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KOMITAS, MAN OF MUSIC
Friday, 19 October 2012 00:00
Cynthia Citron, Los Angeles
[komitas_p.jpg] If you're Armenian you'll love Komitas. If you're not,
the play may seem a little obscure. It's the story of a 19th century
musicologist who made it his life's work to collect the music of his
country---the folk songs, the liturgy, the classics---so that they
would remain pure and free from the myriad influences of other cultures
that had invaded and settled in the country throughout its history.
"Song is a crimson thread woven through our culture," he says.
"But the Armenian heart is not ours alone. It is Syrian and Indian
and Persian."
In addition, Komitas was a composer and a priest, a teacher, and the
founder and conductor of an acclaimed national choir.
[komitas_1_t.jpg] In Lilly Thomassian's play, Komitas' life is
presented in a loose, back and forth manner, interspersed with
dreams and fantasies and doubts. Jesse Einstein, who plays Komitas
with earnest devotion, is often joined onstage by Arthur Parian who
plays his younger, orphaned self.
Komitas was a rebel who was indulged by the church even as he went
his own way. But he maintained his loyalty even after he fell in love
with the beautiful singer, Margaret (Gina Manziello). Manziello's
glorious voice brings the plaintive Armenian music to life, and the
Armenians in the audience, who understood the words, to tears.
The historical period that Komitas lived through comes to a head in
1915 during the brutal genocide fomented by the Turks, ("There is deep
sorrow that characterizes our Armenian soul," he says) and the events
through which he suffered eventually drove him mad. He spent the final
20 years of his life in total silence in a mental institution in Paris.
Despite the occasional comments in Armenian, the play, which is a
historical documentary as well as a touching love story, is easily
understood, if a trifle too long and repetitious.
Director Pavel Cerny has done a skillful job of telling Komitas'
story while adding some distinctive touches: for example, half a
dozen players evoke the long death march instigated by the Turks by
stamping their feet rhythmically in place for long minutes. It's an
effectively chilling moment.
Further, the nine ensemble players continually morph into other
characters, making lightning-fast costume changes as they represent
dozens of different individuals.
[komitas_2_t.jpg]
The ensemble acting is generally good, and Jesse Einstein, who remains
onstage for the full two-and-a-half hours, is especially commendable
in the lead.
It's an interesting and absorbing play, but as I indicated earlier,
it helps if you're Armenian.
Source http://www.examiner.com/review/komitas-man-of-music
Friday, 19 October 2012 00:00
Cynthia Citron, Los Angeles
[komitas_p.jpg] If you're Armenian you'll love Komitas. If you're not,
the play may seem a little obscure. It's the story of a 19th century
musicologist who made it his life's work to collect the music of his
country---the folk songs, the liturgy, the classics---so that they
would remain pure and free from the myriad influences of other cultures
that had invaded and settled in the country throughout its history.
"Song is a crimson thread woven through our culture," he says.
"But the Armenian heart is not ours alone. It is Syrian and Indian
and Persian."
In addition, Komitas was a composer and a priest, a teacher, and the
founder and conductor of an acclaimed national choir.
[komitas_1_t.jpg] In Lilly Thomassian's play, Komitas' life is
presented in a loose, back and forth manner, interspersed with
dreams and fantasies and doubts. Jesse Einstein, who plays Komitas
with earnest devotion, is often joined onstage by Arthur Parian who
plays his younger, orphaned self.
Komitas was a rebel who was indulged by the church even as he went
his own way. But he maintained his loyalty even after he fell in love
with the beautiful singer, Margaret (Gina Manziello). Manziello's
glorious voice brings the plaintive Armenian music to life, and the
Armenians in the audience, who understood the words, to tears.
The historical period that Komitas lived through comes to a head in
1915 during the brutal genocide fomented by the Turks, ("There is deep
sorrow that characterizes our Armenian soul," he says) and the events
through which he suffered eventually drove him mad. He spent the final
20 years of his life in total silence in a mental institution in Paris.
Despite the occasional comments in Armenian, the play, which is a
historical documentary as well as a touching love story, is easily
understood, if a trifle too long and repetitious.
Director Pavel Cerny has done a skillful job of telling Komitas'
story while adding some distinctive touches: for example, half a
dozen players evoke the long death march instigated by the Turks by
stamping their feet rhythmically in place for long minutes. It's an
effectively chilling moment.
Further, the nine ensemble players continually morph into other
characters, making lightning-fast costume changes as they represent
dozens of different individuals.
[komitas_2_t.jpg]
The ensemble acting is generally good, and Jesse Einstein, who remains
onstage for the full two-and-a-half hours, is especially commendable
in the lead.
It's an interesting and absorbing play, but as I indicated earlier,
it helps if you're Armenian.
Source http://www.examiner.com/review/komitas-man-of-music