Sokratis Sinopoulos and Vasilis Kostas, two highly regarded Greek musicians with international acclaim, collaborate to create a dynamic and original musical performance called Swirling in the Aegean. The performance explores the potential of combining two musical instruments that bear a historical significance in Greek music, the lyre and the lute. Inspired by Mediterranean traditions and using original compositions and interactive improvisations, they create modern musical landscapes in real time, offering a unique listening experience.
The duo is accompanied by impressive live drawing by Soloύp, who captures and complements the stories and places that inspired the musical compositions. With his sketches he creates and destroys a story of images in real time, in front of the eyes of the audience, portraying it simultaneously with the music and in contrast to it.
The final result captures the fertile clash of the new with the old, as well as the creative contrast, interaction, and eventually blend of different musical traditions and styles into a harmonized ensemble.
A spatial performance based on Das Lied von der Erde by Gustav Mahler
A freestyle artistic venture about the existential connection between humans and nature. A healing promenade, almost like an afternoon walk. An almost primeval, inner, psychotherapeutic conflict that makes peace with the determinism of co-existence.
In the spatial performance The Song of the Earth, the ensemble musicians are positioned at key locations along the main walking path on the island of Agios Achilleios in Small Prespa Lake, performing solo pieces by Billone, Xenakis, Murail, Saariaho, Yun, Hosokawa and other composers. The walk will end at the location of the reconciliation ritual, the partially demolished niche of the Agios Achilleios basilica, with the performance of Mahler’s Das Lied von der Erde [The Song of the Earth], in Schoenberg’s arrangement.
The audience’s unconfined wandering across the natural landscape and their almost random encounters with solo musical snippets from modern music of the past few decades, places them in the spotlight, almost at the centre of a contrast. The more, however, they move forward, the more they realize that all that is made with empathy and respect can co-exist in harmony. The conflict is increasingly weakening. At the end of the path, as the sun sets and Mahler’s music echoes in the 10th-century basilica, the audience not only loves each other, but also themselves.
Vincenzo Cornaro’s romance Erotokritos takes on a fresh, more liberated form in a musical performance that incorporates story-telling and visual elements, allowing the audience to fully grasp its plot. More specifically, the music of the performance emphasizes modern, original musical compositions and a diverse arrangement. These are the outcomes of collaboration, teamwork, and intercultural interaction among the artists – a lasting feature of the Labyrinth Musical Workshop’s work.
Snow Whites is a performance for two narrators and a four-member instrumental ensemble. In this performance, three Snow Whites come together to discuss the pains of growing up, the cost of coming of age, and the gifts of the woods. Snow Whites, like all fairy tales, knows no language, religious, or cultural boundaries.
Relying on the most vulnerable of all musical instruments, the human voice, they cross over time and lands, undergo changes, and offer us wonderful versions of their story from the Balkans, Europe, and Africa. The magical fairytales are songs that pass down from one generation to another, each time dressed in the rhythms and melodies of the community of the story-teller who narrates them.
Lucrece, the most virtuous wife in the whole of Rome, ignites an illicit passion in Tarquin, the king’s son. After being raped, entrapped in the contradictory ethical demands of her time, she kills herself. Her suicide triggers the expulsion of the kings and the establishment of the Roman Republic. This is the version of the story, as told in one of the most well-known European legends.
William Shakespeare’s narrative poem The Rape of Lucrece highlights the clash between modernity and the earlier, compact, medieval world that is falling apart: it portrays the struggle of the new, independent thinker against the outdated arbitrariness of the lords. The male world of the countryside, wars, and unbridled power is contrasted with the female world of innerness, negotiation, and ethical boundaries. Inspired by Shakespeare’s Lucrece, six musicians, two actors, and a choreographer collaborate to create a music theatre narrative, blending speech and movement with musical improvisations and scores from the late Renaissance, early Baroque, and the 20th century.
