SUMMARY / RELATED TOPICS

Gran Teatro de La Habana

Gran Teatro de La Habana is a theater in Havana, home to the Cuban National Ballet. It was designed by the Belgian architect Paul Belau and built by Purdy and Henderson, Engineers in 1914 at the site of the former Teatro Tacón, its construction was paid for by the Galician immigrants of Havana to serve as a their community-social center. Located in the Paseo del Prado, its facilities include theatres, a concert hall, conference rooms, a video screening room, as well as an art gallery, a choral center and several rehearsal halls for dance companies, it hosts the International Ballet Festival of Havana every two years since 1960. Since its inception in 1838, Teatro Tacón had occupied the north-western part of the site bounded by Paseo del Prado and Calle Consulado and Calles San Rafael and San José, its auditorium hosted such European artists as Sarah Bernhardt. During the first years of Cuban independence when thousands of immigrants arrived in Cuba from Spain, a new building addition was constructed around the concert hall of Teatro Tacón.

Known as the Centro Gallego de La Habana, the building is decorated with sculptures by Giuseppe Moretti representing benevolence, education and theatre. The principal venue is the García Lorca Auditorium, with seats for 1,500 persons, it provides a home for the Cuban National Ballet Company, for other dance companies and musical performances. During the 19th and 20th century, performances that took place on its stage include: Ole Bull, Enrico Caruso, Fanny Elssler, Jenny Lind, Anna Pavlova, Antonia Mercé, Ruth Saint Denis, Ted Shawn, Teresa Carreño, Vicente Escudero, Maya Plisetskaya, Clorinda Corradi, Sarah Bernhardt, Carla Fracci and Alicia Alonso, as well as companies such as the American Ballet Theatre, the Royal Winnipeg Ballet, Antonio Gades ballet, the Ballet of the Colón Theatre of Buenos Aires, the Ballet Folclórico of Mexico, plus other ballet companies; the Centro Gallego a Baroque Revival building, was built around the old concert hall of the Teatro Tacón located at the corner of Calles of San Rafael and Consulado.

Architect Paul Belau, architect of the Presidential Palace, the U. S. firm Purdy and Henderson, kept the original theatre and built the Centro Gallego, a Baroque Revival style building addition that enlarged the support functions of the concert hall and introduced an elaborate system of circulation. The exterior of the original Teatro Tacón received a new stone facing to harmonize with the new exterior of the Centro Gallego. There is a group of four sculptures in white marble, part of a group of ninety-seven, by Giuseppe Moretti and Geneva Mercer representing charity, education and theater. A bronze sculpture was revealed in 2018 by the Cuban sculptor José Villa Soberónsculpture of Alicia Alonso in the lobby of the Gran Teatro; the sculpture is named Giselle after the romantic ballet that brought the legendary dancer to world fame. Giselle premiered in 1841 at the Paris Opera and is one of the main titles within the repertoire of the National Ballet of Cuba, it is therefore no coincidence. During the 19th and 20th century, performances that took place on its stage include: Ole Bull, Enrico Caruso, Fanny Elssler, Jenny Lind, Anna Pavlova, Antonia Mercé, Ruth Saint Denis, Ted Shawn, Teresa Carreño, Vicente Escudero, Maya Plisetskaya, Clorinda Corradi, Sarah Bernhardt, Carla Fracci and Alicia Alonso, as well as companies such as the American Ballet Theatre, the Royal Winnipeg Ballet, Antonio Gades ballet, the Ballet of the Colón Theatre of Buenos Aires, the Ballet Folclórico of Mexico, plus other ballet companies.

The principal venue is the García Lorca Auditorium, with seats for 1,500 persons, provides a home for the Cuban National Ballet Company, for other dance companies and musical venues. Jacobo de la Pezuela. "Habana: Edificios de Recreo: Teatro de Tacon". Diccionario geografico, estadístico, historico, de la isla de Cuba. 3. Madrid: Mellado. El Gran Teatro de La Habana es una de las más importantes instituciones culturales de América Latina. Radio Habana Cuba Article on The Great Theatre of Havana at the Wayback Machine The Great Theatre of Havana at the National Ballet of Cuba homepage Purdy and Henderson, Engineers Teatro Tacón

Mohammad Nosrati

Mohammad Nosrati is an Iranian Football player. He plays for Oxin Alborz in the Azadegan League. Nosrati started his career at Aboomoslem, he left the club to join PAS in 2001, he was one of many valuable players of Pas Tehran, finishing the 2003–04 season as Iran Pro League champions. There had been some notable interest shown in him from outside Iran—most notably he was linked to 2003 Croatian champions, Dinamo Zagreb, but rejected the offer citing that he wanted to play in a better European league, he dispelled speculation of which European team he would sign with when he signed a three-year extension with Pas in 2005. He played in AFC Champions League for Pas. After Pas Tehran was disqualified, Nosrati left the club and did not join the newly formed Pas Hamedan. On February 9, 2007 it was said Nosrati signed with Belgian League outfit R. E. Mouscron on a 5-month contract after a successful trial and passing medical tests, however the deal was not completed as terms and conditions could not be agreed on.

