Good King Bahran Djour of Persia was moved by the laments of his most impoverished subjects. They called for music, and wished to celebrate like the rich. Bahran Djour asked his father-in-law, King Shankal of Kanauj, who lived in the high valley of the Ganges, to send 12000 musicians. When they arrived, the King provided them with a means of living off the fat of the land, giving each a donkey, a cow and a thousand bushels of wheat. After a year had passed, they appeared before him, starving. They had simply eaten the cows and the wheat. Annoyed, the king advised them to fit their instruments with strings of silk, mount their donkeys and take to the road - and henceforth earn their living from the music.Since their first migration westward, the gypsies, who probably arrived from India well before the year 1000, have made an unceasing contribution to our musical culture. Scapegoats wherever they go, victims of social rejection on the one hand and the romanticised imagery of literature and film on the other, the Rom continue to uphold their traditions, far from our technological and social upheavels, they nurture all the warms, profundity and sense of community of the Orient.
Barry is a talented mechanic and family man whose life is torn apart on the eve of a zombie apocalypse.
In this luminous tale set in the area around Sarajevo and in Italy, Perhan, an engaging young Romany (gypsy) with telekinetic powers, is seduced by the quick-cash world of petty crime, which threatens to destroy him and those he loves.
Gérard Mortier, the director of the Paris National Opera, was definitely taking a risk when he invited the Serb film director Emir Kusturica to create a new work here. Put simply, Mortier was also asking a traditionally conservative audience to embrace a so-called gypsy punk opera, with amplified orchestra and voices, pop-up décor, a flock of geese and a heavy dose of Balkan magical realism.