The first recital of a new season of the National Opera of Greece, relocated to the archaeological sites of the country, started on Saturday in Athens.
The Greek National Opera.
KEYSTONE
The voice of the mezzo-soprano Anita Rachvelishvili rises in the middle of the ancient columns and bounces on the facades at the foot of the Acropolis of Athens, the first recital of an unprecedented season of the Greek National Opera relocated to the sites archaeological sites.
“After all these months of long break (due to pandemic), this is the first time that I sing”, explains to AFP the Georgian singer, “very moved” to occur “in this incredible place” that is the Roman Agora in Athens.
“Only music allowed us to get through this difficult period,” she said during the dress rehearsal on Friday evening. “When the economy declines because everything stops, we must remember that (…) art nourishes our soul”.
The first concert of the season, Saturday evening, sends “a clear message of support for art to all governments who refuse to support it,” argues the Carmen de la Scala in Milan, already dressed as a Greek priestess.
Anita Rachvelishvili’s recital, broadcast live on the opera site, kicks off an unprecedented operation by the Ministry of Culture, in partnership with the National Opera of Greece and 10 other cultural organizations, aiming to revive some 70 archaeological sites dormant since the health crisis. And bring them back to the sound of operas, ballets and popular songs.
“Today, by this conjuncture so adverse that humanity crosses, we choose not to stay far from our audience (…) and to allow the economy of the spectacle to start again in a reassuring environment”, explains to AFP Giorgos Koumendakis, artistic director of the National Opera of Greece.
80% show intermittents
Because one of the conditions of the government operation “All Greece, one culture”, is the recruitment for each of the 111 performances of 80% of intermittents of the show. “To create jobs,” says Stella Angeletou, production manager of the Opera.
From the top of the fortress of Zante or that of Nafplion, the ancient stadium of Olympia, as on the site of Delphi or in the ancient theater of Epidaurus, will resonate until September 15 Greek operettas by Theophrastos Sakelarridis, folk dances and music traditional or a retrospective for the 95 years of the composer Mikis Theodorakis.
“A technological feat” organized in one month, reports Stella Angeletou, evoking the difficulties of hoisting a grand piano in the castle of the narrow village of Monemvassia or transporting to distant sites, sometimes by 20 minutes of walking under the sun cooking, lighting and sound equipment.
The works were also adapted and chosen according to the place. It was thus impossible to stage Puccini’s Tosca in the Odeon of Herod Atticus. He was preferred two successive opera galas, combining tunes and duets from Verdi to Giordano, Ponchielli and Puccini.
“Unnatural” health protocol
Another constraint of this post-containment season: setting up the mandatory distances on stage as for the spectators, “a very difficult and demanding situation, which goes against the very nature of the show”, adds Giorgos Koumendakis, who however welcomes have succeeded”. At the Roman Agora, the chairs have been spaced more than a meter apart, foot operated fountains supply hydroalcoholic gel and masks will be distributed at the entrance on Saturday evening.
In the presence of the President of the Republic Katerina Sakellaropoulou, the Minister of Culture Lina Mendoni will recall by way of preamble that “the supreme value of life is health”.
In a country relatively spared from the coronavirus, with 194 dead to date, Anita Rachvelishvili will sing Saint-Saens, Verdi and Bizet to thank an audience of health professionals and health authorities.
(ATS / NXP)
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