ORIENT 2007 The International Festival of Oriental Music Artistic director – Peeter Vähi

The first ever concentrated show of oriental music in Estonia, a tradition going back to the year 1992, has brought the most authentic performers from India, Siberia, Middle East, Central Asia, Far East, and South East Asia. It is certainly a leading musical event in the Baltic States where music lovers can enjoy performers like Hariprasad Chaurasia, ensemble “Kodō”, Ravi Shankar, Anoushka Shankar, Jivan Gasparyan, ensemble “Huun-Huur-Tu”, Alim Qasimov, Burhan Öçal, Sevara Nazarkhan, Gyuto and Gyume Buddhist monks, etc. Keep a close eye on our website and advertising – the show goes on.

In Estonian / Eesti keeles 

Program in 2007

Wed May 2nd at 7 pm, Estonia Concert Hall, Tallinn
Thu May 3rd at 7 pm, Kuressare City Theatre, Saaremaa island (in co-operation with “Oma Saar”)
SEODO SORI, the ensemble of Korean folk songs (South Korea)


Yu Jisuk (vocal, artistic director), Jeong Hansoo (piri), Park Junyoung (janggu), Gil Deokseok (daegeum), Kim Seongkyung (gayageum-zither), Yi Nara (vocal, dance), Jang Hyoseon (vocal, dance), Ryu Jisun (vocal, dance), Ju Yeseul (vocal, dance), Lee Yujin (vocal, dance), Jeon Sohyun (vocal, dance)

Program: folk-songs from North Korea

Download: photo, Drummer of Seodo Sori Ensemble, jpg, 300 dpi, 1859 KB

FOLK SONGS FROM DAMARALAND (Namibia)
Damaraland Folk-Ensemble: Mutago, Dantago, /gomtere, Mai, Rise, Ecko (vocal)

Program: Kaise !nuse ha, Satsa ta ti /ami, Ek koop ‘n tikiese bier, Namibia !gai re, Tsura !hab ge, Sa /ami !a Sau te, Namibia #ou !a, and other folk songs. (!, /, # and ' in the titles of songs and names of singers sign the so-called clicking sounds in Nama / Damara language)

Download: Singer of Damaraland Folk Ensemble, photo by P Vähi, jpg, 300 dpi, 715 KB
Download: Damara Folk Ensemble, live recording from Orient 2007, fragm, 104 sec, mp3, 1980 KB

Thu May 3rd at 7 pm, Estonia Concert Hall, Tallinn

CHANT OF ARMENIAN CHURCH (Armen Andranikyan)

Program: Hor zham, Havun Havun, Ter voghormea, Bats mez Ter, Amen Hajr Surb, I Gerezman Harutselujn, Surb Surb

Armenian chant is the melismatic monophonic vocal art used in the liturgy of the Armenian Apostolic Church. Like Byzantine chant, Armenian one consists mainly of hymns. The oldest hymns were in prose, but later versified ones became more prominent, such as those by Nerses Shnorhali. The official book of hymns, the sharakan, contains 1,166 hymns. The source of the most traditional music is the liturgies at Echmiadzin, the religious center of Armenia.

Download: photo, Armen Andranikyan from Armenian Apostolic Church, jpg, 300 dpi, 6331 KB
Download: Armen Andranikyan, Armenian chant, fragm, live from Orient 2007, 163 sec, mp3, 3200 KB

ENSEMBLE “KILIKIA” (Armenia): Meri Vardanyan – qanon; Margarit Voskanyan – shvi, sring; Levon Torosyan – ud, vocal; Arsen Mirzoyan – tar; Vigen Baghumyan – dhol, zarb; Artak Asatryan – duduk, zurna
Armenian folk songs and tunes

Download: photo, Ensemble Kilikia, jpg, 300 dpi, 3730 KB
Download: Kilikia. Na mi naz uni. Live from Orient 2007, fragm, 142 sec, mp3, 2761 KB
Download: Kilikia. Folk tune “Chem Chem”. Live from Orient 2007, fragm, 176 sec, mp3, 3422 KB

JIVAN GASPARYAN (duduk, Armenia)
Armen Ghazaryan (tenor duduk), Vazgen Makafyan (bass duduk)
Program: Kele Lao, Eshkhemet, Hingalla, Mama, and other Armenian folk tunes

