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Writer Chabua Amirejibi turns 88
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Author: Irma Kahniashvili
At around 40 years old, Amirejibi started writing and in 1960 published his first story, “Why Did You Not Let Me,” for the Mnatobi magazine in Georgia. This was followed by the publication of several selections, letters, scripts and articles. The writer’s most important pieces include “Confession of a Bull,” “Giorgi Burduli,” “Data Tutashkhia,” “Gora Mborgali” and “Giorgi Brtskinvale.” He is the laureate of many prizes, including the Shota Rustaveli State Prize, and the Order of Honor. His works have been published in 30 different languages.
Georgian director Giga Lortkipanidze made a multi-series film based on Amirejibi’s novel, “Data Tutashkhia.”
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Ancient Tbilisi opens treasures
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Author: Maria Savostyanova
The Georgian National Museum and Tbilisi City Council presented their joint project “Ancient Tbilisi – Crossroads of Eurasian Cultures,” at the Tbilisi History Museum in Karvasla earlier this week.
The territory of Tbilisi has been inhabited for over 6,000 years. Its favorable location on the crossroads of ancient Eurasian trade routes makes the city rich in archaeological sites.
To date more than 250 archaeological sites have been discovered in the capital and its outskirts, dating from the Chalcolithic period to the Middle Ages. Archaeological investigations show that the territory of Tbilisi was a meeting point of bronze and iron age cultures in the Caucasus, as well as a bridge for long distance trade relations between the East and the West.
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New Georgian plays go international
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Author: Maria Savostyanova
A new competition for playwrights was announced this week at the Tumanishvili Theater Foundation. All competing plays will have the chance to be staged both in Georgia and abroad.
The Tumanishvili Theater Foundation has held contests for contemporary playwrights since 2006. This time around, the “New Georgian Play” contest is an international competition sponsored by the Culture Ministry.
Anyone who feels he has a story to tell is encouraged to participate. There are no age or professional limits for contestants – and only one indispensable condition for applicants.
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Museum restores palace of love
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Author: Nikhil Khanna
New life is being breathed into a former palace, which has been a national symbol of love for over 100 years. It is one of the most artistically rich museums in the South Caucasus. Some visitors have called the museum Georgia’s Louvre.
On Nov. 21, the Georgian Museum of Theater, Cinema, Music and Choreography will host an exhibition of work by renowned choreographer Nino Ramishvili of the Sukhishvili Group. President Mikhael Saakashvili will attend the opening ceremony.
What now is a museum used to be the Palace of Oldenburg.
The palace was constructed at the request of German Prince Constantine Oldenburg for his beloved Agraphina Japharidze, a Georgian woman from a noble family. In 1882 Constantine met Agraphina in Kutaisi and was enamored by her beauty. He professed his love to her, but Agraphina was already married and rejected his advances. The prince was left with no choice; he met her husband Tariel Dadiani, and the two struck a deal. Tariel demanded 100 million gold coins for his wife. Constantine agreed and paid the sum. But that proved too little for Agraphina. She refused to go long with the plan.
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Review: Opera puts on engaging Pagliacci
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Author: Stefano Bertolini
With last week’s production of Pagliacci, Italian opera returned once again to the Tbilisi State Opera and Ballet Theater. Thus far the only such performance after last season’s outstanding cycle of Verdi, the Tbilisi State Opera and Ballet Theater’s production maintained its consistently high standards and presented an engaging interpretation of Leoncavallo’s classic.
At the helm was the rising 31-year-old conductor Davit Kintsurashvili, who has spent much of the past six years pursuing his education in Germany. He performs regularly with the Munchner Symphoniker and the Georgian Chamber Orchestra Ingolstadt, as well as frequent engagements in Tbilisi where his credits include Verdi, Donizetti, and solo organ recitals.
His leadership was confident and adroit, maintaining a steady pace but allowing the orchestra freedom to breathe. One had the feeling that the musicians were at ease with the score, a familiar piece affectionately played if perhaps sometimes lacking a certain extra zest. Brooding, portentous passages occasionally missed their ominous, existential menace, and a few of the moments of high drama did not quite reach that spine-tingling intensity that Pagliacci is amply capable of delivering. Nonetheless a captivating performance, and a career to be watched with interest.
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