French filmmakers and photographers Sylvie Robert and Alain Degré.
Tippi lives and attends school in Paris, France.
Visit her website at http://www.tippi.org/
 One day I absolutely wanted to meet Elvis, but the adults didn’t really want me to do. Of course Elvis is a big male baboon, very strong and very impressive. Everybody thought he was aggressive and no one could tell what his reaction would be. I don’t know why, but my heart told me I could go towards him. Finally my parents let me.
The adults recommended that I especially not look him in the eyes. He would have taken this as a challenge, as a kind of provocation, which would have made him furious. So I only watched his hand, I approached with mine very, very slowly. It works this way with animals. We must touch to get to know each other.
Smell is also important. Elvis sniffed me; he must have felt that I was not an enemy to him. I gave him a friendly caress. He kept very still. It’s funny, a baboon’s hand. It’s hot and very hairy. It looks like a human’s hand.
When I moved away a bit, Mum and Dadou looked relieved. I was happy to have met Elvis. It nearly reconciled me with baboons, even if we did not have enough time to become friends...
Animals are never nasty, but they can be aggressive. I gave up explaining to the whole world that we mast not say ‘nasty animal’, but ‘aggressive animal’. It’s useless; nobody wants to understand. What can I do? I’m not going to spend my entire life to explain the same things…
Animals are aggressive when they want to protect themselves, their young or their territory. And also when they’re injured or in a bad mood. Anyway they always have a reason. It’s not like humans; often humans don’t even know why they are nasty. For instance, sometimes when I’m angry, I’m a real witch. Horrible words come out of my mouth and I don’t even want to stop them….  Racism, I don’t like this. I don’t know what could have been going in the heads of racists…
Me I have the blood of an African but I am white. There are lots of people that are white in Africa. The colour of skin doesn’t matter at all. But I don’t know how to explain this to the racists. I’m not trying to fix all the problems of the world. I was not put on earth for that reason. If I could save some animals it would be a good start…
My mom says that Bushmen are the humans who are the closest to animals. They have known how to live in the wild for hundreds and hundreds of years, maybe thousands. Because they haven’t known civilization, they haven’t changed any of their habits. Normally to them, time and money don’t count.
I met them in the Kalahari Desert and in northern Namibia. I’m really lucky to have met the Bushmen. They don’t often go near white people…
As soon as we got to know each other, we built a friendship straight away. We had a lot of fun playing with the kids. I felt good with them. We don’t need to understand each other with words to become friends…
In life there is great happiness and many misfortunes. And some things are just normal. When we lived in Namibia, it was especially normal. We only had the usual worries, and sometimes great happiness, but never huge misfortunes. Over there our life was really great.
When I came back to France, I did try to speak to sparrows, dogs, pigeons, cats, cows and horses. But it doesn’t work. I don’t know why. I think because my real country is Africa, not France…  One night, something extraordinary happened to me. Incredible. Something that I had never seen before in my life: I saw I shooting star! I was busy talking to God – my hands were not gathered as in a prayer, I was just talking. I asked Him if I was the only little girl in the world living with animals, but if there were others, I would not be jealous. I asked him to welcome me when I come to Heaven. I also told Him that I loved Him a lot and that I thought of Him…
And He sent me a shooting star! | | Thursday, April 24th, 2008 | | 1:08 pm |
| | 11:57 am |
| | Monday, September 10th, 2007 | | 11:47 am |
 | You scored as Postmodernist, Postmodernism is the belief in complete open interpretation. You see the universe as a collection of information with varying ways of putting it together. There is no absolute truth for you; even the most hardened facts are open to interpretation. Meaning relies on context and even the language you use to describe things should be subject to analysis.
Postmodernist | | 69% | Idealist | | 63% | Cultural Creative | | 56% | Fundamentalist | | 31% | Modernist | | 19% | Existentialist | | 19% | Romanticist | | 19% | Materialist | | 19% | </td>
What is Your World View?
created with QuizFarm.com |
| | Tuesday, September 4th, 2007 | | 11:28 am |
 | arte-miss took the free ColorQuiz.com personality test! "Needs release from stress. Longs for peace, tranqu..."
Click here to read the rest of the results.
|
| | Sunday, August 26th, 2007 | | 2:22 pm |
 | You scored as Remus Lupin, You are a wise and caring wizard and a good, loyal friend to boot. However sometimes in an effort to be liked by others you can let things slide by, which ordinarily you would protest about.
Remus Lupin | | 90% | Harry Potter | | 85% | Ginny Weasley | | 80% | Sirius Black | | 70% | Albus Dumbledore | | 70% | Ron Weasley | | 70% | Hermione Granger | | 60% | Severus Snape | | 60% | Lord Voldemort | | 50% | Draco Malfoy | | 40% | </td>
Your Harry Potter Alter Ego Is...?
created with QuizFarm.com |
| | 2:09 pm |
| You're Confident...Sometimes | 
You can seem confident when the occasion calls for it
But inside you may be experiencing a bit of self doubt
A little more inner confidence could take you far...
And convince others that you're as confident as you try to seem |
| | 1:58 pm |
| You Are Teal Green | 
You are a one of a kind, original person. There's no one even close to being like you.
Expressive and creative, you have a knack for making the impossible possible.
While you are a bit offbeat, you don't scare people away with your quirks.
Your warm personality nicely counteracts and strange habits you may have. |
| | Wednesday, July 4th, 2007 | | 5:16 pm |
 
http://rapidshare.com/files/41114723/Mes_plus_belles_chansons_grecques_-_Nana_Mouskouri.rar
http://rapidshare.com/files/41118060/Noel_-_Nana_Mouskouri.rar
http://rapidshare.com/files/41124231/Nana_Mouschouri_sings_Manos_Hadjidakis.rar
 From Wikipedia, the free encyclopedia NANA MOUSKOURI (born Ioanna Mouskouri on October 13, 1934, at 5 AM, in Chania, Crete, Greece) is a singer of Greek origin who over four decades has forged a highly successful international career . She was known as Nana to her friends and family as a child. She recorded many of her songs in many different languages, including Greek, French, English, Spanish, Italian, German, Latin, and Portuguese among others. She is noted for her trademark squarish black-rimmed eyeglasses and straight black hair parted in the middle, and her songs of melancholy, longing, and sentimental musings upon love, for which the emotion of her voice is exceptionally suited. Mouskouri has recorded from the 1960s into the new millennium. She has tailored releases to specific international markets with tremendous success. THE EARLY YEARS Mouskouri's family lived in Chania, Crete, where her father, Constantine, worked as a film projectionist in a local cinema. Her mother, Alice also worked in the same local cinema as an usherette. When Mouskouri was three, Constantine moved the family to Athens. Mouskouri's family worked extremely hard in order to send Nana and her elder sister, Jenny, to the prestigious Athens Conservatoire. Mouskouri had displayed exceptional musical talent from the age of 6. However her sister, Jenny, appeared to be the more gifted of the two. In fact Mouskouri had one vocal chord that was normal and one vocal cord that was thicker than the other (rather than the normal equal two vocal chords). This unusual condition accounts for both her hoarse spoken voice as well as the ringing quality of her sung registers. This includes not only her renowned soprano range timbre, but also her resonantly dark and expressive alto registers, which she has not been using during her international career. Mouskouri's childhood was stamped by the Nazi occupation of Greece. Her father became part of the Nazi resistance movement in Athens. Mouskouri began singing lessons at age 12. Despite the flaw in her vocal cords, Mouskouri took singing lessons regularly. During the Nazi German occupation, her family no longer had the financial means to pay for her singing lessons, but her teacher saw that she had a certain talent and continued to give her lessons free of charge. As a child, she listened to radio broadcasts of American jazz singers such as Frank Sinatra, Ella Fitzgerald, and Billie Holiday as well as French chanson stars like Édith Piaf.  Nana Mouskouri on the cover of the Greek magazine, Radio Programma, published in May 1957. This was her first appearance on a magazine cover. In 1950, she was accepted at the Conservatoire. She studied classical music with an emphasis on singing opera. The young Mouskouri committed herself into classical music studies with a passion, perfecting her vocals with extraordinary self-discipline as well as taking piano and harmony classes. After 8 years at the Conservatoire, Mouskouri was encouraged by her friends to experiment with jazz music. She soon began singing with her friends' jazz group at night and they even managed to get a radio slot. However, when Mouskouri's Conservatory professor found out about Mouskouri's involvement with a genre of music that he considered to be absolutely worthless, he flew into a fury and prevented her from sitting her end of year exams. Consequently, the Conservatoire expelled her. Mouskouri's dreams of becoming an opera singer were dashed. Mouskouri left the Conservatoire and began performing at the Zaki club in Athens. She began singing jazz in nightclubs with a bias on Ella Fitzgerald repertory. It was at the Zaki in 1958 that Mouskouri met the famous Greek composer Manos Hadjidakis. Hadjidakis was immensely impressed by Nana’s original voice and immediately offered to write songs for her. He became her mentor. In 1959 Mouskouri performed Hadjidakis' Kapou Iparchi Agapi Mou (co-written with poet Nikos Gatsos) at the inaugural Greek Song Festival. The song won first prize, and Mouskouri began to be noticed. At the 1960 Greek Song Festival, she performed two more Hadjidakis compositions, Timoria and Kiparissaki. Both these songs tied for first prize. Mouskouri soon ventured further and participated at the Mediterranean Song Festival, held in Barcelona where she performed Kostas Yannidis' composition Xypna Agapi Mou. The song won first prize. Her wins attracted interest from several international record companies. Mouskouri wound up signed a recording contract with the Paris-based Philips-Fontana axis. In 1961, Mouskouri performed the soundtrack of a German documentary about Greece. This resulted in the German-language single Weisse Rosen aus Athen ("White Roses from Athens"). The song was originally adapted from a folk melody by Hadjidakis. It became an enormous hit, selling over a million copies in Germany. The song was later translated into several different languages and it went on to become one of Mouskouri's signature tunes. Mouskouri married Yorgos Petsilas in 1961. Mouskouri and Petsilas have two children, son, Nicolas born on 13 February 1968 and daughter, Hélène, nicknamed Lenou, born on 6 July 1970. In 1974, Mouskouri and Petsilas separated and in 1975, Mouskouri and Petsilas were officially divorced. In 1962, she met renowned American song producer Quincy Jones. Jones got her to go to New York to record an album of American jazz titled, The Girl From Greece Sings. Following that she scored another hit in the United Kingdom with My Colouring Book. In 1963, she left Greece to live permanently in Paris, France. Mouskouri performed Luxembourg's entry in the Eurovision Song Contest that year, À Force de Prier. The song became an international hit, and helped win her the prestigious Grand Prix du Disque in France. Mouskouri soon attracted the attention of French composer Michel Legrand, who composed her two major French hits Les Parapluies de Cherbourg (1964) and L'Enfant au Tambour (1965). In 1965, she recorded her second English-language album that was released in the United States entitled, Nana Sings. Jamaican-American Calypso musician Harry Belafonte heard and liked the album. Belafonte brought Mouskouri on tour with him through 1966. They teamed for a live duo album entitled, An Evening With Belafonte/Mouskouri. During this tour, Belafonte told Mouskouri to remove her signature black-rimmed glasses when on stage. She was so unhappy with the request that she wanted to quit the show after only two days. Finally, Belafonte relented and respected her wishes to perform with her glasses. Mouskouri's 1967 French album Le Jour Où la Colombe ascended her to superstardom in France. This album featured many of her French songs, Au Coeur de Septembre, Adieu Angélina, Robe Bleue, Robe Blanche and the French pop classic Le Temps des Cerises. Her rendition of Guantanamera was very well received. Mouskouri made her first appearance at Paris' legendary Olympia concert theater in 1967, with a repertoire blending French pop, Greek folk, and Hadjidakis numbers. In 1968, Mouskouri turned her attention to the British market and hosted a variety show called Nana and Guests. In 1969, she released her first full-length British LP, Over and Over. It became a smash hit that spent almost two years on the U.K. charts. Mouskouri spent much of the 1970s on the road which helped to broaden her worldwide popularity to levels. In France, she released a series of top-selling albums that included Comme un Soleil, Une Voix Qui Vient du Coeur, Vielles Chansons de France, and Quand Tu Chantes. She also recorded a successful version of Habanera, from Bizet's opera Carmen. She continued to release highly received albums in Europe, including her 1975 album Sieben Schwarze Rosen which was a significant success in Germany, and her English-language album Book of Songs that sold millions of copies worldwide. THE MIDDLE YEARS
In 1979, Mouskouri had another English-language album named Roses and Sunshine. This album was very well received in Canada, and one of the album's tracks, "Even Now" (a different song from the 1978 Barry Manilow hit), became a staple on beautiful music radio stations in the United States. She scored a worldwide hit in 1981 with Je Chante Avec Toi, Liberté, which was translated into several languages after its widespread success in France. The momentum from this album also helped boost her following German album, Meine Lieder Sind Meine Liebe. In 1984, Mouskouri returned to Greece for her first live performance in her homeland since 1962. In 1986, Mouskouri recorded Only Love, the theme song to a BBC TV series that went on to top the U.K. charts. The song was also a hit with its French version, L'Amour en Héritage. That same year, Mouskouri made a play for the Spanish-language market with the hit single Con Todo el Alma. The song was a major success in Spain, Argentina and Chile. She released five albums in different languages in 1987, and the following year returned to her classical conservatory roots with the double LP The Classical Nana (aka Nana Classique), which featured some of her favorite opera excerpts. THE LATER YEARS
Mouskouri's 1991 English album, Only Love: The Best of Nana Mouskouri became her best-selling release in the United States. She spent much of the 1990s with her rigorous global touring schedule. Among her early 1990s albums were spiritual music, Gospel (1990), the Spanish-language Nuestras Canciones, the multilingual, Mediterranean-themed Côté Sud, Côté Coeur (1992), Dix Mille Ans Encore, Falling in Love Again: Great Songs From the Movies. Falling in Love reunited her with Harry Belafonte on two songs. She recorded several more albums over 1996-1997, including the Spanish Nana Latina (which featured duets with Julio Iglesias and Mercedes Sosa), the English-language Return to Love, and the French pop classics, Hommages. In 1997, she staged a high-profile Concert for Peace at the Cathedral of St. John the Divine in New York. This concert was later released as an album, and aired as a TV special on PBS in the U.S. Mouskouri was appointed a UNICEF Goodwill Ambassador in October 1993 [1]. She took over from the previous ambassador, American actress Audrey Hepburn. Mouskouri's first U.N. mission took her to Bosnia to draw attention to the plight of children affected by Bosnian war. She was deeply moved by her experience in Bosnia and went on to give a series of fund-raising concerts in Sweden and Belgium. She was elected a Member of the European Parliament from 1994 until 1999. In 1993, Nana recorded a new album, Hollywood. It was produced by Michel Legrand. Hollywood was a collection of famous film songs. It served was not only a tribute to the world of cinema, but also as a personal reference to childhood memories of sitting with her father in his projection room in Crete. Between December 11-14, 1997, Mouskouri gave four triumphant performances at the Olympia in Paris to celebrate the 40th anniversary of her singing career. Also in 1997, Mouskouri resigned from her position as a European MP. She explained that a fervent pacifist, she refused to back wars. Mouskouri currently lives in Switzerland with her second husband, André Chapelle whom she married on January 13, 2003. She still performs about 100 concerts each year. In 2004, her French record company released an unprecedented 34-CD box set of more than 600 of Mouskouri's mostly French songs. For 2005 and 2008, she plans a farewell concert tour of Europe, Australia, Asia, South America, the United States, and Canada. During an interview with The Australian newspaper, when asked why this would be her final concert series, Mouskouri said she wanted to retire on a high note. "I never thought that I would grow that old. It is better really to stop while you are standing well on your feet. I just want to be proud and in very good form and thank the audience for all this love," she said [2]. Mouskouri has sold more than 300 million(*) records internationally, recording about 1,500 songs in 15 languages on 450 albums. She has more than 300 gold and platinum albums worldwide.