He won the league in his first and only season. In 2008, he joined Luka Bonačić's team, he played in most of the matches for Al-Nasr but it was reported that he was unhappy in the United Arab Emirates and wanted to move back to Persepolis. He joined newly promoted Iran Pro League club Tractor. Nosrati moved back to his old club in the UAE Al-Nasr in late January 2010, he stayed there for a season. He signed a contract with Persepolis on 27 June 2011, he was indefinitely suspended by the Iranian football federation for "immoral acts" after he squeezed his teammate Sheis Rezaei's buttocks during a goal celebration. His suspension was come to end on 26 December 2011. After his suspension he became the regular player for the team again but was named in transfer list after the end of the season and was transfer to his former club Tractor. At Tractor he was one of the key players of the team which became the runners-up in the league for the first time in the club's history, he helped the club win the Hazfi Cup in his second season at the club.

On 19 June 2014, Nosrati joined Paykan. As of 7 August 2014Assist Goals Nosrati made his debut for Iran in 2002 in a game against Jordan and since that moment has had a somewhat stable role in the squad. Labeled a talented youngster before that debut, he has made a balanced and overall good impression. After being one of the Asian Games 2002 gold medal winners, he was marked as a fixed defender in the national team despite being only 20 years old at the time, he was in irans squad in 2004 Asian Cup and scored an important goal against Oman in group stages in 92nd minute. He won the 2004 West Asian Football Federation Championship with Team Melli, he was among Iran's final squad for World Cup 2006. He played in 2007 AFC Asian Cup qualification and after a long injury played in 2007 Asian Cup, he played in 2014 FIFA World Cup qualification for Team Melli. He continued to be one of the regular players in 2011 AFC Asian Cup qualification, he played in 2011 Asian Cup. Scores and results list Iran's goal tally first.

As of 11 November 2018 Pas TehranIran Pro League: 2002–03, 2003–04, 2005–06 PersepolisIran Pro League: 2007–08TractorIran Pro League: 2012–13 Hazfi Cup: 2013–14CountryAsian Games Gold Medal: 2002 West Asian Football Federation Championship: 2004 AFC/OFC Cup Challenge: 2003 Mohammad Nosrati at PersianLeague.com Mohammad Nosrati at TeamMelli.com Interview with Khanevadeye Sabz magazine RSSSF archive of Ali Karimi's international appearances Mohammad Nosrati at National-Football-Teams.com

Enjoining good and forbidding wrong

Enjoining what is right and forbidding what is wrong are two important Islamic requisites from the Quran, "you enjoin what is right and forbid what is reprehensible", are considered positive roles in helping others to take the straight path and abstain from reprehensible acts. This expression is the base of the Islamic institution of hisbah, it forms a central part of the Islamic doctrine for all Muslims. It is explicitly referred to in two Ancillaries of the Faith in Shia Islam, commanding what is just and forbidding what is evil. Sura 3.104 translated by Abdullah Yusuf AliLet there arise out of you a band of people inviting to all, good, enjoining what is right, forbidding what is wrong: They are the ones to attain felicity.alternative translation: Let there arise out of you a nation who invites to goodness and enjoin What is right and forbid What is evil: They are the one's to attain felicity. Sura 3.110 translated by Abdullah Yusuf AliYe are the best of peoples, evolved for mankind, enjoining what is right, forbidding what is wrong, believing in Allah.

If only the People of the Book had faith, it were best for them: among them are some who have faith, but most of them are transgressors.alternative translation: You are the best community, raised up for mankind: You enjoin What is right and forbid What is evil, You believe in Allah. Other examples include: Sura 9, v.71 Sura 9, v.112 Sura 31, v.17 Abu Sa‘id al-Khudri reported that the prophet Muhammad said, "Whoever amongst you sees an evil, he must change it with his hand. If he is not able to do so with his tongue, and if he is not able to do so with his heart, and, the weakest form of faith". A standard medieval interpretation of this Hadith is, as Al-Nawawi had explained, that such passages of scripture had to be interpreted in accordance with established Shariah principles, such as the state's sole prerogative in declaring jihad.'Changing the reprehensible by hand,' or by compulsion, was the purview of the state alone.'Changing with the tongue' was the right of the ulama. Ordinary, individual Muslims should only reject the reprehensible with their hearts.

A person should have knowledge of what is considered wajib and haram in relation to interpreting the two requisites although in a broad-spectrum. Commanding what is just Rahim, Husein A.. Guidance From Qur'an. Mombasa: Khoja Shia Ithna-asheri Supreme Council. Ibn, Taymiyyah. Public Duties in Islam: Institution of the Hisba by Ibn Taymiyyah, Ibn Taymiyah, M. Holland. ISBN 0860371131. Cook, Michael. Commanding Right and Forbidding Wrong in Islamic Thought. Cambridge University Press. ISBN 978-0-521-13093-6. Amr-bil-Maroof