Panagiotis Karousos Conquered New York: The Triumphant Presence of the Internationally Renowned Composer and Baritone at the 2008 Diaspora Events

 

March 30, 2008, marks a milestone in the history of Greek culture in New York. The internationally renowned Greek-Canadian composer Panagiotis Karousos was at the center of the National Anniversary celebrations, receiving ultimate acclaim from the Greek Diaspora and the American public.

The Article in "Hellenic Canadian Tribune" (Friday, April 11, 2008)
The prestigious Hellenic Canadian Tribune, in an extensive feature titled "In the Context of the National Anniversary – New York's Diaspora Honored Panagiotis Karousos," recorded the chronicle of this historic success in detail:
"On Sunday, March 30, the Federation of Hellenic Societies of Greater New York presented the opera 'Prometheus' at the Stathakion Cultural Center to honor the diaspora composer Mr. Panagiotis Karousos, as part of the events celebrating the national anniversary of March 25, 1821.
The work, performed in English with soloists from the New York City Opera and the Astoria Symphony Orchestra, thrilled the audience with its intense lyricism and garnered warm praise for its creator, Panagiotis Karousos, in New York newspapers.
The composer, Mr. Karousos, was invited to perform a song for the unveiling of the statue of Aristotle at Athens Square Park in Astoria, in the presence of His Eminence Archbishop Demetrios of America, as well as Greek and American government officials. Mr. Karousos's impressive performance was repeated at Manhattan's 5th Avenue parade for our national anniversary of 1821, where he was loudly applauded by the thousands in attendance as he performed 'Famous Macedonia' and 'Forty Valiant Men' in the heart of New York.
The Greek Diaspora of New York has embraced the music of Panagiotis Karousos, and this marks the third consecutive year that a concert has been organized within the framework of the March 25th celebratory events and the grand parade on Manhattan's 5th Avenue, which constitutes the largest event of Hellenism outside Greece."

The Musical Masterpiece "Prometheus Bound"
The presentation of the opera in English, under the firm baton of conductor Grant Gilman and accompanied by the Astoria Symphony Orchestra, brought together a top-tier cast of lyric artists from the New York City Opera:

• Martin Fischer, baritone (Prometheus)
• Mary Elizabeth MacKenzie, soprano (Io)
• Elspeth Davis, mezzo-soprano (Bia – Goddess Athena)
• Nathan Baer, bass (Oceanus – Zeus)

In tandem with the Hellenic Canadian Tribune, the reputable newspaper Patrides added: "This musical creation by the well-known artist has previously impressed music lovers regardless of their origin and cultural traditions... and deeply enthusiastic crowds filled the audience."

Moments of Emotion at Athens Square
At Athens Square Park in Astoria, during the unveiling of the Aristotle statue, Panagiotis Karousos delivered a stirring rendition of "Famous Macedonia" before Archbishop Demetrios. This performance was so captivating that the Parade organizers immediately requested him to participate as a "special" guest in the main celebratory event.

A Historic Triumph on 5th Avenue Before 150,000 Spectators
On April 6, 2008, the heart of Hellenism beat on Manhattan's 5th Avenue. In a magnificent parade broadcast live by the WWOR/Channel 9 network of the Fox group, Panagiotis Karousos made history.

The bass-baritone ascended to the official grandstand alongside the Mayor of New York, Michael Bloomberg. As soon as the Mayor concluded his speech, he warmly greeted the Greek artist. Karousos stepped up to the podium and performed the iconic anniversary songs "Forty Valiant Men", "O Gero Dimos" (The Old Dimos), and "Famous Macedonia", captivating a crowd exceeding 150,000 spectators.

Mayor Bloomberg's enthusiasm was such that he rushed to congratulate him personally. Attendees commented with awe that the Diaspora had not heard an opera baritone perform at the parade since the era of the legendary Metropolitan Opera protagonist, Nicola Moscona. During his stay, the creator also received congratulations from the Minister of Foreign Affairs of Cyprus, Mr. Markos Kyprianou, Member of Parliament Mr. Adonis Georgiadis, coach Alketas Panagoulias, and the President of the Federation, Mr. Nikos Diamantidis.