MUSIC GENRE
Mouskouri's repertoire varies and garners her the support for the type of universal appeal she aims, i.e. from jazz, well-known pop tunes from before and after the rock era, French cabaret chansons, movie themes and songs, classical and operatic repertory, religious music, folk songs from her native Greece (and elsewhere) and more. EXTERNAL LINKS http://www.nanamouskouri.net/ Official website - website created by Nana Mouskouri for her own world farewell tour, 2004 - 2008. http://www.nana-mouskouri.net/ N.A.N.A International Nana Mouskouri Fan Club - Main international fan club in English and French with complete discography, forum, members area, biography, covers, press articles, galleries, videos... http://www.nanamouskouri.de/ Dieter Romberg's Nana Mouskouri Seiten - (in German) Discography, Biography, Press articles, Lyrics, Concerts schedule, etc. http://www.nanamouskouri.info/ Return to Love with Nana Mouskouri - Australian tribute site. Flash movie clips with music, photos, concert reviews (incl. 2004 - 2007 world farewell tour), articles, interviews, etc. http://www.nanamouskouri.qc.ca/ Site québécois de Nana Mouskouri – (in French, English, Spanish and German) Biography, Discography by language, Covers of magazines, TV Appearances in Quebec, Liste of the 1 600 Recordings, Caricatures, Forum & Links. http://www.unicef.org/people/people_nana_mouskouri.html UNICEF biography on Nana Mouskouri. http://www.lyrics2search.com/artist4797_0_0.html Nana Mouskouri Lyrics NANA MOUSKOURI (Nανά Μούσκουρη en grec), de son vrai nom Ioanna Mouskouri, est une chanteuse grecque à la carrière internationale, née le 13 octobre 1934 à La Canée (Crète). Bien qu'aucune information fiable ne puisse le certifier à ce jour, elle revendique le statut d'artiste féminine la plus vendue dans le monde. Le chiffre de 300 millions de disques doit donc être considéré avec précaution. BIOGRAPHIE
Nana MOUSKOURI
Ses lunettes sont, avec celles d'Elton John, les plus célèbres au monde. Avec lui, elle partage aussi quelques records de disques vendus. Mais Nana, la sage Héllène, n'a rien d'une pop star. Elle gère sa formidable carrière internationale avec la tranquillité d'un métronome. Sans doute a-t-elle beaucoup lu les philosophes... grecs Née le 13 octobre 1934, la jeune Ioana (Nana pour les familiers) révèle dès l'âge de six ans, des dons frappants pour la musique. Son père Constantin, projectionniste de cinéma et sa mère Alice, ouvreuse dans le même cinéma à la Canée en Crète, migrent rapidement vers Athènes. C'est dans la capitale grecque que Monsieur Mouskouri travaille dur pour offrir le conservatoire de musique à ses deux filles. C'est en fait Jenny, l'aînée qui semble la plus douée. Nana la plus jeune, ne peut compter que sur une seule corde vocale (deux d'habitude) mais cette anomalie donne une couleur particulière au timbre de sa voix. Adieu l'opéra
Se jetant à corps perdu dans le chant classique, la plus jeune des deux sœurs, sérieuse jusqu'à l'austérité, s'attaque aussi à la pratique du piano et à l'harmonie. Au bout de huit ans de conservatoire, elle se joint à un groupe d'amis passionnés de jazz pour chanter. Ils passent d'ailleurs à la radio. Son professeur de chant, opposé à ce genre de musique apprend la nouvelle et lui interdit de passer les examens de fin d'années du conservatoire. Son rêve d'entrer à l'opéra s'écroule d'un seul coup. Devant cette déception, elle décide de réagir. Elle chante dorénavant dans un club athénien, le Zaki. Durant cette période, elle rencontre le très grand compositeur grec, Manos Hadjidakis. Il n'a pas encore écrit la musique du film de Jules Dassin, "Jamais le dimanche", mais il est tout de même très connu. Il est ébloui par la voix de cette jeune femme qui cache ses yeux derrière des lunettes d'étudiante. Il lui écrit "la Procession" et "le Jeune cyprès" qu'elle présente en 1960, au festival de la chanson hellénique. Elle y remporte le premier prix devant de nombreux concurrents. Le mois d'après, c'est le même scénario au Festival de la chanson méditerranéenne à Barcelone. Elle se voit solliciter par de nombreuses maisons de disques européennes et américaines. On la réclame en Italie, en Allemagne ou en Scandinavie. C'est la France qui avec le concours de Louis Hazan, le patron de Phonogram, offre à Nana Mouskouri l'opportunité d'enregistrer sur disque pour la première fois. Le premier disque qu'elle fait en Allemagne "Weisse Rosen aus Athen" est un triomphe. Il se vend à plus d'un million d'exemplaires. Elle part ensuite enregistrer aux Etats Unis "The girl from Greece sings" avec le talentueux producteur Quincy Jones. Elle se rend aussi à Londres et enregistre une ballade américaine "My colouring book" qui fait d'elle une grande vedette dans ce pays. Son pays natal, la Grèce ne l'oublie pas : elle y devient aussi une star. Bonjour Paris
En 1963, elle enregistre à Paris un album intégralement en langue grecque. Elle décide de s'installer dans la capitale avec son mari et musicien, Georges Petsilas, qui l'accompagne depuis l'année 56. Elle reçoit sa première distinction française avec le Grand Prix de l'Académie du disque. Le célèbre compositeur Michel Legrand commence à travailler avec elle dès 65 et lui fait enregistrer "les Parapluies de Cherbourg", suivi en 65, de "l'Enfant au tambour". Cette même année, elle enregistre aussi aux Etats-Unis un nouvel album "Nana sings". En 1967, la firme Philips chez qui elle enregistre dorénavant, comptabilise déjà à travers le monde, en 45 tours et 33 tours, la somme de 8 millions de disques vendus ! Cette même année, elle effectue une grande tournée de plusieurs mois, aux Etats-Unis avec Harry Belafonte, célèbre crooner noir-américain. Ses disques se vendent bien dans ce pays. Les chansons qu'elle enregistre en français remportent un vif succès. L'album "le Jour où la colombe" en est un bon exemple probant. Il regroupe des chansons fétiches comme "Au cœur de septembre", "Adieu Angelina" ou "Robe bleue robe blanche". Il lui apporte un premier disque d'or en France. En octobre 67, elle se produit à l'Olympia en vedette. Elle y avait déjà chanté en première partie de Georges Brassens en 66. Cette fois-ci, elle présente des chansons du folklore grec, des chansons de Mikis Hadjidakis mais aussi des classiques de la chanson française comme "le Temps des cerises" . Elle apparaît dans une grande robe rouge ample : un heureux événement est attendu. Elle donne naissance à son fils Nicolas en février 68. Deux ans plus tard, c'est une petite fille nommée Hélène, qui vient agrandir la famille. "Over and over" est le premier disque qui sort en Grande Bretagne. Il est publié en 69 et reste classé plus de 102 semaines dans les charts britanniques. Lors d'un concert au Royal Albert Hall de Londres, elle peut mesurer son immense popularité : le concert est "sold out" en quelques heures et le reste de la tournée qu'elle entame en Angleterre est du même ordre. Coucou la Suisse
Installée maintenant à Genève en Suisse avec sa famille, Nana Mouskouri n'en reste pas moins la grande chanteuse internationale qui passe son temps en dehors de chez elle, de Rome à Hambourg en passant par le Japon ou les Etats-Unis. Rares sont les artistes aussi cosmopolites au talent reconnu par tous. On la dit petite sœur de Maria Callas à cause sans doute de sa formation classique. Sa voix est limpide et sa diction, parfaite. Par amour de son public, elle a appris plusieurs langues dont l'anglais, l'espagnol, l'italien, l'allemand et le portugais. Elle est à la scène comme à la ville, sereine et calme. Trop pour certains qui lui reprochent une image sage et lisse. En 75, elle a à son actif, 35 disques d'or à travers le monde et les promoteurs de spectacles sont à ses genoux. En 77, elle fait durant trois semaines l'Olympia de Paris après quatre années d'absence dans la capitale. C'est le même triomphe que partout dans le monde. Elle chante en grec et surtout en français, accompagnée par six musiciens grecs, sud-africains et français. Deux ans plus tard, au milieu d'une tournée internationale, elle donne vingt représentations au même endroit en octobre pour fêter ses vingt ans de carrière. Elle y reprend ses grands succès : "Angélina" ou "l'Enfant au tambour" et chante de nouvelles chansons issues d'un album sorti le même mois en France "Vivre au Soleil". Au début des années 80, "Je chante avec toi Liberté" adapté aussi en anglais, allemand, espagnol et portugais est le nouveau tube qui la propulse en tête des ventes dans plusieurs pays dont la France. Nana chez les Hellènes
Vedette qui court les cinq continents, elle enregistre et donne des récitals partout dans le monde. Ame errante pour certains, elle retrouve avec toujours autant de plaisir, la capitale française Paris, sa seconde patrie. Ainsi, elle fait escale au Palais des Congrès en janvier et février 1984. Le 23 juillet de la même année, elle retourne chanter en Grèce, pour la première fois depuis 22 ans. Au pied de l'Acropole à Athènes, elle donne deux récitals. Sa sœur Jenny et son père sont venus l'applaudir. Seule manque sa mère disparue en 76. Le public anonyme, lui aussi est là. Reconnaissant en Nana Mouskouri une grande chanteuse populaire, il n'oublie pas qu'elle est aussi une représentante de la culture grecque à l'étranger. C'est un triomphe, rempli d'émotion. En 1988, renouant avec ses premières amours, elle enregistre et publie un double album consacré au répertoire classique : l'air de la "Norma", l'"Adagio" d'Albinoni ou la "Sarabande" d'Haendel constituent comme le dirait la chanteuse elle-même un "arrêt sur sa jeunesse". Pourtant, elle ne tente pas la comparaison avec la Callas ou Jessye Norman. Elle n'est pas encore prête pour une carrière de cantatrice. Un an plus tard, en octobre, elle donne un concert au Zénith à Paris avec l'Orchestre Colonne et plus de quarante choristes, soit près de cent personnes sur scène. Après le répertoire classique, Nana Mouskouri s'intéresse au Gospel, musique religieuse noire américaine. Elle sort en 90 un album intitulé "Couleur Gospel" tout en anglais. L'année d'après, elle part en tournée en Allemagne, pays de son premier succès, dans les pays d'Europe de l'Est et aux Etats-Unis. En 93, un nouvel album, concocté par le célèbre Michel Legrand, pianiste et compositeur, regroupe plusieurs chansons de films. "Hollywood" évoque pour Nana Mouskouri, la magie du cinéma mais aussi son enfance auprès de son père, dans la salle de projection. Députée
Entre tournées internationales et enregistrements de disques, cette infatigable voyageuse, qui prend l'avion comme d'autres prendraient le métro, est nommée ambassadrice de l'Unicef en décembre 93. Elle succède ainsi à Audrey Hepburn et sa première mission l'amène en Bosnie. Puis elle donne des concerts de charité en Suède ou en Belgique pour venir en aide aux enfants qui vivent dans la misère et qui côtoient la guerre. Son engagement dans la vie publique ne s'arrête pas là : elle est élue en juin 94, député au parlement européen sous la bannière du parti grec de la Nouvelle Démocratie (Droite). Elle se préoccupe de la politique culturelle ainsi que des problèmes du Tiers-monde. La tâche est importante mais elle est dit-on, assidue et sérieuse. Cela ne l'empêche pas pour autant, de sortir en novembre 94 un nouveau disque "Dix mille ans encore". Des gens très différents ont contribué à cet album : Graeme Allwright, Michel Fugain ou Roch Voisine. En octobre 95, elle donne à Paris, salle Pleyel une série de six récitals avec l'ensemble de son répertoire. Son désir de répondre aux demandes venant de tous les coins de la planète lui inflige finalement un rythme infernal : pendant l'année 97, elle sort trois albums, un aux Etats-Unis "Return to love", un en Amérique Latine, "Nana Latina" et enfin un en France, "Hommages". Ce dernier reprend des chansons célèbres du répertoire français comme "Ne me quitte pas" de Jacques Brel ou "Un jour tu verras" de Mouloudji avec qui elle était amie, mais aussi "Caruso" de Lucio Dalla. Cet hommage lui permet de renouer avec les grands interprètes du passé que durant quarante ans de carrière, elle a eu l'occasion de côtoyer. Ses récitals à l'Olympia du 11 au 14 décembre sont là pour fêter cet anniversaire qui semble lui tenir à cœur. Pour la paix
