Rembetiko Griechisches Ambiente im Restaurant & Gastgarten
Das Rembetiko ist ein griechischer Musikstil, der aus der Verbindung der Volksmusik Griechenlands und der osmanischen Musiktradition in den sich zu Beginn des Jahrhunderts in den Städten Athen, Piräus und Thessaloniki bildenden Subkulturen. Das Rembetiko (auch Rebetiko, griechisch ρεμπέτικο, Mehrzahl Rembetika) ist ein griechischer Musikstil, der aus der Verbindung der Volksmusik. Rembetiko ist ein griechischer Musikfilm des Regisseurs Kostas Ferris aus dem Jahr , dem es gelingt, das Wesen der Rembetiko-Musik anhand einer. Haben Sie Lust auf gutes, griechisches Essen in Wien? Ihr bestes griechisches Restaurant Rembetiko wartet schon auf Sie. Essen Sie mit uns! Unser Restaurant Rembetiko in Wien ist einer der ältesten griechischen Restaurants in Wien! Es erwarten Sie typisch griechische Gastfreundlichkeit.
Rembetiko ist ein griechischer Musikfilm des Regisseurs Kostas Ferris aus dem Jahr , dem es gelingt, das Wesen der Rembetiko-Musik anhand einer. Restaurant REMBETIKO. Brabeckstraße Hannover. Telefon: - E-Mail: [email protected] Das Rembetiko (auch Rebetiko, griechisch ρεμπέτικο, Mehrzahl Rembetika) ist ein griechischer Musikstil, der aus der Verbindung der Volksmusik.
At about the same time many of the old time performers—both singers and bouzouki players—abandoned the musical scene of Greece.
Some of them died prematurely Haskil, Ninou , others emigrated to the US Binis, Evgenikos, Tzouanakos, Kaplanis , while some just quit music life for other work Pagioumtzis, Genitsaris.
This, of course, created a void which had to be filled with new "blood". In the beginning the new recruits—like for example Dalia, Grey and Kazantzidis—stayed within the bounds of classical rebetica.
Soon, however, their youthful enthusiasm and different experiences found expression in new stylistic venues which eventually changed the old idiom.
This combined situation contributed, during the s, to the almost total eclipse of rebetiko by other popular styles.
The first phase of the rebetiko revival can perhaps be said to have begun around In that year the singer Grigoris Bithikotsis recorded a number of songs by Markos Vamvakaris , and Vamvakaris himself made his first recording since During the same period, writers such as Elias Petropoulos began researching and publishing their earliest attempts to write on rebetiko as a subject in itself.
From onwards prominent Greek composers such as Mikis Theodorakis and Manos Hatzidakis employed bouzouki virtuosi such as Manolis Chiotis, Giorgos Zambetas , and Thanassis Polyhandriotis in their recordings.
Many singers emerged and became popular during this period. It was during the s that the first work which aimed at popularizing rebetiko outside the Greek language sphere appeared [GH 2] and the first English-language academic work was completed.
During the s a number of older artists made new recordings of the older repertoire, accompanied by bouzouki players of a younger generation.
Giorgios Mouflouzelis , for example, recorded a number of LPs, though he had never recorded during his youth in the 78 rpm era.
The most significant contribution in this respect was perhaps a series of LPs recorded by the singer Sotiria Bellou , who had had a fairly successful career from onwards, initially under the wing of Tsitsanis.
An important aspect of the revival of the late s and early s was the element of protest, resistance and revolt against the military dictatorship of the junta years.
This was perhaps because rebetiko lyrics, although seldom directly political, were easily construed as subversive by the nature of their subject matter and their association in popular memory with previous periods of conflict.
Rebetiko in its original form was revived during the Junta of — , when the Regime of the Colonels banned it. After the end of the Junta, many revival groups and solo artists appeared.
The recording proved an immediate success, despite the toning down of the lyrics. However, as a result, a new movement was set to take place in Greek music, and the once forgotten rebetes were finding themselves performing, in some cases for the first time in 30 to 40 years.
