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The Murderess, opera by Giorgos Koumendakis, based on the novel by A. Papadiamantis. © Vassilis Makris

Truth be told, without national productions it will be very difficult for opera to have a voice and develop. What is going on? Are works being written these days that select this type of expression within the performing arts? Can they co-exist with international developments and how? We are happy because the aspect of contemporary creation is one of the GNO’s major achievements in recent years. The opera The Murderess by Giorgos Koumendakis, based on the masterpiece by Papadiamantis, but also the ballet Journey to Eternity by Eleni Karaindrou and Renato Zanella are two wonderful examples that prove that contemporary Greek creativity is present in opera and, more importantly, that audiences follow it with a passion. Advanced discussions on the presentation of these works abroad, are a sign that they can also claim a place in international dramaturgy. Arte Povera and opera are, at first glance, incompatible values. Can ‘a lot be done with very little?’ We believe that artistic inspiration and care for its realization are more important than a massive budget for the creation of an artistic work (specifically an opera, operetta or ballet production). Of course, an opera production must have a budget but, within the framework of a difficult financial situation, all expenditure for our productions is placed under though scrutiny without this ever affecting our high artistic and aesthetic standards.

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g- the 15th volume of B. & E. Goulandris Foundation  

The bimonthly electronic journal of the Basil and Elise Goulandris Foundation

g- the 15th volume of B. & E. Goulandris Foundation  

The bimonthly electronic journal of the Basil and Elise Goulandris Foundation

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