En mai 98, Nana Mouskouri se rend en Bosnie sous l'étiquette de membre du parlement européen afin de financer la construction d'une école. Mais c'est la chanteuse qui en a récolté les fonds lors d'un concert donné en Allemagne le 1er mars. A la fin de l'été, Nana Mouskouri rentre à la septième place du classement des meilleures ventes de world music (!) aux Etats-Unis selon le prestigieux magazine Billboard. Elle y figure pour l'album "Concert for peace" enregistré le 25 octobre 97 en l'église Saint John the Divine à New York. Foncièrement pacifiste, Nana Mouskouri ne veut pas cautionner les guerres et c'est la raison pour laquelle elle laisse son mandat de député européen. Elle poursuit dons ses activités artistiques, de concerts en productions discographiques. Fin 99, sort en France puis dans le monde entier, un opus intitulé sobrement "Classic" sur lequel elle reprend des standards du genre. Elle entreprend alors début 2000 une tournée en Allemagne où elle est très populaire, puis en France avec les Chœurs de France. C'est ensuite l'Europe du Nord qui l'accueille à l'automne avec une petite incursion en Grande Bretagne, le 6 novembre 1999, au Royal festival Hall de Londres. Autour du monde
L'année 2001 est consacrée à une vaste tournée internationale : Asie, Australie, Etats-Unis puis Europe. Rare en France, Nana Mouskouri est toujours très présente dans des pays comme l'Allemagne dont la télévision lui consacre par exemple trois émissions spéciales en un an. Des disques continuent de sortir et de se vendre par millions : plus d'une dizaine en 2000 (Canada, Japon, Danemark,...), huit en 2001 (Taïwan, Venezuela, Grèce, Etats-Unis,...) et déjà dix environ en 2002 dont un nouvel album original en France, "Fille du soleil" avec des titres écrits par Charles Aznavour, Jean-Claude Brialy, Pierre Delanoë ou Jean-Loup Dabadie. Eté 2002 : 40 ans après l'enregistrement de son album jazz mythique 'Nana Mouskouri in New York' produit par Quincy Jones, Nana Mouskouri crée l'évènement au Jazzopen Festival de Stuttgart. Une éblouissante interprétation de standards de jazz... Elle effectue un retour très attendu par son public français sur la scène parisienne de l'Olympia les 11, 12 et 13 octobre 2002. "Après la Grèce, la France est mon deuxième chez moi" confie t'elle à l'Agence France Presse lors de ces concerts. Après la France, la chanteuse poursuivra sa tournée à travers l'Europe et l'Australie. L’intégrale
Après la tournée en Grande Bretagne, en Irlande et en Allemagne, la chanteuse commence l’année 2003 en se mariant à son compagnon de trente ans, André Chapelle. Puis elle repart chanter en Scandinavie, au Canada etc. Le 15 avril, Nana Mouskouri reçoit en Grèce un prix aux Arion Music Awards pour sa carrière internationale. Le 27 octobre marque ses dix ans d’engagement auprès de l’UNICEF comme ambassadrice bénévole. En 2004 sort en France un coffret monumental à la mesure de sa longue carrière polyglotte: Nana Mouskouri Collection regroupe, en trente-quatre CDs, les albums parus en France depuis 1961, augmentés de deux cent trente titres enregistrés en public ou dans une demi-douzaine d'autres langues - 673 chansons au total, soit la moitié seulement de ses enregistrements! Un livret de 132 pages rédigé par la chanteuse elle-même raconte sa vie et sa carrière. Remariée avec le producteur André Chapelle, lequel a produit tous ses disques depuis les années 1960, elle vit aujourd'hui en Suisse. Sa notoriété a conduit l'UNICEF à lui confier une mission d'ambassadrice en 1993, tandis que la parti grec de centre-droit Nouvelle démocratie, la plaçait en position éligible sur sa liste pour les élections européennes en 1994, à la suite desquelles elle a siégé au Parlement européen de 1994 à 1999. En 2004, un coffret intégral de son travail en français a été édité par Universal Music Group, incluant un livret de plus de 120 pages écrit et illustré par Nana. En 2005, Nana Mouskouri a entrepris une tournée d'adieux internationale, allant de l'Europe rope à l'Australie. Elle est promue au grade d'officier de la légion d'honneur le vendredi 14 juillet 2006 Sa maison de disques en France (Mercury/Universal) a sorti, en mai 2004, Nana Mouskouri Collection, coffret de 34 disques regroupant 675 chansons – en français et dans d'autres langues – sorties en France depuis 1961, et contenant divers inédits. LIENS EXTERNES
http://www.nanamouskouri.net/ Page personelle de Nana Mouskouri http://www.nana-mouskouri.net/ Site bilingue français et anglais, comportant une discographie exhaustive, un forum interactif, un blog, un espace réservé aux membres, de la documentation autour de Nana http://www.nanamouskouri.de/ (de) Dieter Romberg's Nana Mouskouri Seiten, Site d'un admirateur http://www.rfimusique.com/siteFr/biographie/biographie_8847.asp http://www.nanamouskouri.qc.ca/ (en) (fr) (es) (de) Site quadrilingue, comportant biographie, discographie par langue, couvertures de magazines, passages télés au Québec, liste des 1 600 enregistrements, caricatures et forum. | | Sunday, July 1st, 2007 | | 7:23 pm |
| | Sunday, June 24th, 2007 | | 7:08 pm |
  http://rapidshare.com/files/39090960/Eleftheria_Arvanitaki_-_The_very_best_of_1989-1998.rar The texts are here http://rapidshare.com/files/39102268/Arvanitani_best_89-98_texts.rar   There is no doubt about it, the hot name internationally on the Greek music scene is Eleftheria Arvanitaki. Her voice has a clarity and emotional depth that registers whether or not you understand the words, and the music she sings has a lyricism and instrumental sophistication that sets it apart. Her performances at WOMAD festivals in 1998 marked a transition from performing to Greek communities round the world to a new audience of World Music fans. They weren't disappointed" (Simon Broughton, Editor of World Music Rough Guide, 1999) Eleftheria started her career in the early 80s as the singer of a popular group of rembetika revivalists, named Opisthodromiki Kompania. Rembetika is a music idiom that developed in Greece among the underclasses in the early part of the 20th century and was particularely indebted to the Greek refugees from Asia Minor. In 1985, Eleftheria Arvanitaki began her solo career, which quickly established her as one of the most promising female voices for the years to come.. Eleftheria's vocal qualities and her ability to combine the traditional and contemporary music of Greece have inspired some of the most distinguished composers, lyricists, and poets of the day to write songs for her. Songs that are now considered 'classics' in Greek music. All her albums have gone platinum. More about http://www.arvanitaki.gr/ Eleftheria Arvanitaki est une enfant du Pirée (où elle est née et où elle a grandi). Belle, sensuelle, dotée d'une voix sublime, elle est non seulement une chanteuse de premier plan en Grèce mais également une référence internationale. Et ce n'est que justice car Eleftheria a un charisme étonnant. Autant de talent, c'en est presque écœurant... Peu d'artistes grecs ont réussi à acquérir une stature internationale; Eleftheria Arvanitaki compte depuis peu parmi eux. Belle, sensuelle, elle suscite chez l'auditeur toute une palette d'impressions et d'émotions qui dépassent largement la langue hellénique. Du tragique rembetika (ce style populaire né dans les cafés de Thessalonique au début du siècle) à des chansons plus proches du pop-rock, elle a su bâtir un univers où la tradition trouve sa place dans une interprétation moderne. Et quelle interprétation ! Entre sa voix qui sait vous remuer jusqu'aux tréfonds de l'âme et sa présence scénique, la belle Eleftheria a su conquérir le cœur du public. Pas étonnant que ses concerts affichent complet ! Née au Pirée (port d'Athènes pour ceux qui ignorent la géographie), Eleftheria commence sa carrière au début des années 80. Elle se joint à un groupe d'étudiants et de musiciens amateurs, l'Opisthodromiki Kompania, qui tente de sortir de l'ombre les répertoires rembetika et smymeika, deux styles musicaux nés en Asie mineure dans les années 20. Chansons des exclus, du petit peuple émigré en Grèce du Nord, qui se jouaient dans les cafés de Thessalonique, ce patrimoine musical a longtemps été méprisé avant que toute une génération commence à le redécouvrir. En ce début des années 80 souffle sur la Grèce un vent nouveau : le régime des colonels s'est effondré, les socialistes sont au pouvoir, le pays entre dans la CEE... C'est dans ce contexte de liberté que la jeune chanteuse entame sa carrière. Avec l'Opisthodromiki Kompania, elle chante trois albums avant de décider de voler de ses propres ailes. Nous sommes en 1984 et Eleftheria compte déjà parmi les espoirs de la chanson grecque. Elle décide de poursuivre l'exploration des racines musicales grecques en y mêlant quelque chose de plus personnel et de plus contemporain. Elle fait ainsi appel à des poètes grecs contemporains tels que Yannis Ioannou ou Michalis Ganas et des compositeurs en vogue tels que Dionissis Savopulos, Nikos Xidadis ou Dimitris Papadimitriou qui lui façonnent des chansons faites sur mesure. Après la sortie de son premier album, elle rencontre le talentueux songwriter Stamatis Spanoudakis avec qui elle enregistre "Kontrabendo". Ce deuxième disque, qui allie les musiques traditionnelles à des sons plus contemporains, est considéré en Grèce comme l'un des albums les plus innovants des années 80. Dès lors, Eleftheria continue à tracer sa voie, rencontrant un succès de plus en plus important. Elle crée un univers où les musiciens traditionnels (ils sont une dizaine sur scène à l'accompagner) combinent influences des Balkans et de l'Ouest. En 1991, le disque "Meno Ektos" marque le passage à une étape supérieure avec -notamment- la collaboration de l'américano-arménien Ara Dinkjian, compositeur et joueur de oud. L'album rencontre un immense succès commercial qui est couronné par un disque de platine.Parmi les succès discographiques qui émaillent ensuite le parcours d'Eleftheria, on remarque "I Nichta Kateveni", un live qui restitue magnifiquement la série de concerts donnés à l'Apollo Concert Hall d'Athènes, la bande originale d'Anastasia (une série télévisée populaire dans laquelle Eleftheria interprète les trois chansons principales) et, surtout, "Ta Kormia kai ta Maheria", somptueux, dont la chanson éponyme sera reprise dans le disque Real World "Gifted" qui réunit des chanteuses de différents pays (dont la tibétaine Yungchen Lhamo). Aujourd'hui, Eleftheria Arvanitaki semble ne plus rien avoir à prouver dans son pays d'origine où elle a un public nombreux et fidèle. Son talent s'exporte bien a priori, et ceci sans avoir à rogner sur son identité pour mieux s'adapter aux prétendues contingences du Grand Marché International. Mais Eleftheria n'est que la face visible d'une scène foisonnante et dynamique. Avec elle, la chanson grecque a trouvé une belle ambassadrice au sourire lumineux et dont le prénom aux consonances dures et douces à la fois évoque sa signification : Liberté. C'est à dire en grec, Eleftheria.... Magali Bergès Son site personnel http://www.arvanitaki.gr/ | | Wednesday, June 20th, 2007 | | 10:10 am |
 Nikos Xydakis is one of Greece's most important composers of the last twenty five years.