 
Download: Jivan Gasparyan, painting by Arsen Kljan, jpg, 300 dpi, 1840 KB
Download: Jivan Gasparyan Trio. Live from Orient 2007, fragm, 168 sec, mp3, 3267 KB
Download: Jivan Gasparyan. Mama. Live from Orient 2007, fragm, 97 sec, mp3, 1870 KB
 

Fri May 4th at 7 pm, Estonia Concert Hall, Tallinn

RECITATION OF THE HOLY QUR’AN
Hafiz Shamsher Alam (India)
Program: two first chapters of Qur’ān – al-Fatiha and al-Baqara

The Qur’ān (القرآن, literally ‘recitation’) is the essential sacred book of Islam. Muslims believe the Qur’an to be the scripture of divine guidance and direction for mankind, consider the text in its original Arabic, to be the literal word of God revealed to Muhammad over a period of 23 years, and view the Qur’an as God’s final revelation to humanity.
All Muslims must memorize at least some parts of the Qur’ān, in order to perform their daily prayers. To perform prayer, a mandatory obligation in Islam, a Muslim is required to learn at least some suras of the Qur’ān (typically starting with the 1st sura al-Fatiha). Until one has learned al-Fatiha, a Muslim can only say phrases like “praise be to God” during the prayer. The person whose recital repertoire encompasses the whole Qur’ān is called hafiz (‘reciter’ or ‘protector’). Muhammad is regarded as the first hafiz. Recitation (تلاوة) of the Qur’ān is a fine art in the Muslim world. There are several schools of Qur’anic recitation, all of which are permissible pronunciations of the Uthmanic rasm. Today, 10 canonical and at least 4 non-canonical recitations of the Qur’ān exist.
Sura al-Fatiha (الفاتحة‎, ‘>the opening’) is the 1st chapter of the Qur’ān. Its seven verses are a prayer for God’s guidance and stress the lordship and mercy of God. This chapter has a special role in traditional daily prayers, being recited at the start of each unit of prayer.

Bismillāhi r-rahmāni r-rahīm
Al hamdu lillāhi’ rabbi l-’ālamīn
Ar rahmāni r-rahīm
Māliki yawmi d-dīn
Iyyāka na’budu wa iyyāka nasta’īn
Ihdinā s-sirāt al mustaqīm
Sirāt al-ladīna an’amta ’alayhim ġayril maġ’dūbi ’alayhim walād dāllīn

In the name of God, the Most Gracious, the Most Merciful:
All the Praises and thanks be to God, the Lord of the Universe.
The Most Gracious, the Most Merciful.
Master of the Day of Judgment.
You alone we worship, and You alone we ask for help
Guide us to the straight way;
The way of those whom you have blessed, not of those who have deserved anger, nor of those who stray.

Al-Baqara (‘the cow’) is the 2nd, and the longest chapter of the Qur’ān with 286 verses. The sura’s name is in reference to an argument between the prophet Musa (Moses) and the Israelites over a cow they should sacrifice in order to know the murderer of a slain man. It appears to be one of the earliest suras to be mentioned by name in a non-Muslim written sources.

Download: The Holy Qur’an, fragm, 84 sec, mp3, 1688 KB

ALIM QASIMOV ENSEMBLE (Azerbaijan)
Alim Qasimov – vocal; Fargana Qasimova-Movlamova – vocal; Natiq Shirinov – nagara-drum; Rauf Islamov – kamancha; Eli Esger Mammadov – tar
Program: Mugham-improvisations and folks songs from Azerbaijan (“Getme-getme”, “Cahargah”, “Leyla”, “Innabi”)
Download: Alim Qasimov & Fargana Movlamova, live from Orient 2007, fragm, 176 sec, mp3, 3425 KB

Fri May 4th at 7 pm, Kuressare City Theatre*, Saaremaa island (in co-operation with “Oma Saar”)
Sun May 6th at 7 pm, Viljandi Culture House**
CHHODEN (vocal, dramnyen, yangchen, Bhutan)
Program: Folk songs from the Himalayan Kingdom of Bhutan “Jha Lha Tshering la”, “Luyang Tsawa”, “Menjong Tsenden”, “Pungthang Dechen”)
Download: Chhoden, photo by P Vähi, jpg, 300 dpi, 1840 KB