The artistic conflict among Romantic composers, with its significant social implications, is brought to the foreground through a unique piano recital by George-Emmanuel Lazaridis accompanied by a live performance featuring original movement by two dancers onstage: Theano Xydia and Natalia Bika.
The performance The War of the Romantics will take the audience on a journey across the mid-19th century, focusing on the clash between the aesthetics of Johannes Brahms and Franz Liszt.
In this context, the programme will include two iconic pieces from the piano repertoire: Brahms’ Four Ballades and Liszt’s Sonata in B minor – two compositions that reflect two entirely different and possibly conflicting musical styles that were pivotal in shaping the future of music. The Bazeos tower, a 17th-century historical monument at the center of Naxos, will serve as the backdrop for a dialogue between music and body that will lead to their harmonious union.
Within the Greek-speaking villages of the Salento plain in Southern Italy lies a captivating tradition that intertwines myth with reality and still echoes to this day. It has to do with the cure of women affected by the bite of a poisonous spider. It is the phenomenon of tarantism.
The performance La tarantata by Encardia is inspired by the faces of women in the remote areas of Southern Italy and, by extension, by women on a global scale who bear the “conflicts” imposed on them by their immediate surroundings or society. The women as lovers, mothers, wives, refugees, or victims of war, objects of desire, or abandonment, the “tarantata” women…! And as the conflict transforms into a mental poison, these women “cast the evil away” and are led to redemption through an ecstatic dance, to the beat of healer-musicians. The performance comes complete by inviting the audience to participate in a redemptive dance with clear references to the tarantism phenomenon.
The Wondrous Story of Hor-Hor Agha is a shadow puppet music theatre performance inspired by the 1875 operetta Leblebici hor-hor agha (The Chickpea Seller). It features original music for two singers and musicians from the Oros Ensemble, along with a new reading of the work, focusing on the tensions between the present and a past that is forever gone.
Searching for his daughter in the streets of a big city, the central hero clashes with a strange and at first hostile world, while his journey leads him to a path of transformation. Expanding its technical boundaries, the shadow puppet theatre form (featuring Eirini Mastora) transforms into the stage setting of a contemporary fairy tale. The music creates the background of sounds where the characters develop, while the text establishes a new story by combining folk and art traditions, oral and written language.
Three vocal ensembles, Isokratisses from Greece, Lot Kurbeti from Albania, and Abagar Quartet from Bulgaria, invited by WOMO and the female vocal ensemble CHÓRES, leave their mark on the musical performance BALKANIA, unfolding their expressiveness and aesthetics through their local musical traditions.
The repertoire selection aims to highlight the intersections and differences among them, creating a diverse canvas of Balkan colours and polyphonic styles. The elements of conflict include highlighting and distinguishing each national identity through language, the differences in musical structure, instruments, and details in musical execution, as well as in aesthetics.
The unique characteristics and influences of each of the musical traditions featured in the concert reflect the historical background and the challenging experiences deeply rooted in the collective memory of the nations mentioned above, during the 20th century. They also mirror the political will that shaped both the form and impact of these traditions on a global scale. Within a context of cultural exchange, the concert gives space to the differences that bring out the musical diversity, distinctiveness, and individuality of each region.
The musical performance Mórtissa ki Alánis explores the theme of conflict by portraying the clash between two archetypal characters from rebetikο (Greek urban folk song) mythology: the “mórtissa” and the “alánis”. In an effort to evade stereotypes, the aim is to investigate a profound inner existential conflict, the failure of establishing an “ego” capable of accepting “another” as an equal.
Intercultural influences, the introduction of new morals and behavioural styles in the closed Greek society of the inter-war period, along with the struggle against one’s gender and the self-definition of sexuality that are subtly present in many compositions of the time, inevitably lead to a conflict of interests, which actually originates from a profound, internal, non-dialectic conflict. The solution does not arise by bringing together the antitheses, but by exceeding them, through the acceptance of an authentic “Ego” and the self-defined “other”.