His first album, "The Revenge of the Gypsies" in 1978 was a ground-breaking experiment with Rebetika forms that heralded the arrival of a new musical idiom in Greece. Working with lyricist Manolis Rasoulis and later Thodoris Gkonis, Xydakis reintroduced neglected instruments to Greek music and opened new melodic roads that often evoke a medieval aura, laced with romantic references to religion, history, legends, and fairy tales.
He has published more than 15 albums and has worked with singers Eleftheria Arvanitaki, Melina Kana, Dora Masklavanou, and Nikos Papazoglou among others.
In October 2006 , the album “Grigora I ora perase” (i.e. “The time passed quickly”) was released (in Greece only). Eleftheria Arvanitaki performs the songs that the composer wrote based on poetry mainly by Sappho. The album got golden 4 weeks after its release. It’s a work of magic.
  http://rapidshare.com/files/38129571/Grigora_i_ora_perase.rar Contents
1. GRIGORA PERASE I ORA [ORHISTRIKO XYDAKIS] 2. ATHANATI AFRODITI [ARVANITAKI XYDAKIS SAPFO ELYTIS] 3. THEOS MOU FAINETAI [ARVANITAKI XYDAKIS SAPFO ELYTIS] 4. O ADONIS [XYDAKIS SAPFO ELYTIS] 5. POLLES FORES [ARVANITAKI XYDAKIS SAPFO ELYTIS] 6. OS'ASTRA GYRO VRISKONTAI [ARVANITAKI XYDAKIS SAPFO ELYTIS] 7. NA'HA PETHANEI [ARVANITAKI XYDAKIS SAPFO ELYTIS] 8. PYRETOS KRYFOS [ARVANITAKI XYDAKIS SAPFO ELYTIS] 9. TI THELO TI [ARVANITAKI XYDAKIS SAPFO ELYTIS] 10. GRIGORA I ORA PERASE [ARVANITAKI XYDAKIS SAPFO ELYTIS] 11. AFRODITI [ARVANITAKI XYDAKIS K.H.MYRIS] 12. ILISOS [ARVANITAKI XYDAKIS KAPSALIS] 13. IRIDANOS [ARVANITAKI XYDAKIS KAPSALIS] 14. EINAI POLY NORIS [ARVANITAKI XYDAKIS KAPSALIS] 15. TO TELEYTAIO TAXIDI [ARVANITAKI XYDAKIS KARYOTAKIS] The texts are here http://rapidshare.com/files/38275023/Perase_i_ora_texts.rar | | Thursday, May 31st, 2007 | | 7:04 pm |
  CD 1 http://rapidshare.com/files/34469036/Manos_Hadjidakis_at_the_Roman_Agora_CD_1.rar CD 2 http://rapidshare.com/files/34474752/Manos_Hadjidakis_at_the_Roman_Agora_CD_2.rar The texts are here http://rapidshare.com/files/34621097/Manos_Hadjidakis_at_Roman_Agora_Texts.rar  http://rapidshare.com/files/40421819/The_best_collection_of_Manos_Hajidakis.rar   ( October 23, 1925–June 15, 1994) was one of the greatest Greek music composers.He was born in Xanthi, Greece. In 1961 he received an Academy Award in the category of Best Music, for his Song Never on Sunday from the film of the same name. He is widely popular among Greeks and can be credited with the introduction of bouzouki music into mainstream culture. His very first work was the tune for the song Paper Moon (Hartino to Fengaraki), from Tennessee Williams' A Streetcar Named Desire staged by Karolos Koun's Art Theatre of Athens, a collaboration which continued for 15 years. His first piano piece, "For a Small White Seashell" (Gia Mia Mikri Lefki Ahivada) came out in 1947 and in 1948 he shook the musical establishment by delivering his legendary lecture on rembetika, the urban folk songs that flourished in Greek cities, mainly Piraeus, after the Asia Minor refugee influx in 1922 and until then had heavy underworld and cannabis use connections and were consequently looked down upon. Hadjidakis focused on the economy of expression, the deep traditional roots and the genuineness of emotion displayed in rembetika, and exalted the likes of composers like Markos Vamvakaris and Vassilis Tsitsanis. Putting theory to practice, he adapted classical rembetika on his 1951 piano work Six Folklore Paintings (Exi Laikes Zografies), which was later also presented as a folk ballet. At this point he started pursuing a double-track career of sorts, writing immensely popular "pop" songs and movie soundtracks, alongside more serious works, such as 1954's The C.N.S. Cycle (O Kyklos tou C.N.S.), a song cycle for piano and voice recalling the German lied in its form, if not in style. In 1955 he wrote the score for Michael Cacoyannis' film Stella, with actress Melina Mercouri, a close friend of his, singing the movie's trademark song "Love that became a double-edged sword" (Agapi pou 'gines dikopo mahairi). Hadjidakis always maintained that he wrote his serious pieces for himself and his less serious ones to make a living: nevertheless his melodic talent was so abundant that one can hardly distinguish a quality gradient between the two. In 1959, Hadjidakis met Nana Mouskouri, his first "ideal interpreter", a shy but superbly skilled vocalist who shaped the sounds of his music with her uniquely beautiful voice. It was 1960 that brought him international success, as his score for Jules Dassin's film Never on Sunday (Pote tin Kyriaki) won him an Academy Award, with The Lads from Piraeus (Ta Paidia tou Peiraia) becoming a huge worldwide hit. In 1962, he produced the musical 'Dream Street (Odos Oneiron) and completed his score for Aristophanes' Birds (Ornithes), another Art Theater production which caused an uproar because of Karolos Koun's revolutionary direction. The score was also used later by Maurice Béjart's 20th Century Ballets. He also wrote the music for a song which Arthur Altman added English lyrics to and gave to Brenda Lee. The song was "All Alone Am I". In 1965, his LP "Το Χαμόγελο της Τζιοκόντας" (Gioconda's Smile) was released on Minos-EMI. In 2004, it was re-released, digitally remastered as an audiophile LP and a CD in the EMI Classics collection. In 1966 he travelled to New York for the premiere of Ilya Darling, a Broadway musical based on "Never on Sunday" and starring Melina Merkouri. He did not return to Greece until 1972, mostly because of opposition to Greece's military dictatorship. While in America he completed several more major compositions, including Rhythmology (Rythmologia) for solo piano, his famous orchestral compilation Gioconda's Smile (produced by none other than Quincy Jones), and the pinnacle of his musical achievement, the song cycle Magnus Eroticus (Megalos Erotikos), in which he used ancient (Sappho, Euripides), medieval (stanzas from folk songs and George Hortatzis' romance Erophile) and modern (Dionysios Solomos, Constantine Cavafy, Odysseus Elytis, Nikos Gkatsos, Myrtiotissa, George Sarantaris) Greek poems, as well as an excerpt from the Old Testament book "Wisdom of Solomon". His LP "Reflections" with the New York Rock & Roll Ensemble contained several of his most beautiful songs, either in orchestral form or with English lyrics written by the band - a record that preceded fusion trends by several decades. Hadjidakis returned to Greece in 1972 and recorded "Magnus Eroticus" with singer Fleury Dantonaki, an opera-trained dark-toned alto who proved the consummate interpreter of his music, and singer Dimitri Psarianos. Following the junta's overthrow, he became active in public life and assumed a number of positions in the Athens State Orchestra (KOA), National Opera (ELS), and the National Radio (ERT). In 1985 he launched his own record company "Seirios" (Sirius). In 1989 he founded and directed the Orchestra of Colours (Orhistra ton Chromaton), a small symphonic orchestra. He was to assume the role of score composer for his friend Federico Fellini's films, following Nino Rota's death, but the collaboration never materialized because of Hadjidakis' mounting health problems. He died on June 15, 1994, of heart disease and diabetes. AUTOBIOGRAPHICAL NOTE I was born on 23rd October, 1925, in Xanthi, that quaint old town and not the eyesore that was later developed by migrants from rural areas. The blending, in those days, of a belle époque decorative style with Ottoman minarets gave colour and substance to a community hailing from all corners of the land, and which, incidentally, found itself living in an outlying region, dancing the Charleston in public squares.
When I first saw the light of day, I was amazed to notice the number of people that awaited my arrival. (Even later on I never ceased to be amazed, as if they were waiting for me to make a late appearance.) My mother was from Adrianople, the daughter or Konstantinos Arvanitidis, and my father from Myrthio, the prefecture of Rethymnon, Crete. I am the offspring of two people who, as far as I know, never cooperated except when they decided to produce me. That is why I have in me thousands of conflicting elements and every kind of mixed blessing. However, my bourgeois conscience, along with my "European tutelage," so to speak, yielded an impressive result.
Throughout the time we lived in Xanthi, I tried to get to know my parents really well and to do away with my sister! I failed in both instances. In 1932 we moved to Athens, where I could never get over my failure. In the capital I began living and studying, while, at the same time, I became initiated into the erotic and poetic functions of the times. But I received an "Attic education,” when there was still an “Attica” and "Education" in the country. I was deeply influenced by Erotokritos, General Makriyannis, the Fix Brewery, Haralambos, the waiter at Vyzantion, the damp climate of Thessaloniki, and chance encounters with strange people who remained strangers in after years.
During the period of German occupation, I decided that music lessons were useless, for they had a way of diverting me from my initial objectives, which were to communicate, to convey, and to disappear. That is why I stopped them right after the war. Thus, I never attended a conservatory, and was saved from becoming like those members of the Panhellenic Musical Society. I wrote poems and many songs, and I made every effort to carry my point democratically, something that proved highly beneficial to me when later on I became an official. I avoided at all costs whatever hurt my feeling of love and sensibility. I travelled extensively, and this helped me realize that stupidity is not a Greek exclusivity, as local chauvinists and votaries of nationalism proudly claim and go out of their way to prove.
In parallel, I found it absolutely essential that people who interested me should speak Greek, because communication in a foreign language proved onerous and tended to negate half of my personality. In 1966 I found myself in America. I lived there for about six years (the years of dictatorship in Greece), purely for tax reasons. It was discovered that I owed the Inland Revenue something like Drs.3.5 million. Having settled my debt, I returned in 1972, and opened a café-theatre, which I named Polytropon. It functioned until the political changeover in 1974, which marked the advent of football mania and the political defusion of the masses. I kept my cool, and refrained from partaking in national and anti-dictatorial dances in gymnasiums and football grounds packed with youths. When I shut up shop, my liabilities were in the region of Drs.3.5 million - a fatal number as far as I was concerned.