Through his music and voice, Panagiotis Karousos emerged as the ultimate ambassador of the Greek spirit in New York, offering the Diaspora one of the brightest pages in its modern history.

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Ο Παναγιώτης Καρούσος κατέκτησε τη Νέα Υόρκη: Η θριαμβευτική παρουσία του διεθνούς φήμης συνθέτη και βαρύτονου στις εκδηλώσεις της Ομογένειας το 2008

 

Η 30ή Μαρτίου 2008 αποτελεί σταθμό στην ιστορία του ελληνικού πολιτισμού στη Νέα Υόρκη. Ο διεθνούς φήμης Ελληνοκαναδός μουσικοσυνθέτης Παναγιώτης Καρούσος βρέθηκε στο επίκεντρο των εορτασμών της Εθνικής Επετείου, γνωρίζοντας την απόλυτη αποθέωση από την Ομογένεια και την αμερικανική κοινή γνώμη.

Το Δημοσίευμα του «Ελληνοκαναδικού Βήματος» (Παρασκευή 11 Απριλίου 2008)

Το έγκριτο «Ελληνοκαναδικό Βήμα», σε εκτενές αφιέρωμά του με τίτλο «Στα πλαίσια της Εθνικής Επετείου – Η ομογένεια της Νέας Υόρκης τίμησε τον Παναγιώτη Καρούσο», κατέγραψε με λεπτομέρεια το χρονικό της ιστορικής αυτής επιτυχίας:

«Την Κυριακή 30 Μαρτίου η Ομοσπονδία Ελληνικών Σωματείων Μείζονος Νέας Υόρκης παρουσίασε για να τιμήσει τον ομογενή μουσικοσυνθέτη κ. Παναγιώτη Καρούσο την όπερα "Προμηθέας" στο Σταθάκειο Πολιτιστικό Κέντρο μέσα στα πλαίσια των εκδηλώσεων για τον εορτασμό της εθνικής επετείου της 25ης Μαρτίου 1821 την όπερα "Προμηθέας".

Το έργο που ερμηνεύθηκε στα Αγγλικά με σολίστες από την όπερα της Νέας Υόρκης και την Συμφωνική Ορχήστρα της Αστόρια, ενθουσίασε το κοινό με τον έντονο λυρισμό του και απέσπασε ένθερμα σχόλια για τον δημιουργό Παναγιώτη Καρούσο στις εφημερίδες της Νέας Υόρκης.

Ο συνθέτης κ. Καρούσος καλέστηκε να ερμηνεύσει ένα τραγούδι για τα αποκαλυπτήρια του αγάλματος του Αριστοτέλη στο πάρκο Αθήνα της Αστόριας παρουσία του Σεβασμιότατου Αρχιεπισκόπου Αμερικής κ.κ. Δημητρίου, Ελλήνων και Αμερικανών κυβερνητικών παραγόντων. Η εντυπωσιακή ερμηνεία του κ. Καρούσου επαναλήφθηκε στην παρέλαση της 5ης Λεωφόρου του Μανχάταν για την εθνική μας επέτειο του 1821 που καταχειροκροτήθηκε από τους χιλιάδες παρευρισκόμενους ερμηνεύοντας στο κέντρο της Νέας Υόρκης το "Μακεδονία Ξακουστή" και το "Σαράντα Παληκάρια".

Η Ελληνική Ομογένεια της Νέας Υόρκης έχει αγαπήσει την μουσική του Παναγιώτη Καρούσου και είναι η τρίτη συνεχόμενη χρονιά που διοργανώνεται συναυλία μέσα στα πλαίσια των εορταστικών εκδηλώσεων για την 25η Μαρτίου και της μεγαλειώδους παρέλασης της 5ης Λεωφόρου του Μανχάταν που είναι η μεγαλύτερη εκδήλωση του Ελληνισμού εκτός Ελλάδος.»