ENSEMBLE “KILIKIA” (Armenia): Meri Vardanyan – qanon; Margarita Voskanyan – shvi, sring; Levon Torosyan – ud, vocal; Arsen Mirzoyan – tar; Vigen Baghumyan – dhol, zarb; Artak Asatryan – duduk, zurna

Download: Chhoden. Jha Lha Tshering la. Live from Orient 2007, fragm, 80 sec, mp3, 1571 KB

Sat May 5th at 7 pm, Estonia Concert Hall, Tallinn
CHHODEN (vocal, dramnyen, yangchen, Bhutan)
Program: Folk songs from the Himalayan Kingdom of Bhutan (“Jha Lha Tshering la”, “Luyang Tsawa”, “Menjong Tsenden”, “Pungthang Dechen”)

HUUN-HUUR-TU (Tuva): Kaigal-Ool Khovalyg (hoomei guttural singing, igil, doshpuluur, khomus); Sayan Bapa (hoomei guttural singing, igil, doshpuluur, khomus); Aleksei Saryglar (hoomei singing, igil, khomus, kengirge-drum, duyug, khapchik, Tibetan bells); Radik Tyulysh (hoomei and sygyt vocal styles, byzaanchi, khomus, limbi)

The Tuvans, a South Siberian Turkic people who number some 150,000, preserve what are arguably some of the world’s oldest forms of music-making. What binds these forms together is their use of mimesis, or imitation for aesthetic purposes. By imitating or aesthetically representing the sounds of nature, human music-makers seek to link themselves to the beings and forces that most concern them: in the case of the Tuvans, domestic animals, the physical environment of mountains and grasslands, and the elemental energies of wind, water, and light. The best known genre of Tuvan music, hoomei (throat-singing), comprises what one might call a lexicon of musical onomatopoeia in which natural sounds are mimetically transformed into musical representations.
Huun-Huur-Tu (‘sun propeller’) has emerged as the foremost international representative of Tuva’s remarkable musical culture.
“The Tuvans will ride into your brain and leave hoofprints up and down your spine.” (The San Francisco Bay Guardian)
“It is unfamiliar yet very accessible, an other-worldly but deeply spiritual music that is rooted in the sounds of nature.” (The Chicago Tribune)
“When a Tuvan sings praises of mother and country, which is what a Tuvan usually sings, he often does it in three-part harmony. By himself.” (Los Angeles Times)
“Imagine cool, fresh air, high altitudes, the wild open spaces of the steppes, rushing rivers, singing birds, galloping horses, yurts, and a culture that combines Buddhism with shamanism, and then imagine that you hear the sounds of all these elements in the music. With a beat. That’s what it sounds like.” (Union News)
“The sound is peculiar, haunting, hypnotic. It is a guttural, sometimes piercing sound of vocal chords burrowing into the flesh of mother nature. It is wind and rushing water and crumbling earth, it is called throat singing and masters of the technique are headed our way...” (The Gazette)
“The members of Huun-Huur-Tu are perhaps the best known practitioners of throat singing and accompany themselves on all manner of strange and wonderful instruments... The resulting sound is as compelling as a wild gallop across the steppes.” (The Oregonian)
“... Between verse come sounds that seem unlikely for either voice or string. They are high and whistling, like bird calls. Sometimes they are croaking, down toward the nether reaches of detectable pitch. Sometimes they have a pulsing, rolling quality sustained for lung-aching duration, sounds that seem to capture the essence of ever-flowing water and ever-blowing wind.” (The Washington Post)
Download: Huun-Huur-Tu, Ancestors / Prayer, live, fragm, 102 sec, mp3, 2042 KB
Tõmba alla: Huun-Huur-Tu, live from Orient 2007, fragm, 169 sec, mp3, 3291 KB
Download: photo, Ensemble Huun-Huur-Tu, jpg, 300 dpi, 6185 KB

Sat May 5th, Riga, Latvia
CELESTIAL DANCERS
Ancient Khmer court dances performed by Apsara Arts Association (Cambodia)

Sun May 6th, Riga, Latvia
HUUN-HUUR-TU (Tuva)

