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Քանի սիրտս բաբախում է
Գիտե՞ք, որ Ազնավուրն իր Qui երգը գրել է Բուենոս-Աիրեսում, Hier Encore-ը՝ Մոսկվայում, Emmenez–moi-ն՝ Ճապոնիայից վերադառնալիս։ Ազնավուրն իրեն համարում է տարեց, բայց ոչ հնավանդ, գրում է անցյալի մասին, բայց այն քննում է առաջադիմական աշխարհայացքով։ Այս գրքում նա պատասխանում է իր անողոք քննադատների ու դեղին մամուլի մեղադրանքներին, պատմում, թե ինչպես ստացավ 2-րդ անձնագիրը եւ, ի վերջո, ինչու այդպես էլ թոշակի չի գնում։ Ազնավուրն իրեն հատուկ ոճով շարունակում է սրամտորեն, ինքնահեգնանքով եւ հումորով պատմել իր փորձի, ժամանակակից կյանքի մասին իր պատկերացումների, կյանքի,մահվան, սիրո եւ փողի մասին։
192 pages, Hardcover
First published October 1, 2013
22 people want to read
About the author
Charles Aznavour
72 books22 followersBeloved French chanson entertainer Charles Aznavour, who wrote more than 800 songs, recorded more than 1,000 of them in French, English, German and Spanish and sold over 100 million records in all, was born Chahnour Varinag Aznavourian on May 22, 1924, in Paris, the younger of two children born to Armenian immigrants who fled to France. His mother was a seamstress as well as an actress and his father was a baritone who sang in restaurants. Both Charles and his sister waited on tables where he performed. He delivered his first poetic recital while just a toddler. Within a few years later he had developed such a passion for singing/dancing, that he sold newspapers to earn money for lessons.
He took his first theatrical bow in the play "Emil and the Detectives" at age 9 and within a few years was working as a movie extra. He eventually quit school and toured France and Belgium as a boy singer/dancer with a traveling theatrical troupe while living the bohemian lifestyle. A popular performer at the Paris' Club de la Chanson, it was there that he was introduced in 1941 to the songwriter Pierre Roche. Together they developed names for themselves as a singing/writing cabaret and concert duo ("Roche and Aznamour"). A Parisian favorite, they became developed successful tours outside of France, including Canada. In the post WWII years Charles began appearing in films again, one of them as a singing croupier in Goodbye Darling (1946).
Eventually Aznavour earned a sturdy reputation composing street-styled songs for other established musicians and singers, notably Édith Piaf, for whom he wrote the French version of the American hit "Jezebel". Heavily encouraged by her, he toured with her as both an opening act and lighting man. He lived with Piaf out of need for a time not as one of her many paramours. His mentor eventually persuaded him to perform solo (sans Roche) and he made several successful tours while scoring breakaway hits with the somber chanson songs "Sur ma vie" and "Parce que" and the notable and controversial "Après l'amour." In 1950, he gave the bittersweet song "Je Hais Les Dimanches" ["I Hate Sundays"] to chanteuse Juliette Gréco, which became a huge hit for her.
In the late 50s, Aznavour began to infiltrate films with more relish. Short and stubby in stature and excessively brash and brooding in nature, he was hardly leading man material but embraced his shortcomings nevertheless. Unwilling to let these faults deter him, he made a strong impressions with the comedy Une gosse sensass' (1957) and with Paris Music Hall (1957). He was also deeply affecting as the benevolent but despondent and ill-fated mental patient Heurtevent in Head Against the Wall (1959). A year later, Aznavour starred as piano player Charlie Kohler/Edouard Saroyan in 'Francois Truffaut''s adaptation of the David Goodis' novel Shoot the Pianist (1960) [Shoot the Piano Player], which earned box-office kudos both in France and the United States. This sudden notoriety sparked an extensive tour abroad in the 1960s. Dubbed the "Frank Sinatra of France" and singing in many languages (French, English, Italian, Spanish, German, Russian, Armenian, Portuguese), his touring would include sold-out performances at Carnegie Hall (1964) and London's Albert Hall (1967).
Aznavour served as actor and composer/music arranger for many films, including Gosse de Paris (1961), which he also co-wrote with director Marcel Martin, and the dramas Three Fables of Love (1962) [Three Fables of Love") and Dear Caroline (1968) [Dear Caroline]. The actor also embraced the title role in the TV series "Les Fables de la Fontaine" (1964), then starred in the popular musical "Monsieur Carnaval" (1965), in which he performed his hit song "La bohême."
His continental star continued to shine and Aznavour acted in films outside of France with more dubious results. While the sexy satire Candy (1968), with an international cast that included Marlon Brando, Richard Burton and Ringo Sta
He took his first theatrical bow in the play "Emil and the Detectives" at age 9 and within a few years was working as a movie extra. He eventually quit school and toured France and Belgium as a boy singer/dancer with a traveling theatrical troupe while living the bohemian lifestyle. A popular performer at the Paris' Club de la Chanson, it was there that he was introduced in 1941 to the songwriter Pierre Roche. Together they developed names for themselves as a singing/writing cabaret and concert duo ("Roche and Aznamour"). A Parisian favorite, they became developed successful tours outside of France, including Canada. In the post WWII years Charles began appearing in films again, one of them as a singing croupier in Goodbye Darling (1946).
