Jasper Hope has shared his experience in the European cultural scene and has brought us through the creation process of a cultural icon in the Middle East.
About Jasper Hope:
Jasper Hope is Chief Executive of Dubai Opera, the city’s first purpose built multi-format performing arts theatre set to open in autumn 2016 in the heart of Downtown Dubai. With an iconic dhow shaped design rooted in Emirati heritage, Dubai Opera’s vision is to entertain and enrich Dubai’s residents and visitors, and be the definitive destination for quality entertainment productions and performances. Dubai Opera’s stage will host an incredible array of world-class talent, reflecting the dynamic and cosmopolitan population who live, work and visit Dubai. Prior to his role at Dubai Opera, Jasper held the position of Chief Operating Officer of one of the world’s leading cultural and entertainment destinations, the Royal Albert Hall in London.
read more on: Dubai Opera: triumph of Hope?
For more infos: http://dubaiopera.com/
Some recordings of Jasper Hope’s Salon:
What made you choose for DUBAI OPERA?
Young artists will definitely have a Place
What about a PROMS festival in Dubai?
The Design of DUBAI OPERA by Janus Rostock
What is the most difficult: being an artist or managing artists ?
Art can have a profound Effect
Jasper Hope’s portrait:
– My chalet in the Dunes – Opera armchair covered with red Royal Dutch Velvet – York – 100% cotton by Laquila atelier with gold embroidery in thuluth calligraphy by Mohammed Al Nouri, cousin embroidery ton sur ton (with DMC 4 coton retors mat pour tapisserie) by CharLes © 2016
on music « Underwood » by Ludovico Einaudi with Daniel Hope au violon.
« Come in, John, » Donally ordered… The man stayed put. « Maybe his name isn’t John, Brother. » « They’re all called John, » Donally said. He glared at me. « Depart from me ye cursed – » As I went I saw the cleaner crawling among the desks. In his kaki shorts and tunic he blended with the desks. I mean, you had to look twice. Cleaners, groundsmen, gardeners, you always had to look twice to see them. The school was kept going by a whole army of invisible black people who lived in a long barracks behind the crickets pavilion. They were there and yet they were not there. They had to appear in front of your nose to be noticed. As with visions, one had to be alone to see them: a shadow on the marble wall of the urinal; the khaki shirt flapping like a tent polishing the copper fittings; or overhead a bundle of rags suspended from the ceiling, cleaning the fanlight. If I stared they would stop and make a point of waiting until I looked away. After a while the implications of this dawned on me. They saw me before I spotted them, slithering like crabs at the far ends of the enormous red verandahs, crouching over brush and polish tin, or like nesting birds peering from the roof gutters, black bedraggled birds perching with specially formed flannel beaks on tall ladders, busy at the assembly hall windows, shining tiny sections of glass one pane a day, or like deformed beggars waiting on the other side of every door, backing away and hideously apologetic, clutching cans of Brasso and yellow dusters, or like crippled veterans of wars we knew nothing of leaning on their brooms and turning to watch as I climbed the narrow flights of stairs to my classroom. Trouble was once I’d begun to notice them, I couldn’t stop. They were everywhere.
Extract of – A Separate Development – by Christopher Hope
Salon organized with the support of:
Mr. Yahia Almanadili Mrs. Malini Gulrajani Mr. Charles Boghos Mr. Mohammed Kazem and Mrs. Cristiana de Marchi Mr. Dorian Pauwels
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