Mon May 7th and Tue May 8th at 7 pm, Estonian National Opera House (in co-operation with Estonian National Opera)
CELESTIAL DANCERS
Ancient Khmer dances performed by Apsara Arts Association (Cambodia): Chhay Sopha (leader), Chhem-Kieth Savary (managing director), Vong Metry (choregrapher), Lim Mala (vocal, percussion), Ek Sam An (vocal, percussion), Chhay Chanboramey (dance), Hay Sonika (dance), Keo Kanika (dance), Pich Thary (dance), Sam Sondimang (dance), Chhay Pichpanharith (dance), Un Siden (dance), Ou Soklakhina (dance), Sam Sambath (dance), Muy Sok Poa (kong thom gong-set), Tuy Sovannara (tro “violin”), Khon Sam Ban (roneat ek xylophone), Yith Chanthy (sampho-drum), Ek Sam An (roneat-xylophone), Sim Sonita (dance), Nob Sam Oeun (dance)
Program: Apsara dance, Coconut shell knocking dance, Mono Sanchet Tana, Fishing dance, The golden fish dance, Chhay-Yam dance, Pailin peacock dance, fragments from Indian epic “Rāmāyana”
Download: photo, Dancer of Apsara Arts Association, jpg, 300 dpi, 1437 KB

Aug 29th at 7 pm Culture Centre “Kannel”, Võru
Aug 30th at 7 pm Estonian National Opera, Tallinn
Aug 31st at 7 pm Jõhvi Concert Hall, Viru county (in co-operation with Jõhvi Concert Hall)

PURPLE BAMBOO MELODY
Tianjin Music and Dance Theatre (China)

Liu Xiaomei (leader of the group), He Peiqiong (choreographer), Chen Mei, Zhang Yali, Yin Haifeng (musicians), Mi Shouguo, Zhou Pengxiang, Li Qing, Kiu Baoxu, Li Mingrui, Ding Ling, Li Xiangyu, Guan Shan, Xia Jing, Cheng Shaoxuan, Ma Yue, Zhu Chenliang, Liu Yifeng, Wang Chen (dancers)

Program: Percussion music and dance (from Han dynasty), erhu solo “Moonlight In The Spring Water”, “Ladies With Peonies” (from Tang dynasty), “Beautiful Girls From Tianjin”, yang-chin solo “Spring Comes To The Riverside”, New Year Celebration, “Cradle On The Cow Back”, folk dance “Village Girls”, male dance “Emperor’s Generals” (from Qin dynasty), folk dance “Huian Girls”, suona solo “Bumper Harvest”, “Double Happiness” (from Qing dynasty), female dance “Purple Bamboo Melody”

The used musical instruments:

The gǔqín (Chinese 古琴; literally ‘ancient string instrument’) is the modern name for a plucked 7-string Chinese zither. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as highlighted by the quote “a gentleman does not part with his qín or se without good reason,” as well as being associated with Confucius. The modern form has been standardized for about 2 millennia. The gǔqín is not to be confused with the gǔzhēng (古箏, another Chinese long zither also without frets, but with moveable bridges under each string. The gǔqín is a very quiet instrument, with a range of about 4 octaves. By tradition the qín originally had 5 strings, but ancient qín-like instruments with 10 or more strings have been found.

The trapezoidal yángqín (Chinese 揚琴) is a hammered dulcimer of Persian origin. The instrument was traditionally fitted with bronze strings, which gave the instrument a soft timbre. Since the 1950s, however, steel alloy strings (in conjunction with copper-wound steel strings for the bass notes) have been used, in order to give the instrument a brighter and louder tone. The instrument’s strings are struck with 2 lightweight bamboo beaters with rubber tips. A professional musician often carries several sets of beaters, each of which draws a slightly different tone from the instrument.

The suǒnà (Chinese 嗩吶) is a Han shawm or oboe developed from Central Asian surnay or zurna, from which its Chinese name probably derives. It has a distinctively loud and high-pitched sound, and is used frequently in Chinese traditional music ensembles, particularly those that perform outdoors. It is an important instrument in the folk music of northern China, particularly the province of Shandong, where it has long been used for festival and military purposes. It is still used, in combination with shēng mouth organs, gongs, drums, and sometimes other instruments, in wedding and funeral processions. The suǒnà has a conical wooden body, similar to that of the oboe, but uses a brass or copper mouthpiece to which a small double reed is affixed, and possesses a detachable metal bell at its end.