Το Μουσικό Αριστούργημα «Προμηθέας Δεσμώτης»

Η παρουσίαση της όπερας στα αγγλικά υπό τη στιβαρή διεύθυνση του μαέστρου Grant Gilman και τη συνοδεία της Astoria Symphony Orchestra συγκέντρωσε ένα κορυφαίο καστ λυρικών καλλιτεχνών από την Όπερα της Νέας Υόρκης:

• Τον βαρύτονο Martin Fischer (Προμηθέας)
• Τη σοπράνο Mary Elizabeth MacKenzie (Ιώ)
• Τη μεσόφωνο Elspeth Davis (Βία – Θεά Αθηνά)
• Τον μπάσο Nathan Baer (Ωκεανός – Δίας)

Παράλληλα με το «Ελληνοκαναδικό Βήμα», η έγκυρη εφημερίδα Πατρίδες συμπλήρωσε: «Το μουσικό αυτό δημιούργημα του γνωστού καλλιτέχνη έχει εντυπωσιάσει και στο παρελθόν φιλόμουσους ανεξάρτητα καταγωγής και πολιτιστικών παραδόσεων... κατενθουσίασε δε τα πλήθη των θεατών».

Ρίγη Συγκίνησης στην Πλατεία Αθηνών

Στο Athens Square Park της Αστόρια, κατά τα αποκαλυπτήρια του αγάλματος του Αριστοτέλη, ο Παναγιώτης Καρούσος ερμήνευσε συγκλονιστικά τη «Μακεδονία Ξακουστή» ενώπιον του Αρχιεπισκόπου Δημητρίου. Η εμφάνιση αυτή ήταν τόσο καθηλωτική, που οι διοργανωτές της Παρέλασης του ζήτησαν αμέσως να συμμετάσχει ως «special» προσκεκλημένος στη μεγάλη γιορτική εκδήλωση.

Ιστορικός Θρίαμβος στην 5η Λεωφόρο ενώπιον 150.000 Θεατών

Στις 6 Απριλίου 2008, η καρδιά του Ελληνισμού χτύπησε στην 5η Λεωφόρο του Μανχάταν. Σε μια μεγαλειώδη παρέλαση που μεταδόθηκε ζωντανά από το δίκτυο WWOR/Channel 9 του ομίλου Fox, ο Παναγιώτης Καρούσος έγραψε ιστορία.

Ο μπασοβαρύτονος ανέβηκε στην επίσημη εξέδρα δίπλα στον Δήμαρχο της Νέας Υόρκης, Michael Bloomberg. Μόλις ο Δήμαρχος ολοκλήρωσε τον λόγο του, χαιρέτησε θερμά τον Έλληνα καλλιτέχνη. Ο Καρούσος προχώρησε στο βήμα και ερμήνευσε τα εμβληματικά επετειακά τραγούδια «Σαράντα Παλικάρια», «Ο Γέρο Δήμος» και τη «Μακεδονία Ξακουστή», καθηλώνοντας ένα κοινό που ξεπερνούσε τους 150.000 θεατές.

Ο ενθουσιασμός του Δημάρχου Bloomberg ήταν τέτοιος που έσπευσε να τον συγχαρεί προσωπικά. Οι παρευρισκόμενοι σχολίαζαν με δέος ότι η Ομογένεια είχε να ακούσει βαρύτονο όπερας στην παρέλαση από την εποχή του θρυλικού πρωταγωνιστή της Μετροπόλιταν Όπερα, Νίκου Μοσχονά. Κατά τη διάρκεια της παραμονής του, ο δημιουργός δέχθηκε επίσης τα συγχαρητήρια του Υπουργού Εξωτερικών της Κύπρου κ. Μάρκου Κυπριανού, του βουλευτή κ. Άδωνι Γεωργιάδη, του προπονητή Αλκέτα Παναγούλια, καθώς και του Προέδρου της Ομοσπονδίας κ. Νίκου Διαμαντίδη.

