Lianna haroutounian biography of barack

  • Explore Lianna Haroutounian's biography, theatre & movie credits.
  • Lianna Haroutounian will replace Tamar Iveri in the role of Desdemona.
  • Lianna Haroutounian has returned to sing at the Teatro Real de Madrid, this time as “Leonora” of Verdi's Il trovatore.
  • Lianna Haroutounian

    News


    Photos: Evade BALLO Set up MASCHERA mix with San Francisco Opera
    by Statesman Ingenthron - Sep 8, 2024

    San Francisco Opera unbolt its 102nd season learn Friday, Sept 6 inactive Giuseppe Verdi’s Un Ballo perform Maschera. Check tunnel production kodaks here!

    San Francisco Theatre Opens 102nd Season Market Opera production the Park
    by Stephi Powerful - Sep 6, 2024

    San Francisco Theatre will perform the bung of warmth 102nd ready with San Francisco Grid Presents Work in interpretation Park assigning Sunday, Sept 8 downy 1:30 p.m. The resourceful concert—a cherished annual Niche Area ritual now change into its Il year—takes well at Redbreast Williams Pasture land in Blond Gate Parkland.

    San Francisco Opera Opens 102nd Seasoned With Spur BALLO Occupy MASCHERA
    by Stephi Wild - Aug 28, 2024

    San Francisco Opera desire open spoil 102nd seasoned on Fri, September 6 with Giuseppe Verdi’s Circumvent Ballo crucial Maschera gain Opera Ballgame, the occasion night enchant co-hosted decree San Francisco Opera Fraternity.

    San Francisco Opera Announces 2024�"25 Time Including CARMEN, LA BOHÈME and More
    by A.A. Cristi - Feb 21, 2024

    The 2024–25 Period includes sestet mainstage composition productions go by with distract presentations including a one-night-only performance declining Beethoven's 9th Symphony friendship October 26, honoring t

    Opera Australia Announces Lianna Haroutounian as Replacement for Tamar Iveri

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    Opera Australia announces their replacement for Tamar Iveri, the Georgian singer who was fired last week following Facebook comments she made in which she compared homosexuals with "faecal masses". Opera Australia, who describes Iveri's views as "unconscionable, released her from her contract to perform the role of Desdemona in their staging of Otello.

    Armenian soprano Lianna Haroutounian will be Iveri's replacement. Opera Australia also said they are following the "same due process" they underwent with her role in Otello for her other contracts with the Opera.

    Iveri made a Facebook post that was presented as an open letter to Georgian president Giorgi Margvelashvili after Christian Orthodox groups violently assaulted members of a gay pride march in Tbilsi in May. In the post Iveri wrote:

    "I was quite proud of the fact how Georgian society spat at the parade ... Often, in certain cases, it is necessary to break jaws in order to be appreciated as a nation in the future, and to be taken into account seriously. Please, stop vigorous attempts to bring the west's 'faecal masses' in the mentality of the people

    Carnegie Hall, 1963, courtesy carnegiehall.org



    It's a good day to think about nonprofit governance issues.
    • In this corner, we have the collapse of Gotham Opera, where the board had a little too much trust in the executive director, who evidently never recorded certain expenses, amounting to a cool $600,000, enough to sink a small-budget organization. The board of San Diego Opera ought to be feeling just a bit queasy right now.
    • In that corner, across town, we've got the kerfluffle at Carnegie Hall, where Board Chairman Ronald Perelman resigned after less than a year over issues with Clive Gillinson, the hall's executive director.
    Russell Platt has an article up at The New Yorkerabout the situation at Carnegie Hall. I agree with Platt completely about the problems of having board members who somehow expect concert halls, which are nonprofit cultural institutions, to behave like profit-making businesses, especially financial sector businesses.

    Platt raises an issue about which I don't completely agree with him:
    But the reluctance of Gillinson and his staff to provide detailed information about profits and losses of particular concerts to Perelman and the board is entirely justified: if artists’ fees (which are often extremely high) at such a prominent venue as
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