However, again references to drugs were cut out, and only mentioned in passing. Unlike the previous double LP, this one contained some of the original musicians, Bayianteras and Genitsaris in particular making an appearance on the album.
Today, rebetiko songs are still popular in Greece, both in contemporary interpretations which make no attempt to be other than contemporary in style, and in interpretations aspiring to emulate the old styles.
The genre is a subject of growing international research, and its popularity outside Greece is now well-established.
In , Vinicio Capossela released his music album Rebetiko Gymnastas. Greek emigration to the United States started in earnest towards the end of the 19th century.
American companies began recording Greek music performed by these immigrants as early as From the latter years of the second decade of the century there exist a number of recordings that can be considered as rebetiko, a few years before such songs began to appear on recordings in Greece.
The music industry in the United States came to play a particular role from the mids onwards in recording rebetiko lyrics which would not have passed the censors in Greece.
This phenomenon came to repeat itself during the period of the Greek military junta of — Releasing this album in Greece, with its overt references to various aspects of drug use, would have been impossible at that time.
It is worth noting, however, that the censorship laws invoked in Greece by Metaxas were never officially revoked until , seven years after the fall of the junta.
Even songs originally recorded with typical bouzouki-baglamas-guitar accompaniment could appear in Anatolian garments. After WWII, beginning in the early s, many Greek rebetiko musicians and singers traveled from Greece to tour the United States, and some stayed for longer periods.
Rebetiko rock is a music genre that fuses the elements of rock music and rebetiko. Hard rock and the Greek folk music are also a major influence on rebetiko rock.
The name of each artist is followed by their major instrument s as found on recordings, and the main period s of their musical activity on records.
Years of birth and death are given when known. Much rebetiko is issued in Greece on CDs which quickly go out of print.
Since the s a considerable number of high quality CD productions of historical rebetiko [DM 1] have been released by various European and American labels.
The following select discography includes some of these historical anthologies, which are likely to be available in English speaking countries, plus a few Greek issues.
All are CDs unless otherwise noted. The emphasis on English-language releases in this discography is motivated both by their consistently high sound quality and by their inclusion, in many cases, of copious information in English, which tends to be lacking in Greek issues.
See however link section below for one Greek source of historic CDs with website and notes in English. From Wikipedia, the free encyclopedia.
This article is about the Greek music genre. For the film of the same name, see Rembetiko film. Minore from Smyrna.
See also: Music of the Greek immigrant community in the United States. Yiorgos Batis. Marika Ninou.
Kostas Roukounas. Ashgate, Spottswood . Kounadhis  and notes to all issues in the discography. Athens, Kentro Lexikologias, p.
Leyden, p. Doctoral thesis, Acta Universitatis Tamperensis , Tampa, W , released on Col. W , Col. Harvey and Co.
Archived from the original PDF on Retrieved January 7, Komboloi, Athens, pp. Saqui Books, London, Museum Tusculanum Press, University of Copenhagen, Journal of Modern Greek Studies, Vol.
Petersburg Times. Retrieved October 19, Sing Out. Archived from the original on 5 November Retrieved 21 January Abatzi G. Asikis Y. Batis D.
Bayianteras S. Bellou G. Chasavetis M. Chiotis A. Dalgas L. Daralas A. Delias R. Eskenazi S. Gavalas M. Genitsaris S. Haskil A.
Hatzichristos K. Karipis A. Katinaris G. Kavouras G. Mitsakis A. Nikolaidis M. Ninou G. Ogdontakis S. Pagioumtzis M. Papagika G.
Papaioannou V. Papazoglou S. Peristeris S. Perpiniadis K. Roukounas D. Semsis K. Tomboulis P. Toundas I. Tsaous P. Tsaousakis V. A well-off grocery store owner and his outspoken right hand, who are head over heels in love with their neighbours, are about to have their ambitious plans crushed when the girls' true sweethearts put in an appearance at a joyous event.