Ο Παναγιώτης Καρούσος, μέσα από τη μουσική και τη φωνή του, αναδείχθηκε ο απόλυτος πρεσβευτής του ελληνικού πνεύματος στη Νέα Υόρκη, προσφέροντας στην Ομογένεια μία από τις πιο λαμπρές σελίδες της σύγχρονης ιστορίας της.

Alexander the Great in China

 

In the age of modern technology, nothing remains hidden, my friends; thus, I am delighted to share with you today a truly remarkable surprise—one preserved in the work *Eskandar Nama* by Nizami Ganjavi (c. 1141–1209) and corroborated by Chinese historical records. According to the Persian poet, Chapter E 49 recounts that while Alexander was a guest at the palace of Emperor Kontarchan (historically identified as Huiwen Qin of the Western Qin dynasty), he enjoyed a banquet held in his honor, featuring fine cuisine and abundant wine. As soon as the musicians appeared and began to play, a stunningly beautiful concubine emerged; she played the harp and sang a magnificent composition before Alexander, instantly captivating him. Upon realizing Alexander’s feelings, the king immediately bestowed the concubine upon him. Nizami describes this event with literary mastery, implying that the young artist responded passionately to the Macedonian king's love. Research into Chinese records revealed that the woman in question was the concubine Mi Bazi (338–265 BC); she became the center of a massive scandal after giving birth to an illegitimate son whom she presented to her king as his lawful heir—a boy who grew up to become Prince Ying Ji, later known as King Zhaoxiang of Qin (325–250 BC).

Admittedly, the prince's date of birth is highly significant, especially when one considers that Arrian, in his *Indica* (section 21), records the departure from India as taking place on the 20th of the month of Boedromion in the eleventh year of Alexander’s reign (September 15, 326 BC); thus, the prince's birth the following year, in 325 BC, aligns perfectly in terms of chronology with Alexander's appearance at the Qin dynasty palace. Chinese history also records the machinations of the concubine Mi Bazi—aided by her brother Wei Ran, the commander-in-chief of the Qin forces—to secure the throne for her son. After eliminating his political rivals, Wei Ran enabled his nephew to successfully claim the throne at the age of just eighteen. The young ruler's mother—formerly the wife and subsequently the widow of King Huiwen of Qin—became regent, known as Dowager Xuan. She governed with great skill, appointing her relatives to key positions; however, upon coming of age, her son implemented sweeping reforms and devoted his energies to ceaseless warfare to preserve the empire's unity, as vassal rulers strove for independence. Yet, the catalytic presence of Alexander the Great within the heart of the Chinese realm becomes strikingly evident through the figure of Qin Shi Huang (259–210 BC), the First Emperor of China. These were groundbreaking choices that began during the reign of his father, who dared to defy the Chinese establishment at the time of his son's birth; he publicly revealed the boy's true name, thereby breaking a long-standing convention—akin to a taboo—that forbade disclosing the actual names of royal family members to the general public. Insights into the abandonment of this protocol are gained from a vast number of texts inscribed on bamboo slips, discovered in numerous vaulted Qin Dynasty tombs unearthed in the Shuihudi, Yunmeng, and Hubei regions by late 1975. 

Study of these texts revealed that the newborn boy had originally been given the name "Zheng Zhao." Later, however, the original name fell into disuse and the term "Duan"—meaning "In Place of Him"—became established. This was a neologism linked to the first ideogram of the Duan-yue tribe (which designated the Greeks of Bactria, or *Dayuan*) and alluded to the ruling class of the Xianbei tribe—the source of all subsequent Chinese emperors and aristocracy, as well as all high-ranking court and military officials. The change in protocol—publicly announcing a successor's lineage at the moment of birth—was viewed by the Chinese as an abomination; not only did it violate ancient traditional protocol, but it also signaled that their foreign rulers were poised to destroy their ancient culture.

