Nikos Engonopoulos has left his mark on the palimpsest of modern Greece’s identity with a work that has stood the test of time. Sharp poetic language, visual insightfulness, glorification of colours, freedom, bravery, and a “madness” for life and love. He passionately and obstinately defended the Surrealist movement, knowledgeably and boldly engaging in dialogue with tradition while always striving for continuous transcendence.
We borrow his verse “It’s not a time for poetry…” for a performance filled with music and poetry at the accessible monument of the Holy Monastery of the Dormition of the Virgin Mary in Torniki, near Deskati in Grevena. Sokratis Sinopoulos stamps his mark on the original music score and adds to the performance with his quartet. The primeval sound of the lyra blends with jazz and modern music.
Renowned actress Reni Pittaki and Kostas Vasardanis perform and converse with the musicians along the banks of the Aliakmonas River, bathed in a magical light against a backdrop of wildflowers, chirping birds, and water reflections.
Uprooting is a traumatic experience from the past that continues to affect us today, influencing entire generations and shaping the identities and stories of both individuals and societies. The musical and audiovisual performance Passages of Memory explores the timeless bond between Hellenism and expatriation. Through a combination of songs, storytelling, and digital audiovisual art, the historical memories and the pain of uprooting are evoked, transforming the songs into living documents of collective memory.
The music theatre performance Uncrafted Song: Alexandros Papadiamantis Among Us aims to highlight the timelessness of Papadiamantis’ work through a combination of both the phlegmatic and scholarly qualities of his language, showcasing its lasting relevance across different generations of Greeks—past, present, and future. The performance features orchestral and set poems by Alexandros Papadiamantis, Ilias Katsoulis, and Thomas Korovinis, texts by Alexandros Papadiamantis and Andreas Embiricos, as well as excerpts from Thomas Korovinis’ novel To angelokrousma –The last night of Mr Alexandros, accompanied by original musical compositions by Andreas Katsigiannis.
Flowers have been silent witnesses to acts of sacrifice since the dawn of time. In mournful songs, medieval ballads, and folk beliefs, eternal roses are born from tales of love and blood. From Narcissus and the roses of the Middle Ages to poppies (which symbolize remembrance for World War I, among other things), flowers shape, inspire, and lead us to new stories of our own through the stories they witness. From folk songs to medieval legends, flowers appear where sacrifice leaves an indelible mark on memory.
The Alcedo Folk Band guides us through a sound and narrative journey, where folk tradition meets contemporary musical creation. The Greek and European civilizations are bridged with precious elements from folk poetry, mythology, and medieval tradition.
In an era when time accelerates, the collective spirit is shattered, and lived experiences are replaced by information, the performance Io: On the Mountain of the Great Gods draws inspiration from and begins with the mystery of the island of Samothraki, exploring faith as a realm of ideas, conflicts, and connections. A contemporary rite of passage about the fire of our civilization, humankind’s inhumanity, and solidarity, inspired by Aeschylus’ Prometheus Bound. Starting from traditional wedding customs, we encounter a deserted Prometheus. The sacred wedding intended for the bride Io cannot be realized. None of the attendees knows the ritual anymore.
The Chorus leader sings about the failure of human societies and the pain of the Titan who is punished for the gifts he gave humanity. The musical compositions by People of the Wind provide the Chorus members with an opportunity to explore new interpretations of the myth and the story. Are there other ways of making connections beyond the ones we reproduce?
Within the walls of Its Kale, near Ali Pasha’s grave, five women tell the story of Lady Frosyni and the seventeen women who were murdered in the Lake of Ioannina. Four women, using only their voices, sing songs from Epirus while a performer portrays Frosyni, recounting the life she never lived, her dreams, and her experiences.
This dialogue unravels the thread of the story, leading to tomorrow, where the five women hope to live the life they were deprived of. In the end, Frosyni herself monologues about the beauty of life, asking for understanding for the mistakes she made while she was alive. Following the Epirus tradition, we witness a dialogue between music and storytelling, aimed at reminding us of events that could serve as inspiration and lessons today, while also bringing younger generations closer to the history of our land.
* The performance features the following pieces: “As soon as the wave falls asleep” (Traditional song from North Epirus), “I started to come one night” (Traditional song from Polytsani, Pogoni), “White cotton wool” (Traditional song from Polytsani, Pogoni), and “Come out, mother, see the sun” (Traditional song from Konitsa).
The musical performance Paroles: How Yesterday’s Songs Converse with Today by the music theatre ensemble Kata-Foni explores the institutional and social censorship of songs from 1930 to 1980. A modern musical ensemble meets a troupe “from the old days.” They discuss censorship, freedom of expression, and political correctness in songs.
The repertoire revolves around questions inspired by rebetiko songs, such as: What is a refugee girl thinking as she chews cinnamon blossoms? Why is there a black Ford waiting for Alexandra and Evlabia? How did malamatenia logia (“golden words”) sound during a night without a moon? Why will I close my eyes? How do operettas and rebetiko songs flirt with sexism, patriarchy, and surrealism? Lyrics, images, and sounds intertwine with live music and narration, filled with awkward silences and big talk (paroles). When rebetiko music composers Haskil, Vamvakaris, and Tsitsanis said “stop the big talk (paroles), I’ve made myself clear to you,” did they wonder if this big talk would ever be censored, altered, or remain intact, despite everything?
* Paroles: a word of Latin origin that is a synonym for “big talk” and “excessive talk.”
Manolis Mitsias invited the acclaimed Greek actress Karyofyllia Karabeti to join him in performing songs that reflect and inspire our collective memory, both in good times and during today’s dystopian era. This is a heartfelt tribute to poets who have contributed their verses to songs, taking us on a musical journey through the history and culture of modern Greece.
Unsurpassable Manolis Mitsias takes the stage alongside Karyofyllia Karabeti, who recites poetry and sings live for the first time. The performance features songs with lyrics by Nikos Gatsos, Odysseas Elytis, George Seferis, Yannis Ritsos, Manos Eleftheriou, and Lefteris Papadopoulos – all of them renowned poets who set the standards for exceptional Greek songs.
Inspired by remarkable poems by great Greek creators that they have set to music, the legendary band Ypogeia Revmata (Underground Currents) will give a special concert, showcasing all these exceptional and original compositions, both old and new, specifically adapted for this “secret” event. This concert is intended to lay a foundation for discussing, inspiring, and developing the logical connection between our classical heritage and contemporary artistic expression. At the same time, visual artist Rena Papageorgiou exhibits her works, which depict portraits of renowned Greek male and female poets in her uniquely abstract yet utterly respectful and intriguing style. The performers, along with the set poems and visual portraits, view the past as a creative source of inspiration for this tribute to poetry and artistry, through an atmospheric concert that will offer audiences a unique experience.
The first Governor of the Greek state returns to Nafplio today; he passes by St. Spyridon’s Church and proceeds to Palamidi, holding a letter in his hands. Three actors and a team of musicians create a modular show – a “music theatre Babylonia” – transporting us to the turbulent era of Kapodistrias. The performance revolves around texts based on original documents and dialogues from that time (Historical Memories by Nikolaos Dragoumis, Apologa about Kapodistrias by Georgios Tertsetis, Military Memoirs by Nikolaos Kasomoulis, Historical Anthology by Giannis Vlachogiannis, History of the Greek Revolution by Thomas Gordon, and more), as well as other original texts.