In 1975 began for me a period in the limelight, which, for the purpose of distinguishing it, I shall call “clerical,” and which made me famous among a large and ignorant public - Greek, of course - as an implacable enemy of Greek music, Greek musicians, as well as Greek culture. During this time, and after an abortive heart attack, I strove once again, albeit unsuccessfully, to implement my costly café-theatre ideas on Greek Radio and through the Ministry of Culture by democratic means. Both these organizations, rotten to the core, made a successful stand against me - beat me hollow, as they say. Be that as it may, this period marked the nascence and commanding presence of the Third Programme. The résumé of my life to date is as follows: I shun at fame. It restricts me within its confines and not mine.
I believe in the song that reveals us and express us deeply, and not the one that humours our naive and forcibly acquired habits. I feel contempt for those whose object is not to receive their ideas and intellectual pursuits; complacent contemporaries; dark and shady journalism; and every form of vulgarity. Thus, I managed to put the finishing touches to my personality, one traumatized in childhood, ending up by selling "lottery tickets in the sky" and inviting the respect of younger people, since I have remained a genuine Greek and a Magnus Eroticus. Manos Hadjidakis November 1980 - March 1981 Manos Hadjidakis (Μάνος Χατζιδάκις) (1925-1994) est né à Xanthi, dans le nord-est de la Grèce. En 1961 il reçut l'Oscar (Academy Award) de la meilleure chanson, pour sa chanson du film Jamais le dimanche de Jules Dassin. Il est, à l'égal de Mikis Theodorakis, extrêmement populaire en Grèce, et on lui doit l'introduction de la musique de bouzouki dans la culture classique. Ses premières œuvres furent des musiques pour des mises en scène de Karolos Koun au théâtre des arts d'Athènes. Cette collaboration dura 15 ans. Sa première composition pour le piano, "Pour un petit coquillage blanc" (Gia Mia Mikri Lefki Ahivada) fut publiée en 1947. En 1948, il donna une conférence restée célèbre et qui secoua le monde musical officiel grec, sur le Rebetika. Ce style de chanson populaire florissait dans des villes grecques, surtout au Pirée, autour des réfugiés venus d'Asie Mineure en 1922. Avant cette conférence, il était considéré comme une musique des bas-fonds et méprisé, ses musiciens étant en outre perçus comme consommateurs de cannabis. Hadjidakis mit l'accent sur la simplicité de l'expression, le profond ancrage dans la tradition et la sincérité de l'émotion dans le Rebetika, et loua des compositeurs comme Markos Vamvakaris et Vassilis Tsitsanis. Joignant la théorie et la pratique, il adapta des classiques du Rebetika dans son œuvre pour Piano "Six tableaux folkloriques" (Exi Laikes Zografies), qui fut par la suite monté comme ballet populaire. À partir de cette période, il poursuivit une double carrière, composant des chansons populaires et des musiques de film, aussi bien que des œuvres plus sérieuses, comme "Le cycle du C.N.S." (O Kyklos tou C.N.S.) en 1954, un ensemble de de pièces pour voix et piano, rappelant le lied dans leur forme, sinon dans leur style. En 1955, il composa la musique du film "Stella" de Michael Cacoyannis, dont l'actrice Melina Mercouri, une amie proche, interpréta la chanson "L'amour qui est devenu une arme à double tranchant" (Agapi pou 'gines dikopo mahairi). Hadjidakis déclarait écrire ses œuvres sérieuses pour lui-même et les autres comme gagne-pain : cependant son talent mélodique est manifeste dans les deux genres. Hadjidakis rencontra Nana Mouskouri en 1959 et la déclara être son « interprète idéale ». Il connut le succès international en 1960, sa musique pour le film de Jules Dassin Jamais le dimanche (Pote tin Kyriaki) obtenant un oscar et la chanson Les Enfants du Pirée (Ta Paidia tou Peiraia) devenant un succès mondial. En 1962, il produisit la comédie musicale "Rue des rêves" (Odos Oneiron) et termina sa partition pour "Les oiseaux" d'Aristophane (Ornithes), une autre production du Théâtre des Arts, qui causa un scandale à cause de la mise en scène révolutionnaire de Karolos Koun. Cette partition fut aussi utilisée plus tard par Maurice Béjart pour son Ballet du XXe siècle. En 1965, son disque "Το Χαμόγελο της Τζιοκόντας" (le Sourire de la Joconde) parut chez Minos-EMI. Il fut republié en 2004, dans la collection EMI Classics. En 1966, il partit pour New York pour la première de Ilya Darling, une comédie musicale jouée à Broadway, basée sur "Never on Sunday" avec Melina Merkouri. Il ne reviendra en Grèce qu'en 1972, surtout à cause de son opposition à la dictature militaire. Parmi ses principales compositions de cette période, on peut citer Rhythmologie (Rythmologia) pour piano solo, sa fameuse compilation orchestrale Le Sourire de la Joconde (produit par nul autre que Quincy Jones), et le sommet de son art musical, le cycle de chansons Magnus Eroticus (Megalos Erotikos), pour lequel il utilisa des poèmes grecs anciens (Sappho, Euripide), médiévaux (des strophes de chants populaires et la romance Erophile de George Hortatzis) et modernes (Dionysios Solomos, Constantin Cavafy, Odysseus Elytis, Nikos Gkatsos, Myrtiotissa, George Sarantaris) ansi qu'un extrait du livre "la Sagesse de Salomon" de l'ancien testament. Son disque "Reflections" avec le New York Rock & Roll Ensemble contenait plusieurs de ses chansons les plus magnifiques, sous forme orchestrale ou avec des paroles composées par le groupe, et précéda la tendance Fusion de plusieurs décennies. Revenu en Grèce, Hadjidakis enregistra "Magnus Eroticus" avec Fleury Dantonakis, alto venue du monde de l'opéra qui fut sa meilleure interprète, et Dimitri Psarianos. Après la chute de la dictature, il eut un rôle actif dans la vie publique et occupa des postes à l'orchestre de l'état d'Athènes (KOA), à l'opéra national (ELS), et à la radio nationale (Elliniki Radiophonia Tileorassi : ERT). En 1976, il fit enregistrer "Ta paraloga" Op. 32 (τα παραλογα)(Les absurdités) sur un texte de Nikos Gkatsos, interprété par Maria Farandouri, Mikis Theodorakis, Dionysis Savopoulos, Melina Mercouri et Ilias Liougos. Angélique Ionatos, invitée au début des années 2000 sur France Musiques, en fit écouter un extrait dont Jean-Michel Damian admira l'orchestration subtile. En 1958, Hadjidakis lança sa propre compagnie d'édition phonographique "Seirios" (Sirius). En 1989, il fonda et dirigea l'Orchestre des couleurs (Orhistra ton Chromaton), un petit orchestre symphonique. À la mort de Nino Rota, il aurait dû écrire des musiques pour les films de son ami Federico Fellini, mais à cause de ses propres problèmes de santé cette collaboration ne se réalisa jamais. Il mourut le 15 juin 1994 de diabète et de problèmes cardiaques. Œuvres musicales (liste incomplète) • "Adoulotoi Sklavoi" - "Esclaves insoumis" (1946) • "Kokkinos Vrahos" - "Rocher rouge" (1949) • "Dyo Kosmi" - "Deux mondes" (1949) • "Nekri Politeia" - "Ville morte" (1951) • "O Grousouzis" - "Le ronchonneur" (1952) • "Agni Tou Limaniou" - "Lys du port" (1952) • Pote Tin Kyriaki (Ποτέ Την Κυριακή) - "Jamais le dimanche" (1960) • Το Χαμόγελο Της Τζιοκόντας - "Le sourire de la Joconde" (1964) • "Reflections" (1969) - joué par le New York Rock & Roll Ensemble • "Ta paralogia" - "Les absurdités" (1976) • Site officiel de Manos Hadjidakis, en grec et en anglais, avec de nombreux extraits audio. http://www.hadjidakis.gr/ | | Tuesday, May 22nd, 2007 | | 3:05 pm |
  CD 1 http://www.filefactory.com/file/d46c2bCD 2 http://rapidshare.com/files/32750745/CD_2_AXION_ESTI_Theodorakis-_Dalaras.rarThe texts are here http://rapidshare.com/files/34613124/Romiosini-Axion_Esti_Texts.rar Mikis Theodorakis (Greek: Μίκης Θεοδωράκης)  (b. July 29, 1925, Greek island of Chios) is perhaps the most important Greek music composer of the 20th century, and one of the most significant in the world. He is known internationally for his scores in the Hollywood films, Zorba the Greek(1964) and Serpico (1973). Politically, until the late 1970s he identified with the left; in 1990 he became a member of parliament with the centre-right New Democracy party, a move which he has since said he regretted but asserts that was needed in order for the country to come out of the political crisis that had been created due to the numerous scandals. He continues identifing himself with the left and speaking out against any aggressor and oppressor.[citation needed] He has consistently opposed oppressive regimes and was a key voice against the Greek Junta 1967-1974. He has been mentioned as a candidate for election as President of Greece, but he has refused to be considered. The early years, World War II, and first works He was born on the island of Chios and spent his childhood years in different provincial Greek cities such as Mytilene, Cephallonia, Pyrgos, Patras, and Tripolis. His father was from Crete and his mother from Asia Minor. Theodorakis' fascination with music began in early childhood; he taught himself to write his first songs without access to musical instruments. In Pyrgos and Patras he took his first music lessons, and in Tripolis, Peloponnese, he formed an one person choir (himself) and gave his first concert at the age of seventeen before a mirror. Later he studied at the Athens Conservatoire under Philoktitis Economidis, and at the Conservatory of Paris where he studied musical analysis under Olivier Messiaen as well as conducting under Eugene Bigot. His time in Paris, 1954–1959, was a period of intense artistic creation for him. Theodorakis returned to Greece and his roots in genuine Greek music, and with his song cycle "Epitaphios" he contributed to a cultural revolution in his country. With his most significant and influential works based on the greatest Greek and world poetry – "Epiphania", "Little Kyklades", "Axion Esti", "Mauthausen", "Romiossini", and "Romancero Gitan"… – he attempted to give back to Greek music a dignity which he said it had lost. In developing his concept of metasymphonic music, he quickly became recognised internationally, and won acclaim as Greece's greatest living composer. He founded the Little Orchestra of Athens and the Musical Society of Piraeus, and gave many concerts. He became involved in the politics of his home country, and after the assassination of Gregoris Lambrakis in 1963 he founded the Lambrakis Democratic Youth and was elected its president. Following the 1964 elections, he became a member of the Greek Parliament, associated with the left-wing party EDA. Because of his radical political ideas, Theodorakis was black-listed by the cultural establishment; at the time of his biggest artistic glory, a large number of his songs were censored-before-studio or were not allowed on the radio stations. During 1963, he wrote the basic music theme for the Michael Cacoyiannis film "Zorba the Greek" which, since then, exists as a trademark for Greece in the world art. This music is also known as 'Syrtaki dance'; taken and edited by Theodorakis from an old Cretan traditional dance.
The junta — going underground — imprisonment — banishment
On 21 April 1967 a fascist junta (the Regime of the Colonels) took power in a putsch. Theodorakis went underground and founded the Patriotic Front. The Colonels published Army decree No 13, which banned playing, and even listening to his music. Theodorakis himself was arrested on 21 August 1967 and jailed for five months. Following his release in 1968, he was banished to Zatouna with his wife Myrto and their two children, Margarita and Yorgos. Later he was interned in the concentration camp of Oropos. An international solidarity movement, headed by such figures as Dmitri Shostakovich, Leonard Bernstein, Arthur Miller, and Harry Belafonte managed to get Theodorakis freed. On request of the French politician Jean-Jacques Servan-Schreiber, Theodorakis was allowed to go into exile on 13 April 1970.
Exile — resistance
In exile, Theodorakis fought for four years for the overthrow of the colonels. He gave thousands of concerts worldwide as part of his struggle for the restoration of democracy in Greece, met Pablo Neruda and Salvador Allende, Gamal Abdel Nasser and Tito, Igal Alon and Yasser Arafat, François Mitterrand and Olof Palme. For millions of people, he became a universal symbol of resistance against dictatorship. Return to Greece — activism — prolific writing After the fall of the Colonels, Theodorakis returned to Greece on 24 July 1974 to continue his work and his concert tours, both at home and abroad. At the same time he participated in public affairs. He was elected several times to the Greek Parliament (1981–1986 and 1989–1993) and for two years, from 1990 to 1992, he was a minister in the government of Constantine Mitsotakis. He was then appointed General Musical Director of the Symphony Orchestra and Chorus of Hellenic Radio and Television for another two years. Theodorakis has always combined an exceptional artistic talent with a deep love of his country. He is also committed to heightening international awareness of human rights, of environmental issues, and of the need for peace. It was for this reason that he initiated, together with the renowned Turkish musician and singer Zülfü Livaneli, the Greek–Turkish Friendship Society. Theodorakis is Doctor honoris causa of several universities, including Montreal, Thessaloniki, and Crete, and was nominated for the Nobel Prize for Peace in 2000. Currently he lives in retirement, publishing on music, culture, and politics. But on important occasions he never hesitates to take a position, as in 1999, opposing NATO's Kosovo war, and in 2003 against the Iraq War. In 2005, he was awarded the "Russian International St Andrew the First Called Prize" and the "IMC UNESCO International Music Prize".