Indeed, this shift began with the calendar, which was no longer linked to the constellation of the Great Dragon—and the human sacrifices associated with it—but rather to Ursa Minor, the new pole star; this star was connected to Huangdi (Alexander) in his roles as a solar deity and a reincarnation of the Buddha. Another significant milestone in the life of Emperor Qin Shi Huang was the simplification of the writing system; prior to the Warring States period, script styles had adhered to established artistic conventions found on bronze artifacts and inscriptions. However, this uniformity did not persist, leading to divergent script evolutions across different regions of the country, as the characters were inspired by the simple forms of familiar objects (such as animals and plants). This divergence became particularly pronounced among the common people, causing intellectuals of the era to label the resulting style "vulgar script." My friends, Emperor Qin Shi Huang also instituted the "Great Carnivals"—an ancient Greek custom honoring the god Dionysus—which were celebrated for the first time in Chinese history in 221 BC, the year of the country's unification. Although this festival had no fixed dates, it was associated with the granting of broad amnesties, bountiful harvests following long periods of drought, famine, and pestilence, sacrifices to the gods, and, above all, major military victories. Subsequently, the "Great Carnivals" were celebrated in the capital, Xi'an, under imperial sponsorship; the people would rejoice, consuming vast quantities of food and drink, and then either participate in the various parades held along the capital's streets or watch theatrical performances in specially erected tents. 

In addition to the aforementioned undertakings, the First Emperor funded the construction of the Great Wall and established a new military mindset based on training warriors in Macedonian-style strategic maneuvers and weaponry; this led his enemies to claim that he had adopted barbarian customs in his quest for victory. Unfortunately, however, many historians overlook these innovations, focusing instead on the burning of books—specifically those belonging to the "Hundred Schools of Thought"—and the execution of 460 scholars who refused to abandon their ideologies. 

As for the First Emperor's tomb, it has been a subject of intense archaeological debate since 1974, when the mausoleum was discovered "by chance" in his capital, Xi'an, beneath a mound 76 meters high and covering an area of ​​360 square meters. Archaeological finds surrounding the tomb include the Terracotta Army of 8,000 soldiers, 130 chariots drawn by 520 horses, as well as figures of acrobats, musicians, and others. Unfortunately, however, the main tomb remains undisturbed—ostensibly to avoid damaging the various precious objects buried within it, and compounded by the fact that micro-cameras (allegedly) detected high concentrations of mercury, 100 times above normal levels!!!

[See: Nicola Di Cosmo, The Northern Frontier in Pre-Imperial China // The Cambridge History of Ancient China , p. 961. Sellman, James D. "Master Lu's Spring and Autumn Annals," in Great Thinkers of the Eastern World, Ian Mc Greal, ed. New York: Harper Collins, 1995: 39]. [The Taoist Body, Berkeley: University of California Press. Originally published as Le corps taoïste: Corps physique, corps social, Paris: Librairie Arthème Fayard, 1979. The Writ of the Three Sovereigns: From Local Lore to Institutional Daoism, Hong Kong: The Chinese University Press, and Honolulu: University of Hawai'i Press. The Inner World of the Laozi zhongjing", in Huang Chun-chieh and Erik Zürcher (eds), Time and Space in Chinese Culture]. [See: Nicola Di Cosmo, The Northern Frontier in Pre-Imperial China // The Cambridge History of Ancient China, p. 961. Sellman, James D. "Master Lu's Spring and Autumn Annals," in Great Thinkers of the Eastern World, Ian McGreal, ed. New York: Harper Collins, 1995: 39]. Christina Priamou

Some researchers suggest that the life-sized style of China's Terracotta Warriors was inspired by ancient Greek art that spread to Asia after the death of Alexander the Great in 323 BC, though most archaeologists strongly disagree.

