Amerikai Magyar Hírlap, 2003 (15. évfolyam, 4-49. szám)
2003-01-24 / 4. szám
MEDITATIONS by Rev. Bela D. Bonis Ph.D., Em. Prof, of Biomedical Ethics - Cal. State University, Long Beach None of us is immune to the enormous changes that are taking place in our world today. There are signs of cultural crisis that are challenging both the way in which we understand the Godworld relationship and the way we dwell humanly in the world. In recent decades, we have seen human intellectual creativity reveal its ambiguous and potentially lethal character through the double-edged sword of technical advancement. Nuclear technology, once touted as a boon to humanity, is clouded by its ability to totally destroy humanity and other life forms. Advances in medical technology have brought about ethical and legal questions that have no definite answers. Industrial technologies have resulted in severe disparities in the distribution of goods and severe threats to the natural environment. Computer technology and the World Wide Web have altered the way we do business and relate to others. Historically, the deep experience of evil in the 20th century - two world wars, the Holocaust, Korea, Vietnam, Afghanistan, Iraq, etc. - has shaken confidence in the Judeo- Christian belief in “salvation history,” in which the good will have the final victory over evil and its secular counterpart of a theory of progress based on human accomplishment and control of our destiny. The really true response to cultural and personal crisis is to courageously recognize that old forms are dying or become ossified in illusory absolutes and the grace of today is lost in amnesia, that a new paradigm for being in relationship to God, self, world has not yet fully emerged. Out of the abundance of love itself, however, the one holy mysterious God dares to become entangled in the threads of our world and our lives through human embodiment in Jesus Christ, who begins to unravel those threads that bind us in destructive selfrighteousness or debilitating guiltriddenness. His is a love that revels in feasting with outcasts in inclusive table community, touching and being touched by the unclean, feeding the hungry, blessing the children, and healing the sick. In friendship he speaks to the Samaritan woman of “living water”, in compassion he heals a man with a withered hand on the Sabbath day, breaking the social norms and rules of his day. Through these actions, he unravels the frozen patterns of living, and invites us to revision a new way of being in relationship with our selves, others, creation itself and with God. Hungary’s Philharmonic Tours Across U.S. BUDAPEST (AP) - On its first tour of the United States since 1985, the Hungarian National Philharmonic Orchestra seems to want to make up for lost time. The hectic two-month trip includes 39 concerts in 17 states. Now in its 80th year, the orchestra has seen its reputation grow since pianist Zoltán Kocsis took over as artistic director in 1997. Recent performances, including a 10-day tour of Germany in October, drew strong reviews. “This orchestra is a marvelous tool, able to respond with highly attractive colors and faultless replies to the infinite varieties of demands made upon it by the conductor,” said the French daily Le Monde. Top-heavy bureaucracy was trimmed in an effort to refocus on the musicians, instead of the communist-era apparatus that had grown up around them. A 300 percent increase in government funding for the ensemble a little more than two years ago translated into about $6.3 million last year alone. And in a controversial move, Kocsis mandated auditions for orchestra members; 26 musicians who didn’t make the cut were fired. Veteran bassoonist Sándor Tamas said those who passed felt pushed to a higher level. “It was a great challenge to play many very difficult solos in one session,”’ said Tamas, who joined the ensemble in 1976, when it was known as the Hungarian State Concert Orchestra. “But it gave our self-esteem a huge boost.’” The tour begins in Las Vegas and ends at the State Theater in New Brunswick, N.J., on March 11. Stops include major cities such as San Francisco, San Diego, Atlanta, Boston and New York, as well as venues like the Community Theater in Morristown, N.J., and the Center for Performing Arts in Opelika, Ala. “My whole artistic philosophy, my aesthetic values and ethical norms protest against giving attention to venues based on their significance,” said Kocsis, 50. He will conduct about half of the concerts, sometimes from the keyboard, while Zsolt Hamar will conduct the others. The repertoire includes works from the best-known Hungarian composers, Franz Liszt, Bela Bartók and Zoltán Kodály. “For us, it’s very important and a great responsibility” to perform national classics abroad, said cellist Rezsoe Pertorini. “For the audience, it can also bUfe great experience.” Kocsis, considered a foremost piano interpreter of Bartók, was also relying on the Hungarian masters to boost the orchestra’s morale during the more exhausting stages of the tour. “I’m curious to see what internal effects a Kodály performance will have on the orchestra, for example, in the middle of the second month,” Kocsis said. “I think there won’t be many dry eyes on stage.” After several years without new recordings, the Philharmonic is preparing three releases in 2003. One will include works from Claude Debussy and Maurice Ravel, another will be dedicated solely to Bartók, and the third will contain some of the orchestra’s best performances from the last year. “In the life of the orchestra, it is of great significance to finally tour America again,” Kocsis said. Reported by ELIA RAVASZ Trials and Tribulations of the Los Angeles Opera It’s not easy to find a substitute for Plácido Domingo Last week, L.A. opera officials announced that Domingo, superstar tenor and company artistic director, was suffering from a severe bronchial infection and would be replaced in performances through January 19 by Roberto Alagna, an ascendant young lyric tenor often referred to as “The Fourth Tenor.” It was the company’s second stroke of bad luck for these dates: The opera originally planned to present a concert version of Luciano Berio’s new orchestration of Monteverdi’s “The Coronation of Poppea,” but that opera was canceled when the Italian composer became too ill to complete the score in time. The company scrambled to find a replacement concert using the artists already booked for “Poppea” - including Domingo and Frederica von Stade - and a program that would fulfill the promise to present a Berio composition. The new concert includes Berio’s 1966 re-orchestration of Monteverdi’s “The Battle Between Tancredi and Clorinda,” along with Acts 3 and 4 of Massenet’s “Werther” and Act 4 of Verdi’s “Otelló.” And this was the third in a trio of misfortunes for the opera company this season: In August, the company canceled November performances of Kirov Opera’s “War and Peace” due to financial problems. That production was replaced by another Kirov opera, “Lady Macbeth of Mtsensk,” which ran into its own problems when the 10-day shutdown of West Coast ports prevented the sets, costumes and props from being unloaded in Los Angeles. The boat went on to Tokyo. Costumes had to be flown back to L.A. from Tokyo, and the sets had to be rebuilt from scratch. But just as opera officials were breathing a sigh of relief over concocting a suitable replacement for “Poppea,” Domingo came down with flu symptoms. In mid-December, he performed in a Three Tenors concert in Minneapolis but sang only in the medleys, skipping solo numbers. On Dec. 22, Domingo sang solo in a gala Christmas concert in Moscow, despite his illness. Alagna, personally telephoned by his friend Domingo, said yes of course, but he had to get a passport first, and flight tickets to get to Los Angeles from Paris. As for Plácido, he offered to direct part of the program, so as not to disappoint his fans. C3BO I Was Bom Hungarian O8E0 My soul's happy emotion My life's proud elation Is that I was bom a Hungarian In the woods of Szabolcs. Now, that I look back on it The banks of the Tisza River, Those sandy banks, The pride of my life Beats forever in my aging heart. I hear the music of the crickets Tell of the love of my country, The young and old equally Clasp their hands prayerfully. Let my lot be good or bad Here in this strange land. 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