Tweet
Los Angeles Times
Oct 19 2007
WORLD MUSIC REVIEW
Armenian orchestra crosses genres
The massive Kohar Symphony Orchestra and Choir spells enjoyment to
Gibson Amphitheatre audience.
By Don Heckman, Special to The Times
It was apparent, even before a single member of the Kohar Symphony
Orchestra and Choir arrived onstage Thursday at the Gibson
Amphitheatre, that a special event was about to take place. The front
edge of the stage was covered with a colorful garland of flowers, two
pillars spelled out the word "Kohar" and the stage was set for a full
orchestra and a large choir.
Despite the setting, the first performer -- Hamlet Tchobanian -- was
neither a musician nor a singer, but a mime. His arrival announced by
a loud cymbal crash, he lurked across the stage in classic,
white-faced, Marcel Marceau fashion. Opening a pair of illusory
gates, he majestically introduced the 130-plus members of the
Armenian Kohar Symphony and Choir.
Led by artistic director Sebouh Abkarian, his long white hair waving
dramatically with each thrust of his baton, the Kohar players offered
a buoyant waltz to begin a long, stirring evening of Armenian-tinged
music. Here, as in many of the pieces to follow, Kohar's sound and
style often had the lightweight but entertaining quality of a summer
pops orchestra.
But Kohar crossed genres far more freely than the average pops
ensemble. Gagik Malkasian's virtuosic duduk playing and the busy
fingers of kanoun artist Anahid Valesian added Armenian authenticity.
Classically oriented pieces were delivered in well-crafted fashion,
and Kohar went so far as to open the second half with a surprisingly
swinging number titled "Tetmajazz."
As the mime-introduced opening implied, however, a Kohar performance
is more spectacle than concert. Most of the music was vocal, sung by
soloists whose styles ranged from big-voiced operatic to
international lounge. In most cases, the singers' numbers were
enhanced by the engaging presence of eight female dancers led by the
gorgeously lithe Sousana Mikayelian. Letters from the Armenian
alphabet were spotlighted across the ceilings and walls, and the
program climaxed with a burst of golden streamers flying out into the
audience.
Much of the second half of the concert, in fact, was strongly
oriented toward the predominantly Armenian crowd. Spirited patriotic
songs, pop tunes and familiar traditional numbers drew an escalating
response -- hand-clapping, sing-alongs and enthusiastic shouts.
Kohar was founded in 1997 by Harout Khatchadourian and his brothers,
who entirely sustain the ensemble and its concerts. Named in honor of
their mother, Kohar, the founders' goal with the ensemble is the "aim
of reviving and promulgating the Armenian alphabet and culture."
Kohar did that and more Thursday, positioning the capacity of
Armenian music to reach out stylistically while still retaining its
rich creative identity.
http://www.calendarlive.com/music/classical/cl-e t-koharweb20oct20,0,1977758.story
Oct 19 2007
WORLD MUSIC REVIEW
Armenian orchestra crosses genres
The massive Kohar Symphony Orchestra and Choir spells enjoyment to
Gibson Amphitheatre audience.
By Don Heckman, Special to The Times
It was apparent, even before a single member of the Kohar Symphony
Orchestra and Choir arrived onstage Thursday at the Gibson
Amphitheatre, that a special event was about to take place. The front
edge of the stage was covered with a colorful garland of flowers, two
pillars spelled out the word "Kohar" and the stage was set for a full
orchestra and a large choir.
Despite the setting, the first performer -- Hamlet Tchobanian -- was
neither a musician nor a singer, but a mime. His arrival announced by
a loud cymbal crash, he lurked across the stage in classic,
white-faced, Marcel Marceau fashion. Opening a pair of illusory
gates, he majestically introduced the 130-plus members of the
Armenian Kohar Symphony and Choir.
Led by artistic director Sebouh Abkarian, his long white hair waving
dramatically with each thrust of his baton, the Kohar players offered
a buoyant waltz to begin a long, stirring evening of Armenian-tinged
music. Here, as in many of the pieces to follow, Kohar's sound and
style often had the lightweight but entertaining quality of a summer
pops orchestra.
But Kohar crossed genres far more freely than the average pops
ensemble. Gagik Malkasian's virtuosic duduk playing and the busy
fingers of kanoun artist Anahid Valesian added Armenian authenticity.
Classically oriented pieces were delivered in well-crafted fashion,
and Kohar went so far as to open the second half with a surprisingly
swinging number titled "Tetmajazz."
As the mime-introduced opening implied, however, a Kohar performance
is more spectacle than concert. Most of the music was vocal, sung by
soloists whose styles ranged from big-voiced operatic to
international lounge. In most cases, the singers' numbers were
enhanced by the engaging presence of eight female dancers led by the
gorgeously lithe Sousana Mikayelian. Letters from the Armenian
alphabet were spotlighted across the ceilings and walls, and the
program climaxed with a burst of golden streamers flying out into the
audience.
Much of the second half of the concert, in fact, was strongly
oriented toward the predominantly Armenian crowd. Spirited patriotic
songs, pop tunes and familiar traditional numbers drew an escalating
response -- hand-clapping, sing-alongs and enthusiastic shouts.
Kohar was founded in 1997 by Harout Khatchadourian and his brothers,
who entirely sustain the ensemble and its concerts. Named in honor of
their mother, Kohar, the founders' goal with the ensemble is the "aim
of reviving and promulgating the Armenian alphabet and culture."
Kohar did that and more Thursday, positioning the capacity of
Armenian music to reach out stylistically while still retaining its
rich creative identity.
http://www.calendarlive.com/music/classical/cl-e t-koharweb20oct20,0,1977758.story