Download: video-clip, 14 sec, wmv, 1.900 KB
Download: audio-clip, 14 sec, mp3, 390 KB
In the frame of Cultural Exchange Program between the Ministries of Culture of China and Estonia

Download: flyer, pdf, 712 KB
Download: poster, pdf, 826 KB
Download: festival booklet, fragm, 50 p, pdf, 2830 KB
Download: video-clip, wmv, 20 sec, 2040 KB

Events in co-operation with Orient

Apr 26th at 6 pm, National Library (Tõnismägi 2, Tallinn)
Lecture (in Tibetan, translation into Russian) “Bodhicitta – the enlightened mind”
Lecturer – Ven Ontul Rinpoche (Tibet)

Oriental programs on Klassikaraadio (Classic Radio):
From Apr 30th to May 6th at 9.10 am – Oriental music
From Apr 30th to May 6th at 10.05 am – Oriental symphonic works
From May 1st to 3rd at 3.15 pm – “Ancient and Oriental”
May 1st at 9 pm and May 5th at 4 pm – Introduction to the festival by Peeter Vähi and Mirje Mändla
From May 2nd to May 8th at 8.15 – “Classic Morning”: introduction to the festival’s concerts

May 1st at 3 pm, Tammsaare Square, Tallinn – Damaraland Folk Ensemble

On Estonian TV:
May 3rd at 10.55 pm, and May 4th at 12.10 pm
“Kabuki – an art of movements” (2003, Bel Air Media / ARTE France)

May 5th at 1 pm, The Azerbaijan Cultural Centre of Estonia
Lecture “Islam and the Holy Qur’an” (in English) by Hafiz Shamsher Alam (India)

May 6th, Restaurant “Caravan”
Authentic Armenian and Caucasian cuisine – special degustation-menu

May 7th & 8th, Estonian National Opera
Photo exhibition “Cambodia” by Savary Chhem-Kieth

May 9th at 4 pm, Tallinn University
Lecture (in English) “Buddhism in China during Qing dynasty”
Lecturer – Tatiana Pang from St Petersburg Institute of  Oriental Studies

Organizers:
Tiina Jokinen – management director
Elle Himma – assistant producer
Piret Mikk – design

Photos: ERP’s archives, V Efimov, P Vähi

Special thanks: Estonian Cultural Endowment, Estonian Ministry of Culture, Estonian Ministry of Foreign Affairs, Tallinn City Government, Seo Jinseok, Tallinn Armenian National Society, Frank Ludwig, Bilal Chapri, Urmas Paet, Kerli Veski, Kadri Lepp, Nijazi Hadzijev, Alexander Cheparukhin, Kamran Məmmədzadə, Tiit Pruuli, Tiia Teder, Paul Himma, Aigar Ojaots, Leela Lilleorg, Aivar Trallmann, Li Zhenhua, Liao Wendan, Eike Eller, Madis Järv, Paul Himma, Piia Tamm, Peeter Salmela

Press release:

Его называют живой легендой армянской музыки... 3 мая Дживан Гаспарян, гость фестиваля “Oриент”, выступил в Таллине. Публика устроила маэстро настоящую овацию. (Tamara Unanova, Den Za Dnem, 18.05.07, Estonia)

На этот раз устроители решили ввести одно новшество. Если на прошлых фестивалях можно было услышать экзотическую музыку дальних стран, то в этом году одно из направлений – музыка азиатских стран бывшего Советского Союза. В фестивале примут участие музыканты из Армении, Азербайджана, Тувы, а также из Кореи, Намибии и Бутана. (Anna Zvereva, Molodezh Estonii, 26.04.07, Estonia, whole article)

... aserbaidžaani vokaalvirtuoos Alim Kasimov koos oma tütrega. /.../ Nad kannavad edasi pärimust, mille on saanud oma vanematelt /.../ ja nii mitmeid sajandeid. Astudes sellisele pinnasele, ei ole nähtavasti enam kohta pealiskaudsusele, /.../ olin sama vapustatud, kuulates ka armeenia muusika suurkuju Jivan Gasparyani esituses /.../ laulu “Mama”. Lihtne lugu, kus 78-aastane mees laulab kogu oma elutarkuses 14-aastase poisi häälega. terve saalitäis rahvast oli väga intiimseks tunnistajaks ühele silme eest läbi jooksvale elufilmilindile. (Jaan-Eik Tulve, Muusika, 6/2007, Estonia)