Political views
Theodorakis is well known for his left-wing views, which he has expressed openly (including, notably, during the junta dictatorship). He has campaigned for numerous human rights and peace causes, such as in the Cyprus dispute, the tensions between Turkey and Greece due to the Aegean dispute, NATO attacks against Yugoslavia, the kidnapping and treatment of Abdullah Öcalan, or the Israeli-Palestinian conflict. To see more http://www.mikis-theodorakis.net/ Míkis Theodorákis (Μίκης Θεοδωράκης), compositeur et homme politique grec, est né le 29 juillet 1925 sur l’île de Chios (Grèce). Son père était originaire de Crète et sa mère d'Asie Mineure Jeunesse Passionné de musique dès son enfance, il écrit ses premières compositions à treize ans. Après l'occupation de la Grèce en 1941 par les troupes allemandes, italiennes et bulgares pendant la Seconde Guerre mondiale, il est arrêté une première fois à Tripolis en 1942 par l'occupant italien. L'année suivante, il est de nouveau arrêté et torturé. Relâché, il entre dans la clandestinité à Athènes et devient membre de l'Organisation du Front National de Libération. Il milite dans la Résistance et suit parallèlement, en cachette, des cours au Conservatoire d'Athènes auprès de Philoktitis Economidis. Après la Libération, Theodorakis entre dans la lutte contre la prise de pouvoir par les forces contre-révolutionnaires qui engendre la guerre civile en Grèce de 1945 à 1949. Arrêté plusieurs fois, Theodorakis est si violemment battu par la police lors d'une manifestation, le 26 mars 1946, qu'il est tenu pour mort et transporté à la morgue. Déporté une première fois en 1947 à l'île d'Icarie, il est transféré en 1948 à Macronissos. Affreusement torturé et deux fois enterré vivant, Theodorakis est un des rares à sortir de cet enfer, grâce à son père et à des camarades d'infortune, mais pendant dix ans encore il souffrira de la « fièvre de Macronissos ». En 1950, il fait ses examens au Conservatoire et obtient son diplôme en harmonie, contrepoint et fugue, et le 5 mai, son œuvre Assi Gonia y est créée. En 1953, Mikis épouse Myrto Altinoglou. L'année suivante, les jeunes mariés obtiennent tous les deux des bourses d'études et peuvent aller à Paris. Mikis s'inscrit au Conservatoire de Paris dans les cours d'Eugène Bigot et d'Olivier Messiaen. Sa Suite n° 1 pour piano et orchestre obtient en 1957 la médaille d'or au Festival de Moscou ; trois musiques de ballet : Antigone (chorégraphie de John Cranko à Covent Garden), Les amants de Téruel (ballets de Ludmila Tcherina) et Le feu aux poudres remportent un grand succès à Paris et à Londres. Retour aux racines grecques
Theodorakis, au moment où il réussit à entrer dans le cercle des jeunes compositeurs internationalement reconnus, découvre la musique populaire grecque. Sur les paroles de son frère Yannis, il compose Lipotaktes (« Le déserteur ») et sur le cycle de poèmes de Yánnis Rítsos, il écrira Epitaphios, l'œuvre avec laquelle il créera la renaissance de la musique grecque et suscitera une révolution culturelle dans sa patrie dont les conséquences persistent toujours. La Droite en Grèce le considère comme une des plus grandes menaces pour elle, mais quand elle assassine le docteur Grigoris Lambrakis (« Z »), Theodorakis prendra la tête de la Jeunesse Démocratique Lambrakis qui deviendra avec 50 000 adhérents, la plus forte organisation politique en Grèce. Mikis est élu au parlement et, avec les Lambrakidès, il fonde plus de deux cents centres culturels dans son pays. Il compose œuvre sur œuvre, en utilisant les plus beaux textes de la littérature grecque des XIXe et XXe siècles. Sous les colonels Le coup d'État du 21 avril 1967 du colonel Georgios Papadopoulos et de ses acolytes oblige Theodorakis à entrer à nouveau en clandestinité d'où il publiera deux jours après le putsch, le premier appel à la résistance. Arrêté le 21 août 1967, il est plus tard placé en résidence surveillée à Vrachati, puis banni avec sa famille à Zatouna, un village de montagnes des Arcadies (d'où son cycle de compositions Arcadies I-XI), déporté au camp de concentration d'Oropos et finalement exilé, à la suite de plusieurs campagnes internationales de solidarité initiées e.a. par Dmitri Chostakovitch, Leonard Bernstein, Arthur Miller ou encore Harry Belafonte. En exil
Le 13 avril 1970, Theodorakis arrive à Paris. À la tête du « Front Patriotique », il continue le combat. Il fait la connaissance de Pablo Neruda. Des tournées dans le monde entier avec des milliers de concerts dédiés à la restauration de la démocratie en Grèce, font de lui le symbole vivant de la résistance contre la dictature. Retour en Grèce / Années récentes Rentré triomphalement en Grèce, le 24 juillet 1974, Theodorakis est vite à nouveau la cible des attaques, cette fois de la Gauche, parce qu'il plaide pour Constantin Caramanlis et un passage en douceur vers la démocratie, de peur de voir un nouveau coup d'État écraser la frêle fleur de la démocratie renaissance (Caramanlis ou les tanks). En 1980, il s'exile volontairement à Paris, reprend son œuvre symphonique des années 50, la métamorphose en des travaux d'une remarquable force expressive. Il achève la composition du Canto General qui, à côté de Zorba le Grec et d'Axion Esti, devient l'œuvre qui le rendra mondialement célèbre comme compositeur. En 1981, Theodorakis est de nouveau élu au Parlement grec comme député. Il abandonne son mandat en 1986 pour se consacrer à son œuvre musicale. En 1987, son premier opéra, Kostas Karyotakis est créé à Athènes, en 1988, son ballet Zorba remporte un triomphe dans les Arènes de Vérone. L'œuvre y sera reprise en 1990. Elle est créée également à Varsovie, à Łódź, à Belgrade, à Budapest. À ce jour, plus de 600 représentations ont été données dans le monde entier. En 1989, Theodorakis appelle de ses vœux une coalition entre le parti de droite en Grèce, Nea Dimokratia, et le parti communiste pour en finir avec les scandales du gouvernement d'Andreas Papandreou et du PASOK. Après les élections d'avril 1990, Mikis entre dans le gouvernement de Constantinos Mitsotakis comme ministre d'État sans portefeuille. Il s'engage tout particulièrement contre les drogues et pour la cause de l'enseignement, de la culture, et, ensemble avec le musicien et chanteur turc Zülfü Livaneli, pour une réconciliation entre les Grecs et les Turcs. Il quitte le gouvernement en avril 1992 et assume ensuite pour deux ans la direction générale des chœurs et des orchestres symphoniques de la Radio-Télévision Hellénique. Il a ensuite abandonné la vie publique, tout en continuant à donner des concerts et à diriger ses œuvres. La mort de son frère Yiannis, 1996, et de sérieux problèmes respiratoires, 1997, ont conduit Theodorakis à abandonner pendant plus d'un an toutes ses activités et à léguer les documents de sa vie à la Librairie Lilian Voudouri au Mégaron d'Athènes. Le 14 mars 1996, Mikis Théodorakis est élevé au grade d'officier dans l’Ordre de la Légion d’honneur, décoration qui lui est remise par l'ambassadeur de France à Athènes, au cours d'une cérémonie à l'ambassade. Le 5 octobre 1991 son opéra Medea est créé à Bilbao. En 1992 il écrit, sur demande de Juan Antonio Samaranch, le Canto Olympico pour les Jeux Olympiques de Barcelone. Son opéra Electra, d'après Euripide, est accueilli triomphalement à Luxembourg par le public de la « Ville Européenne de la Culture 1995 », le 2 mai 1995, dans une réalisation du Teatr Wielki, Poznań (Pologne). Son opéra Antigone, est créé le 7 octobre 1999 à Athènes. Ses dernières partitions symphoniques sont une Rhapsodie pour guitare et orchestre (1995) et une autre Rhapsodie pour violoncelle et orchestre (1996). En 2001, Theodorakis achève la composition d'un opéra comique sur le thème de Lysistrata, d'après Aristophane, créé le 14 avril 2002 à Athènes. Sa dernière partition à ce jour est la musique de scène pour Médée (dédiée à Guy Wagner) à Epidaure. Actuellement, Theodorakis, retiré chez lui, travaille à la compilation de ses musiques et de ses écrits en faisant du populisme. Cela ne l'empêche pas de prendre position sur les événements de l'actualité, comme l'arrestation et le traitement d'Öcalan, les bombardements de Belgrade et de la Serbie(Conflit du Kosovo,(1999), la politique de Sharon contre le peuple palestinien (2002), contre George W. Bush, son gouvernement et son administration et leur Guerre d'Irak (2003). Theodorakis est doctor honoris causa des Universités de Montréal, de Salonique, de Crète. À l'occasion de ses 80 ans, il s'est vu décerner, le 31 juillet 2005, le prix international Saint-André, institué par la fondation du même nom, pour « son héroïsme et son engagement créateur au service de la Patrie, mais aussi ses excellentes œuvres musicales qui chantent la paix entre les peuples, renforcent l'esprit et la conscience nationale de l'homme. » Il est également lauréat du Prix musical international CIM UNESCO 2005 qui lui a été remis le 4 novembre 2005 à Aix-la-Chapelle. Mikis Théodorakis a été élevé en 2007 au grade de commandeur dans l’Ordre de la Légion d’honneur. Il en a reçu les insignes des mains du ministre français de la Culture, Renaud Donnedieu de Vabres, le 26 mars 2007 à Athènes au cours d'une cérémonie à l'ambassade de France en Grèce.  