Eventually Aznavour earned a sturdy reputation composing street-styled songs for other established musicians and singers, notably Édith Piaf, for whom he wrote the French version of the American hit "Jezebel". Heavily encouraged by her, he toured with her as both an opening act and lighting man. He lived with Piaf out of need for a time not as one of her many paramours. His mentor eventually persuaded him to perform solo (sans Roche) and he made several successful tours while scoring breakaway hits with the somber chanson songs "Sur ma vie" and "Parce que" and the notable and controversial "Après l'amour." In 1950, he gave the bittersweet song "Je Hais Les Dimanches" ["I Hate Sundays"] to chanteuse Juliette Gréco, which became a huge hit for her.
In the late 50s, Aznavour began to infiltrate films with more relish. Short and stubby in stature and excessively brash and brooding in nature, he was hardly leading man material but embraced his shortcomings nevertheless. Unwilling to let these faults deter him, he made a strong impressions with the comedy Une gosse sensass' (1957) and with Paris Music Hall (1957). He was also deeply affecting as the benevolent but despondent and ill-fated mental patient Heurtevent in Head Against the Wall (1959). A year later, Aznavour starred as piano player Charlie Kohler/Edouard Saroyan in 'Francois Truffaut''s adaptation of the David Goodis' novel Shoot the Pianist (1960) [Shoot the Piano Player], which earned box-office kudos both in France and the United States. This sudden notoriety sparked an extensive tour abroad in the 1960s. Dubbed the "Frank Sinatra of France" and singing in many languages (French, English, Italian, Spanish, German, Russian, Armenian, Portuguese), his touring would include sold-out performances at Carnegie Hall (1964) and London's Albert Hall (1967).
Aznavour served as actor and composer/music arranger for many films, including Gosse de Paris (1961), which he also co-wrote with director Marcel Martin, and the dramas Three Fables of Love (1962) [Three Fables of Love") and Dear Caroline (1968) [Dear Caroline]. The actor also embraced the title role in the TV series "Les Fables de la Fontaine" (1964), then starred in the popular musical "Monsieur Carnaval" (1965), in which he performed his hit song "La bohême."
His continental star continued to shine and Aznavour acted in films outside of France with more dubious results. While the sexy satire Candy (1968), with an international cast that included Marlon Brando, Richard Burton and Ringo Sta
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Displaying 1 - 3 of 3 reviews
March 11, 2021
կյանքում չէի մտածել էս գիրքը կարդալու մասին ու էն, որ ինքը երբևէ կհայտնվի իմ մոտ
կարդացի. հահ թեթևոտ բան ա, մասնավորապես, եթե ցանկություն կա ծանոթանալու Ազնավուրի ներքին խոհերի, կյանքի ու մնացած ամեն ինչի հետ՝ սա լավ տարբերակ ա
բայց Պիաֆի ու Ազնավուրի մասերն ավելի շատ կուզեի, որ լինեին, որովհետև գրքում դրանք համարյա բացակայում էին ։/
կարդացի. հահ թեթևոտ բան ա, մասնավորապես, եթե ցանկություն կա ծանոթանալու Ազնավուրի ներքին խոհերի, կյանքի ու մնացած ամեն ինչի հետ՝ սա լավ տարբերակ ա
բայց Պիաֆի ու Ազնավուրի մասերն ավելի շատ կուզեի, որ լինեին, որովհետև գրքում դրանք համարյա բացակայում էին ։/
December 29, 2020
Ազնավուրն այս գրքում, կարծես չափազանց շատ է գրում մահվան մասին։ Ընդ որում, մահվանից չի վախենում, այլ ավելի շատ ափսոսում է, որ մահը մեր հնարավորությունների ամենահայտնի սահմանափակումն է, այն վերջնագիծը, որն անընդհատ մոտենում է։
Ինչպես միշտ գրում է հումորով, թախիծով, հիշողությունները տեղին շարադրելով և իհարկե, չձանձրացնելով։ Սամվելի փայլուն թարգմանությունն էլ ամբողջությամբ փոխանցում է ազնավուրյան գրի համն ու հոտը։
Ինչպես միշտ գրում է հումորով, թախիծով, հիշողությունները տեղին շարադրելով և իհարկե, չձանձրացնելով։ Սամվելի փայլուն թարգմանությունն էլ ամբողջությամբ փոխանցում է ազնավուրյան գրի համն ու հոտը։
November 12, 2020
J'ai trouvé ce livre intéressant dans le sens où il donne le point de vue d'un homme sur sa vie bientôt arrivée à son terme. Le livre passe à mon avis beaucoup trop de temps sur les critiques d'Aznavour et à la négativité, ce qui tranche avec le début du livre.
Displaying 1 - 3 of 3 reviews