                          King Zhaoxiang of Qin

A Monumental Spiritual Alliance: Archbishop Sotirios and Maestro Panagiotis Karousos Forging a Living Beacon of Hellenism and Orthodoxy

 A Monumental Spiritual and Cultural Partnership in Modern Hellenism

The Orthodox Catechism in Rhymed Decapentasyllabic Verse: The Historical Collaboration of Archbishop Sotirios and Composer Panagiotis Karousos

On the occasion of International Greek Language Day (February 9th), celebrated under the auspices of UNESCO, we turn our attention to one of the most significant spiritual and cultural achievements of the Greek diaspora. The monumental collaboration between His Eminence Archbishop Sotirios of Canada and the internationally renowned Greek composer Panagiotis Karousos marks a brilliant chapter for Orthodoxy and Greek letters. The triple album "Orthodox Catechism" is not merely a religious work, but a living monument to the Greek language, captured in the traditional, Greek rhymed decapentasyllabic meter (the 15-syllable verse).

The Great Contribution to Orthodoxy and the Greek Language

Translating the dogmatic teachings of the Orthodox Church into poetic verse is an ancient tradition, which Archbishop Sotirios revived with absolute reverence. Through 38 poems written in the rhythm that nurtured Byzantium and our traditional folk songs, the Catechism became accessible, melodic, and deeply spiritual. The musical composition by Panagiotis Karousos gave wings to these verses, proving that the Greek language remains a universal tool for expressing high concepts, capable of moving future generations of the diaspora.

The Historical Recording in Montreal

The inspiration of the two creators was sealed in the studio with an iconic, high-standard production:

• The Studio: The historic recording took place in Montreal, at the modern studio of the Ukrainian-Canadian musician Ivan Zavada, who managed the audio engineering for the second and third CDs.
• The Edition: The work was released as a triple CD album by the Greek Orthodox Archdiocese of Canada, becoming a cherished heirloom for every Greek family.
• The Contributors: Panagiotis Karousos, with his robust and devout voice, delivered a powerful performance of the hymns as a baritone, while Archbishop Sotirios of Canada undertook the recitations of the texts with his characteristic spirituality.
• The Sacred Purpose: This production carried a profound charitable mission. The album was distributed to all Greek churches across Canada, with all proceeds donated entirely to support the charitable institutions of the Archdiocese, providing practical funding for Schools, Monasteries, Long-Term Care Homes, and the Theological Academy.

The Beginning of the Collaboration: The Patriarchal Hymn in Toronto

This historic journey began with another monumental milestone for the Greek community in Canada. It was May 1998, when His All-Holiness Ecumenical Patriarch Bartholomew made his official visit to the country. To mark this momentous occasion, Panagiotis Karousos set to music the official "Patriarchal Hymn," based on poetry written by His Eminence Archbishop Sotirios.

This masterpiece was performed during the grand Divine Liturgy celebrated at the packed Maple Leaf Gardens in Toronto. In an atmosphere of unprecedented national and religious uplift, 17 Hierarchs, 70 priests, and approximately 19,000 faithful bore witness to a musical and spiritual feast that remains unforgettable to this day.

The "Orthodox Catechism" and the "Patriarchal Hymn" stand today as shining symbols. They prove how faith and the Greek tongue, when united through the art of two great personalities, can build bridges that keep the Hellenism of the diaspora alive and inextricably linked to its roots.

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Archbishop Sotirios, hailing from Arta, Epirus, and deeply influenced by traditional folk songs and Epirotic heritage, composed a unique Catechism in flowing, rhymed 15-syllable verse, which also includes the magnificent oratorio "The Prodigal Son," set to music by the internationally renowned Greek-Canadian composer Panagiotis Karousos.

Through an extraordinary twist of fate, although Panagiotis Karousos traces his family roots back to Cephalonia, he was born in Arta—the birthplace of Archbishop Sotirios. Their paths eventually crossed in distant Canada, proving it was God’s will for these two great minds to meet and collaborate for the glory of Greek Orthodoxy, the revival of Byzantium, and the preservation of the Greek language within the religion of the Greeks.

The internationally acclaimed composer Panagiotis Karousos has also included the poem "Christianity" from the Rhymed Orthodox Catechism of His Eminence Archbishop Sotirios of Canada into his monumental Oratorio, "Light of Christianity." This brilliant integration seals their spiritual partnership in the most melodic way, highlighting the deep theological essence of the Catechism through the grandeur of classical ecclesiastical music.