Giorgos Dalaras is the son of Lukas Daralas, a rembetiko singer of the fifties and sixties. Since the release of his first album in 1969 he has recorded over 50 of his own albums and taken part in another 40. He has sold over 10 million albums and has worked with just about every famous Greek composer including Mikos Theodorakis, Apostolis Kaldaras, Stavros Kouyioumitsis, Yiannis Markopoulos, Manos Loizos, Stavros Xarhakos and recorded just about every style of Greek music as well as an album of Latin music. He has performed over 500 concerts outside of Greece promoting Hellenism and his performances within Greece would be impossible to count. Dalaras has been involved in social issues and helped raise money for humanitarian causes. A fine guitarist his main musical strengths are a powerful voice that is coveted by every great composer in Greece, an energetic stage presense, and a great sense of musical taste that make just about any of his albums worth having no matter what language you speak. Among his albums considered classics are 50 Years of Rembetika Songs, Ta Tragoudia Mou (live), Mikra Asia, and Rembetika Tis Katohis, but if you ask 50 people to make a list of the best Dalaras albums no two lists will be the same. http://www.dalaras.gr/ George Dalaras est né en 1949 au Pirée. Très tôt, il entra en contact avec la musique grecque grâce à son père qui fut un chanteur populaire et un instrumentaliste de renom. En-dehors de la maison paternelle, il subit des influences certaines de la cité portuaire où il grandit et qui était marquée par un caractère mondain et une culture populaire très développée. A quinze ans, il donna son premier concert - il chanta et s'accompagna à la guitare - et trois ans plus tard, il produisit son premier disque qui eut instantanément un grand succès. Depuis lors il a publié près de cinquante de LP resp. de CD, dans lesquels il a créé un style très personnel, et ce style est une des raisons de sa popularité. S'y ajoute une sélection rigoureuse des chansons qu'il travaille selon sa personnalité et ses intentions musicales et expressives. Cela vaut en particulier pour les chants rébètes et les ballades populaires de différents jeunes compositeurs grecs. En 1974, l'année de la chute des colonels, Dalaras a collaboré pour la première fois avec Mikis Theodorakis qui lui proposa de chanter les "18 chansons de la patrie amère", un cycle sur des poèmes que Yannis Ritsos avait écrits durant la dictature de la junte. S'en suivit une collaboration fructueuse avec le compositeur de chansons Manos Loizos, dont Dalaras a fait connaître les chansons les plus intéressantes. Il en fit de même pour les compositeurs Stavros Kujumtzis, Apostolos Kaldaras et Yannis Markopoulos, pour ne citer que les plus importants. C'est avant tout cette collaboration avec d'éminents représentants de la musique populaire grecque et son sens pour la sensibilité qui prédomine dans la population qui a conduit à des ventes exceptionnelles de ses disques et à des concerts qui affichent complet. .  http://rapidshare.com/files/41147330/Theodorakis_-_A_Lifetime_of_Greece.rar 1. Omorfi Poli (Lyrics Yiannis Theodorakis) – Kalliope Vetta-Alexandros Hadzis- Ghoir 2. To oniro kapnos (Stis nihtas to balkoni)( Lyrics Nikos Gatsos) - Kalliope Vetta 3. I Balada tou andrikou (Lyrics Kostas Varnalis) - iha fitepsi mia kardia(Lyrics Nikos Gatsos) Aprilis(Lyrics Mikis Theodorakis) - Lena Alkaiou-Maria Soultanou 4. Kaimos (Lyrics Dimitris Christodoulou) - Alexandros Hadzis 5. I porta mou ine anihti (Lyrics Manos Eleftheriou) – Choir 6. Hathika (Lyrics Yiannis Theodorakis) -Alexandros Hadzis 7. Mia nihterida sti skepi (Lyrics Manos Eleftheriou) - Lena Alkaiou 8. Tis dikeosinis Ilie noite (Lyrics Odysseus Elytis) – Choir 9. Arnisi (Sto perigiali)( Lyrics Yiorgos Seferis) - Kalliope Vetta 10. Apo to parafiro sou (Lyrics Yakovos Kambanellis) - Alexandros Hadzis 11. I nisos ton azoron (Lyrics Bost) – Choir 12. Mayiopoula (Lyrics Yakovos Kambanellis) - Sia Koskina 13. Ligo akoma (Lyrics Giorgos Seferis) - Maria Soultatou –Choir 14.Sta perivolia (Lyrics Mikis Theodorakis) - Kalliope Vetta 15.Vrehi sti ftohogitonia (Lyrics Tasos Livaditis) Drapetsona (Lyrics Tasos Livaditis) - Lena Alkaiou- Maria Soultatou 16. Kathe proi pou xanarhizi (Lyrics Manos Eleftheriou) - Alexandros Hadzis 17. To yelasto pedi (Lyrics Brendan Behan – Translation: Vassilis Rotas)- Choir 18.Hrisoprasino fillo (Lyrics Leonidas Malenis) - Kalliope Vetta- Choir 19.Ime Evropeos (Lyrics Mikis Theodorakis) – Pavlos Orkopoulos 20. To fegari (lyrics Mikis Theodorakis) – Tis xenitias ( Fegari mayia mou kanis) (lyrics Errikos Thalassinos) - Maria Soultatou – Lena Alkaiou 21.Serenata (lyrics Bost) – Sia Koskina 22.S’avti ti gitonia (lyrics Manos Eleftheriou) - Alexandros Hadzis 23.Agapi dihos akri (lyrics Nikos Gatsos) - Kalliope Vetta 24. I Epistoli (lyrics Manos Eleftheriou) – Choir 25. Meddley Finale – Choir -I Balada tou andrikou (Lyrics Kostas Varnalis) – I Myrtia (lyrics Nikos Gatsos) – Margarita, Margaro (Lyrics Mikis Theodorakis) – An thimithis t’oniro mou (lyrics Nikos Gatsos) 26. Reprise - An thimithis t’oniro mou (lyrics Nikos Gatsos)- Choir 27. Zorbas Instrumental | | Friday, April 20th, 2007 | | 10:21 am |
These quizes come true
 | You scored as Christianity. Your views are most similar to those of Christianity. Do more research on Christianity and possibly consider being baptized and accepting Jesus, if you aren't already Christian.
Christianity is the second of the Abrahamic faiths; it follows Judaism and is followed by Islam. It differs in its belief of Jesus, as not a prophet nor historical figure, but as God in human form. The Holy Trinity is the concept that God takes three forms: the Father, the Son (Jesus), and the Holy Ghost (sometimes called Holy Spirit). Jesus taught the idea of instead of seeking revenge, one should love his or her neighbors and enemies. Christians believe that Jesus died on the cross to save humankind and forgive people's sins.
Christianity | | 92% | Paganism | | 71% | Islam | | 58% | Judaism | | 58% | Buddhism | | 58% | agnosticism | | 54% | Satanism | | 46% | Hinduism | | 21% | atheism | | 17% | </td>
Which religion is the right one for you? (new version)
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No comments | | Thursday, April 19th, 2007 | | 11:37 am |
I always knew I was Swiss!!! From the French part of Switzerland .. I adore Slovenia because it is a Slavic Switzerland!... C'est vrai je suis Suisse, rien d'autre!!! De la part française de la Suisse J'adore Slovénie parce que c'est la Suisse Slave!... | | Sunday, April 1st, 2007 | | 8:48 pm |
LES CHANTS SACRES DE L'ORIENT
BYZANTINE MUSIC - SELECTIONS OF THE HOLY WEEK
 01. To Αλληλουϊάριο και το τροπάριο Ιδού ο νυμφίος έρχεται εν τω μέσω της νυκτός Idou o nymfios erxetai… 02. Τω δόγματι τω τυραννικώ... Ικανούσθω το κοινωνικόν... Η τον αχώρητον Θεόν To dogmati tyranniko… 03. Τον νυμφώνα σου βλέπω Σωτήρ μου... To nymfona sou vlepo… 04. Του κρύψαντος το τάλαντον... Tou kripsanton to talanton… 05. Εν ταις λαμπρότησι... Ek taos lamprotisi… 06 Πόρνη προσήλθε σοι... .Porni prosilthe soi.. 07. Η πόρνη εν κλαυθμώ... H porni en klathmo... 08. Της πίστεως εν πέτρα... Το δεινόν βουλευτήριον... Ψυχαίς καθαραίς Tis pisteos en petra… 09 Σε τον της Παρθένου Υιόν.... Se ton tis Pathenoy yios… 10. Σήμερον ο Χριστός... Symeron o Xristos… 11. Τροπάριον της Κασσιανής Troparion tis Kassianis... 12. Αλληλούϊα Allilouia… 13. Ότε οι ένδοξοι μαθηταί... Ote oi endoksi mathites… 14. Μυσταγωγών σου Κύριε... Mystagogon sou Kyrie... 15. Άρχοντες Λαών... Arxontes laon… 16. Σήμερον κρεμάται επί ξύλου Symeron krematai epi ksilou… 17. Μακαρισμοί Makarismoi… 18. Τον ληστήν αυθημερόν... Διό και πονηρά εποίησεν Ton listin authimeron… 19. Ότε εκ του ξύλου... Ote ek tou ksilou… 20. Σε τον αναβαλλόμενον... Se ton anavallomen... 21. Εγκώμια: Α' Στάση Egkomia A stasi… 22. Εγκώμια: Β΄ Στάση Egkomia B stasi… 23. Εγκώμια: Γ΄ Στάση Egkomia G stasi… http://rapidshare.com/files/23835251/Greek_Holy_Week__Chants_by_Byzantine_Choir.rar BYZANTINE CHANT FOR EASTER
 01. Δεύτε λάβετε φώς Devte lavete fos… 02. Εωθινό Ευαγγέλιο του Πάσχα Eothino Evaggelio tou Pasxa.. 03. Χριστός Ανέστη ελληνικά Christ is risen Xristos Anesti in Greek 04. Χριστός Ανέστη αραβικά και γαλλικά Christ is risen Xristos Anesti in Arab and French 05. Χριστός Ανέστη ρωσικά Christ is risen Xristos Anesti in Russian 06. Χριστός Ανέστη λατινικά Christ is risen Xristos Anesti in Latin 07. Αναστάσεως Ημέρα Anastasews imera… 08. Άγγελος εβόα Aggelos Evoa… 09. Πάσχα Ιερόν Pasxa Ieron… 10. Αναστάσεως ημέρα και λαμπρυνθώμεν Anastaseos Imera kai lamprynthomen… http://rapidshare.com/files/23836442/Greek_Easter_Chants_by_Byzantine_Choir.rar BRIDEGROOM SERVICES : Palm Sunday Evening through Holy Wednesday
 Beginning on the evening of Palm Sunday and continuing through the evening of Holy Tuesday, the Orthodox Church observes a special service known as the Service of the Bridgegroom. Each evening service is the Matins or Orthros service of the following day (e.g. the service held on Sunday evening is the Orthros service for Holy Monday). The name of the service is from the figure of the Bridegroom in the parable of the Ten Virgins found in Matthew 25:1-13. The first part of Holy Week presents us with an array of themes based chiefly on the last days of Jesus' earthly life. The story of the Passion, as told and recorded by the Evangelists, is preceded by a series of incidents located in Jerusalem and a collection of parables, sayings and discourses centered on Jesus' divine sonship, the kingdom of God, the Parousia, and Jesus' castigation of the hypocrisy and dark motives of the religious leaders. The observances of the first three days of Great Week are rooted in these incidents and sayings. The three days constitute a single liturgical unit. They have the same cycle and system of daily prayer. The Scripture lessons, hymns, commemorations, and ceremonials that make up the festal elements in the respective services of the cycle highlight significant aspects of salvation history, by calling to mind the events that anticipated the Passion and by proclaiming the inevitability and significance of the Parousia. The Orthros of each of these days is called the Service of the Bridegroom (Akolouthia tou Nimfiou). The name comes from the central figure in the well-known parable of the ten virgins (Matthew 25:1-13). The title Bridegroom suggests the intimacy of love. It is not without significance that the kingdom of God is compared to a bridal feast and a bridal chamber. The Christ of the Passion is the divine Bridegroom of the Church. The imagery connotes the final union of the Lover and the beloved. The title Bridegroom also suggests the Parousia. In the patristic tradition, the aforementioned parable is related to the Second Coming; and is associated with the need for spiritual vigilance and preparedness, by which we are enabled to keep the divine commandments and receive the blessings of the age to come. The troparion "Behold the Bridegroom comes in the middle of the night…", which is sung at the beginning of the Orthros of Great Monday, Tuesday and Wednesday, relates the worshiping community to that essential expectation: watching and waiting for the Lord, who will come again to judge the living and the dead.