... koraani retsitatiive kuulates sai küllap iga saalis viibinu kohe ka aru, et ta pole osaline mitte niivõrd kontserdil, kuivõrd vaimulikus rituaalis. /.../ eurooplase “hästitempereeritud kõrv” adus Shamsher Alami meloodiakäikudes küllap helirida, mis oli korraga nii mažooris kui minooris, olemata tegelikult kummaski. /.../ Qasimovi-Movlamova lauldud improvisatsioonid demonstreerisid tõelist ida vokaalkunsti kõrgpilotaaži... Pluss tõeline näitlejameisterlikkus, kuna ettekande juurde kuulusid ka aktiivne žestikuleerimine ja kehakeel kui selline. Oli selge, et meile etendatakse kolmel korral improvisatsiooniliselt musitseerides mingit konkreetset lugu, mis päädis tõeliselt ennastunustava ekstaasiga. (Igor Garšnek, Sirp, 11.05.07, Estonia, whole article)

... on “Oriendi” kavas absoluutsed tipud Armeeniast, Aserbaidžaanist ja Tuvast: duduki-legend Jivan Gasparyan, mugaamilaulja Alim Qasimov ja ülemheli-lauluansambel Huun-Huur-Tu. /.../ Meile teadaolevalt leiab Koraani surade retsiteerimine kontserdilavalt aset Eestis esmakordselt. Võib-olla pole “konsterdilava” päris õige määratlus, sest hafizi esinemise ajaks viiakse Estonia kontserdisaalist välja toolid ja tuuakse sisse vaibad, luues sellega sarnasuse mošee sisemusega. (Eesti Ekspress, 12.04.07, Estonia, whole article)

Publikuhuvi silmas pidades kutsuvad jazzi-, vanamuusika ja isegi õllepidustused oma programmidesse Aasia päritolu artiste. /.../ Tihti on pakutava hulgas läänemaiseid nimetusi kandvad hübriidnähtused nagu world music, cross culture ja muu selline kraam. Püüdes säilitada kindlat kohta Balti regiooni kontserdimaastikul, on “Oriendil” üritatud järgida 15 aasta jooksul kujunenud autentset suunda. (Sirp, 27.04.07, Estonia)

Stalinilt kella saanud muusik Estonia laval. /.../ Jivan Gasparyan on üks intrigeerivamaid figuure idamaise muusika maailmas. Varakult orvuks jäänud, algselt pooliku haridusega, “inetust pardipojast” on saanud tänapäevane elav legend, keda oma muusika ja saatuse poolest võiks võrrelda The Beatlesiga ja kogu hipinduse guru Ravi Shankariga. Nagu Ravi Shankar on ka Gasparyan vanusega saavutanud sellise jumaliku muusikalise täiuslikkuse, mis on ilmselt võimalik ainult tõeliste geenisute puhul. (Linnaleht, 27.04.07, Estonia)

Jälgisin /.../ tantsunumbrit ja arvasin (kuna polnud jõudnud kavalehte korralikult sirvida), et tegu on üsna “verise” kahevõitlusega. /.../ ülipaindlikud noormehed tegid hoope meenutavaid järske käe- ja jalaliigutusi, võtsid /.../ ähvardavaid kung fu poose ning langesid vaheldumisi dramaatiliselt põrandale. Ja alles pärast selgus, et too tants väljendas hoopis kahe nooruki “sügavat vennaarmastust”! /.../ Oli see nüüd lõiv nn kommertsiaalsusele või mitte, jäägu vaatajate otsustada. Ent kindlasti ei pidanud pettuma hiina autentse traditsioonilise muusika austajad, kuna kolmel korral esitati tantsudele instrumentaalseid vahemänge sellistel hiina rahvapillidel nagu erhu (kahekeeleline hiina viiul), yangqin (nuiakestega mängitav tsimbel) ja suona (läbilõikava kõlaga oboelaadne puhkpill). /.../ Virtuoosid olid nad kõik – iseäranis erhu’l pimestavalt improviseeriv Zhang Yali (kujutlege korraks “Hiina kimalase lendu”, aga kolm korda kiiremas tempos!) ja Yin Haifeng, kes oli lisaks veel eriline show-mees. (Igor Garšnek, Sirp, 07.07.07, Estonia)

See also:
Orient festivals
Orient 2009
Orient presents in 2008
Orient presents in 2006
Orient 2005 
Festival archives
Orient in Palmyra
“The Path To The Heart Of Asia”, the CD recorded with featuring musicians of “Orient ’92”

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