Holed up in a decrepit Athenian mansion, a quartet of handsome pariahs wait for something to happen in their lives.
As the state tightens the noose on them, the shotguns have the final say. Is this the sad swan song of the sweet bunch? During the dark years of the German Occupation in Greece, the mysterious disappearance of a cherished tomcat throws a destitute factory worker straight into the bowels of Kommandantur, to taste firsthand the oppressor's lavish hospitality.
Greece, Fascist, Nazi, and Communist conflict, as seen through the eyes of a family of travelling provincial players.
Athens, In the tumultuous years of the Greek military junta, an unconventional couple is torn between the complexities of love, life, and the suffocating pressure of fragile societal relations.
Will they survive one another? The story of a group of Rembetes, singers and musicians of the Greek equivalent to the blues, in the early decades of the 20th century, seen through the eyes of a young female singer.
In Greece, Rembetiko had always been known as the music of the outcasts. Even the dance that is normally associated with it, Zeimbetiko , occasionally looks like some kind of ritualistic act of defiance, to those ancient Greek deities, who for their own amusement, are constantly interfering with all our lives, creating Tragedy, Comedy, Pathos and Irony.
It had traditionally been associated with Greek refugees from the west coast of Anatolia, who for various reasons, had become dispossessed and were now confined to living their lives under the lower step of the Greek urban social order, engaged in a life style that was considered borderline at best, in more ways then one.
The time depicted in this film, covers a period in Athens from about This was a time of tremendous transition and instability for the entire Greek nation.
Most of them ending up in Athens. In was in these overcrowded and economically and spiritually destitute conditions during the's, that the Rembetiko genre of music reached its height in popularity.
On to even more economic and political instability thru-out the 's. In "Rembetiko the movie" veteran Director Costas Ferris, much akin to a masterpainter, uses these historical events, by either showing or suggesting them, to recreate a background of a social order, that always seems to be on the edge of chaos and collapse.
Scenery, costumes, period piece trivia etc. The viewer will have little difficulty in the area movie pundits love to call "the suspension of disbelief".
Winner of the prestigious Silver Bear award in , and without question, one of the most absorbing and provocative films ever to come out of the Hellenic Republic, this is a story that works on many levels, from the superficially romantic and absurd to the exceedingly tragic and disturbingly profound.
This is especially true if one is familiar with the history and urban culture of contemporary Greece, during the early and middle years of this century.
This minute Hellenic "Once Upon a Time" for adults, is both controversial and unforgettable. The basic storyline may seem somewhat simplistic, but that simplicity is deceptive.
There is a great deal going on here that is not always plainly evident. Some of the events portrayed, are based upon the actual life experience of one Marika Ninou, who in reality, had in fact been a well known Rebetisis from that period.
A Rebetisis today, is simply a term used for a female singer of Greek Rebetiko music. However during the period in question, being called a Rebetisis had a connotation, that was somewhat more pejorative in nature.
The film follows the life experiences of the primary character, also named Marika, from the day of her unwanted birth and exceedingly difficult childhood, to her rise and eventual decline, as a popular Rebetisis, while still only in her mid thirties.
She is essentially a very complex character, who is driven by a blind ambition to succeed in her singing career, while simultaneously being sustained through every ordeal in her life, by nothing more, then an enormous strength of character along with an equally strong determination and will to survive.
However, in her quest to the top, she becomes increasingly self centered, detached and alienated, as both personal relationships and the overwhelming external events surrounding and affecting her life, spin quickly out of control.
Nevertheless finding a deep rooted empathy for her came easy and naturally. In the beginning of the film, Marika is a young women in search of artistic recognition for her music.
By the end of the film, in a final scene, that can only best be described as quintessentially Greek , she is, in a very curious and symbolic way, redeemed by it!
Sortiria Leonardou gives a Tour de Force performance as Marika, while the glorious and haunting original Rembetiko compositions of Stavros Xarhakos, permeate the entire production.
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