Holy Monday
On Holy Monday we commemorate Joseph the Patriarch, the beloved son of Jacob. A major figure of the Old Testament, Joseph's story is told in the final section of the Book of Genesis (chs. 37-50). Because of his exceptional qualities and remarkable life, our patristic and liturgical tradition portrays Joseph as tipos Christou, i.e., as a prototype, prefigurement or image of Christ. The story of Joseph illustrates the mystery of God's providence, promise and redemption. Innocent, chaste and righteous, his life bears witness to the power of God's love and promise. The lesson to be learned from Joseph's life, as it bears upon the ultimate redemption wrought by the death and resurrection of Christ, is summed up in the words he addressed to his brothers who had previously betrayed him, “’Fear not ... As for you, you meant evil against me; but God meant it for good, to bring about that many people should be kept alive, as they are today. So do not fear; I will provide for you and your little ones.’ Thus he reassured them and comforted them” (Genesis 50:19-21). The commemoration of the noble, blessed and saintly Joseph reminds us that in the great events of the Old Testament, the Church recognizes the realities of the New Testament. Also, on Great and Holy Monday the Church commemorates the event of the cursing of the fig tree (Matthew 21:18-20). In the Gospel narrative this event is said to have occurred on the morrow of Jesus' triumphant entry into Jerusalem (Matthew 21:18 and Mark 11:12). For this reason it found its way into the liturgy of Great Monday. The episode is also quite relevant to Great Week. Together with the event of the cleansing of the Temple this episode is another manifestation of Jesus' divine power and authority and a revelation as well of God's judgment upon the faithlessness of the Jewish religious classes. The fig tree is symbolic of Israel become barren by her failure to recognize and receive Christ and His teachings. The cursing of the fig tree is a parable in action, a symbolic gesture. Its meaning should not be lost on any one in any generation. Christ's judgment on the faithless, unbelieving, unrepentant and unloving will be certain and decisive on the Last Day. This episode makes it clear that nominal Christianity is not only inadequate, it is also despicable and unworthy of God's kingdom. Genuine Christian faith is dynamic and fruitful. It permeates one's whole being and causes a change. Living, true and unadulterated faith makes the Christian conscious of the fact that he is already a citizen of heaven. Therefore, his way of thinking, feeling, acting and being must reflect this reality. Those who belong to Christ ought to live and walk in the Spirit; and the Spirit will bear fruit in them: love, joy, peace, patience, kindness, goodness, faithfulness, gentleness, self-control (Galatians 5:22-25). Holy Tuesday
On Holy Tuesday the Church calls to remembrance two parables, which are related to the Second Coming. The one is the parable of the Ten Virgins (Matthew 25:1-3); the other the parable of the Talents (Matthew 25:14-30). These parables point to the inevitability of the Parousia and deal with such subjects as spiritual vigilance, stewardship, accountability and judgment. From these parables we learn at least two basic things. First, Judgment Day will be like the situation in which the bridesmaids (or virgins) of the parable found themselves: some ready for it, some not ready. The time one decides for God is now and not at some undefined point in the future. If "time and tide waits for no man," certainly the Parousia is no exception. The tragedy of the closed door is that individuals close it, not God. The exclusion from the marriage feast, the kingdom, is of our own making. Second, we are reminded that watchfulness and readiness do not mean a wearisome, spiritless performance of formal and empty obligations. Most certainly it does not mean inactivity and slothfulness. Watchfulness signifies inner stability, soberness, tranquility and joy. It means spiritual alertness, attentiveness and vigilance. Watchfulness is the deep personal resolve to find and do the will of God, embrace every commandment and every virtue, and guard the intellect and heart from evil thoughts and actions. Watchfulness is the intense love of God. Holy Wednesday On Holy Wednesday the Church invites the faithful to focus their attention on two figures: the sinful woman who anointed the head of Jesus shortly before the passion (Matthew 26:6-13), and Judas, the disciple who betrayed the Lord. The former acknowledged Jesus as Lord, while the latter severed himself from the Master. The one was set free, while the other became a slave. The one inherited the kingdom, while the other fell into perdition. These two people bring before us concerns and issues related to freedom, sin, hell and repentance. The repentance of the sinful harlot is contrasted with the tragic fall of the chosen disciple. The Triodion make is clear that Judas perished, not simply because he betrayed his Master, but because, having fallen into the sin of betrayal, he then refused to believe in the possibility of forgiveness. If we deplore the actions of Judas, we do so not with vindictive self-righteousness but conscious always of our own guilt. In general, all the passages in the Triodion that seem to be directed against the Jews should be understood in this same way. When the Triodion denounces those who rejected Christ and delivered Him to death, we recognize that these words apply not only to others, but to ourselves: for have we not betrayed the Savior many times in our hearts and crucified Him anew? I have transgressed more than the harlot, O loving Lord, yet never have I offered You my flowing tears. But in silence I fall down before You and with love I kiss Your most pure feet, beseeching You as Master to grant me remission of sins; and I cry to You, O Savior: Deliver me from the filth of my works.
While the sinful woman brought oil of myrrh, the disciple came to an agreement with the transgressors. She rejoiced to pour out what was very precious, he made haste to sell the One who is above all price. She acknowledged Christ as Lord, he severed himself from the Master. She was set free, but Judas became the slave of the enemy. Grievous was his lack of love. Great was her repentance. Grant such repentance also unto me, O Savior who has suffered for our sake, and save us.
Orthodox Christian Celebration of the Bridegroom Service
The services conducted on Palm Sunday evening and on the evenings of Holy Monday and Tuesday are the Matins or Orthros services of the following day. After the reading of the Psalms at the beginning of the service the Troparion of the Bridegroom Service is chanted three times. On Palm Sunday evening as this hymn is being chanted, the priest carries the icon of Christ as Bridegroom in procession. The icon is placed in the middle of the solea of the church and remains there until Holy Thursday. Hymns of the Bridegroom Service
Troparion
Behold, the Bridegroom cometh in the middle of the night, and blessed is that servant whom He shall find watching; and again unworthy is he whom He shall find heedless. Beware, therefore, O my soul, lest thou be overcome with sleep, lest thou be given up to death, and be shut out from the Kingdom. But rouse thyself and cry: Holy, Holy, Holy art Thou, O God, through the Mother of God, have mercy on us. Exapostelarion Thy bridal chamber, O my Saviour, do I behold all adorned, and a garment I have not that I may enter therein. Illumine the garment of my soul, O Giver of Light, and save me.
Towards the end of the Tuesday evening Bridegroom service, the Hymn of Kassiani is sung. The Hymn, (written in the 9th century by Kassiani the nun) tells of the woman who washed Christ's feet in the house of Simon the Pharisee. (Luke 7:36-50) Much of the hymn is written from the perspective of the sinful woman: O Lord, the woman who had fallen into many sins, sensing Your Divinity, takes upon herself the duty of a myrrh-bearer. With lamentations she brings you myrrh in anticipation of your entombment. "Woe to me!" she cries, "for me night has become a frenzy of licentiousness, a dark and moonless love of sin. Receive the fountain of my tears, O You who gathers into clouds the waters of the sea. Incline unto me, unto the sighings of my heart, O You who bowed the heavens by your ineffable condescension. I will wash your immaculate feet with kisses and dry them again with the tresses of my hair; those very feet at whose sound Eve hid herself from in fear when she heard You walking in Paradise in the twilight of the day. As for the multitude of my sins and the depths of Your judgments, who can search them out, O Savior of souls, my Savior? Do not disdain me Your handmaiden, O You who are boundless in mercy."
The Byzantine musical composition expresses the poetry so strongly that it leaves many people in a state of prayerful tears. The Hymn can last upwards of 25 minutes and is liturgically and musically a highpoint of the entire year. In many places in Greece, the Bridegroom Matins service of Great Tuesday is popular with sex workers and those engaged in prostitution, who may not often be seen in church at other times of the year. They come in great numbers, in order to hear the Hymn of Kassiani, as the hymn is traditionally associated with the woman fallen in many sins. In many churches, especially Greek Orthodox, a service of Anointing (Holy Unction) is held on Wednesday evening. Divine Liturgy of the Last Supper is held on the morning of Holy Thursday. Matins of Holy Friday, with its Twelve Gospel Readings, is held on the evening of Holy Thursday; Vespers of Holy Friday (Vespers of the Unnailing) is held in the morning or afternoon of Holy Friday. The figure of Christ is taken down from the Cross, and a richly-embroidered icon on the cloth called the "epitaphios" representing Christ laid in a "tomb" decorated with flowers. Matins of Holy Saturday is held on the evening of Holy Friday; the tomb is sprinkled with rose petals and rose water, and then carried in a candlelit procession, while a set of hymns called "The Lamentations" is being sung.
Divine Liturgy is held Saturday morning. This is the "Proti Anastasi" (First Resurrection) service, with a change from dark vestments to light ones. Saturday night at midnight, the service begins in darkness. A single candle is lighted by the priest, from a light on the altar which is never extinguished. The light spreads from person to person until everyone holds a lighted candle. The Divine Liturgy follows. A reception or party usually follows, sometimes lasting till dawn. Slavs bring Easter baskets filled with eggs, meat, butter, and cheese -- foods from which the faithful have abstained during Lent -- to be blessed. Agape Vespers, during which Gospel is read in as many different languages as possible, is usually held on Easter Day. It is often combined with an Easter egg hunt and other activities for children. To see also http://greekfood.about.com/od/festivalsholidays/a/easter.htm Pâques grecque orthodoxe
La fête de Pâques en Grèce : au printemps, la fête religieuse la plus importante est la fête de Pâques, la fête du peuple grec. Dieu a été ressuscité à la même époque que la nature choisit pour l'épanouissement de sa végétation. Pour les Grecs, Pâques est LA fête religieuse la plus importante (à la différence des catholiques qui considèrent également Noël comme une grande fête, sans cependant rivaliser avec Pâques. Noël est évidemment célébré chez les orthodoxes, mais avec beaucoup moins d'ampleur que chez les catholiques. Les orthodoxes se réservent vraiment pour Pâques). Toute la Semaine Sainte des différentes processions préparent la Résurrection du Christ. Notamment le vendredi saint, la procession de l'Épitaphe qui symbolise l'enterrement du Christ, suivi par les fidèles tenant des bougies allumées marrons, fait le tour de la paroisse. Parmi les plus spectaculaires processions, notons celle de la Métropole d'Athènes et de la ville de Corfou et la rencontre de 4 Épitaphes à Kifissia et à Mykonos. La semaine de Pâques, commence vraiment le lundi. Il s'agit d'une vraie semaine de jeûne, dès le lundi, et non uniquement dès le jeudi comme les catholiques. Le dimanche de Pâques se transforme donc en une vraie "débauche" de nourriture, avec l'agneau pascal etc, afin de célébrer et la résurrection et la fin du jeûne (vraiment dur car les grecs le respectent vraiment !!!!!) Samedi Saint, à minuit, le prêtre annonce la résurrection du Christ dans l'avant-cour de l'église. Au moment où le " CHRISTOS ANESTI " est prononcé par le prêtre, les fidèles allument leur cierge à la flamme offerte par celui-ci. Les cloches sonnent à toute volée, les personnes brillant de joie s'embrassent et se félicitent en se disant " CHRISTOS ANESTI " et l'on se quitte, le cierge allumé à la main. En rentrant à la maison, le chef de famille trace en haut de l'embrasure de sa porte avec la fumée du cierge, le signe de la croix. Ensuite, ces cierges sont gardés près des icônes. Puis, on se met à table pour casser les œufs rouges et manger la soupe traditionnelle (maghiritsa). La coutume, plus caractéristique encore, liée à la fête de Pâques, est l'agneau à la broche que l'on fait cuire en plein air. Partout en Grèce, le dimanche de Pâques, on installe soit dans les cours des maisons, soit dans des terrains vides ou à la campagne, des broches pour faire rôtir l'agneau. La broche est tournée lentement par une personne qui enduit de temps en temps l'agneau avec un mélange d'huile, d'origan et de citron à l'aide d'un pinceau. Dans plusieurs villes de Grèce comme Lamia, Lévadia, Arachova et Amfissa, les broches sont installées sur les trottoirs et les passants peuvent s'associer à la fête. Dans tous les cas, il ne faut pas oublier que la religion est vraiment le ciment de la nation grecque. Pendant les 400 à 500 ans de l'invasion turque, c'était le seul moyen pour les Grecs de garder leur identité grecque, les turcs ayant interdit l'enseignement de la langue grecque, l'exercice de la religion .... Toute proportion gardée, les Grecs faisaient comme aujourd'hui les femmes afghanes : écoles souterraines, apprendre à lire et à écrire en cachette etc. Certaines églises orthodoxes n'ont pas adopté la réforme du calendrier initiée par le pape catholique Grégoire XIII en 1582. Elles utilisent donc encore le calendrier julien. Pour les membres de ces églises (Jérusalem, Russie, Géorgie, Serbie, mont Athos) les dates des fêtes religieuses sont par conséquent décalées par rapport à celles des autres chrétiens, et par rapport au calendrier civil, qui est partout le calendrier grégorien. Ces orthodoxes fêtent bien Noël le 25 décembre mais leur fête tombe le 7 janvier du calendrier civil (avant 1900, elle tombait le 6 janvier, après 2100 elle se situera le 8 janvier). La date de Pâques est cependant commune à toutes les églises orthodoxe (à l'exception de l'Église autonome de Finlande) parce qu'elle est partout fixée à partir du calendrier julien. Cette façon de calculer engendre des écarts variables avec la date déterminée par le calendrier grégorien : certaines années la date est la même, d'autres années il peut y avoir une semaine ou même cinq semaines de différence (Pâques tombe en avril ou en mai pour les orthodoxes, jamais en mars). Voir aussi http://www.premiumorange.com/netilios/paques/paques.htm N'oublions pas que si le latin est la langue de l'église catholique, le grec est la langue du christianisme: le Nouveau testament a été rédigé en grec ! voici quelques mots grecs à retenir : ανάσταση résurrection (anastasie) σταυρός croix (stavros) καλό Πασχά ! joyeuses Pâques ! cependant on dit plus volontiers : Χριστός Ανέστη ! Christ ressuscité ! [Hristos anesti] Hymns For The Holy Week In The Russian Orthodox Church
Les Chants da la Semaine Sainte de l’Eglise Orthodoxe Russe 
http://rapidshare.com/files/25576530/Russian_chants_of_the_Holy_Week.rar
Pâques en Russie  http://rapidshare.com/files/25576531/Russian_Easter_Chants.rar | | Tuesday, March 20th, 2007 | | 2:41 pm |
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