A singular “teacher” of both voice and life, Angelos Papadimitriou creates on stage a hybrid musical and visual universe where song, image, speech, and the body coexist, revealing—with humor and emotion—the complexity of human existence. Singing Lessons – Mr. Angelos is a live musical performance with a strong visual identity, in which language, image, body, and space come together as a unified artistic event. Papadimitriou, as the central performer, singer, and visual artist, inhabits the heart of a musical landscape where he sings, moves, and engages in dialogue with his own visual artworks, offering audiences a distinctive and memorable stage experience.
A poor shoemaker, on the coldest night of winter, goes out into the snow to collect the money he owes from some of his customers. On a street corner he finds a strange man, slumped and exhausted from hunger and cold. He decides to take him home and offer him clothes and food. From this point begins a chain of mysterious events, unexpected and amazing facts, that gradually give the answers to three questions: what is in the human heart, what has not been given to him to know and what people live by. The presence of the strange man will reveal to the shoemaker, but also to the others, the one and only truth, which is the answer to the question: “What people live by”.
Five performers, each with their own unique sound and personal story, climb into the attic carrying their individual musical worlds. As they try to coexist on the small platform, they create a delightful musical chaos of traditional, rock, rap, and classical music. They disagree, compete, push, and squeeze for space, only to discover common ground in the songs of their childhood—the songs that shaped them. They reimagine these beloved melodies through the musical styles they represent and enrich them with personal stories and memories, creating a lively concert that becomes a journey back to childhood. The new production by Patari Project is a musical-theatre performance filled with humor and a blend of classical, traditional, rock, and rap music, where the children of yesterday meet the children of today. Above all, it reminds us that in order to thrive in the world (or on a shared platform), people must learn to listen, coexist, and learn from one another.
“What do tears taste like?” In a story that balances on the edge between reality and fantasy, Anaïs, an introverted 9-year-old girl, discovers after the loss of her beloved grandmother that no tears flow from her eyes. Accompanied by a peacock, she sets off on a journey to a parallel world at the core of the earth, one that connects the past with the future. There, in the underground waters, she will encounter ancient forms and deities from other civilisations, and will try to solve the riddle that will restore the natural flow of the earth’s waters and reconnect her with the deep roots of her family. The waters of the world, held by the Goddess Anahita, depend on the tears of a little girl. Three girls, using objects that can be found in a child’s bedroom, will narrate this magical adventure – and together with the children in the audience, they will discover the interlinking thread that connects the sources of human emotion with the sources of the earth.
Based on “Poems and drawings to young children”, by G. Seferis
There was a girl from Samos
who stuck her right hand in the sand
and with her other hand
she was holding a star
this girl from Samos
Seferis’s five-line poems, written in the style of limericks, create a world of their own, wonderful and funny, where the most bizarre things can happen naturally. Small, self-contained stories, starring unlikely characters from different parts of the world – girls, children, men, young and old, one in each limerick – come to life in a musical puppet vaudeville show. Shadow theater figures and two-dimensional puppets of various sizes come to life behind, on and around an original folding shadow puppet screen.
A double bass on stage comments, interrupts and develops the action. At the same time, electronic elements, loops and processed recordings function as sound tracks for each place: Beijing, Cairo, Congo or Brazil, a coast of Samos or the banks of the Ganges.. Images, light and music, form a vivid and playful poetic universe, in full conversation with the surreal spirit of Seferis’ limericks.
MOUTH is a hybrid dance opera that places the spectator in a transitional world. The mouth as opening, passage, scream and song: a threshold where language dissolves and communication before language emerges. Meaning arises through breath, vibration, rhythm, and movement. Like the mouth of a river merging with the sea, it becomes a site of passage and transformation. Inspired by the existential landscape of Samuel Beckett’s The End, the work is built through a condition of rupture: a human in dissolution, suspended between memory and decay, body and mind, individual and collective. MOUTH weaves a parallel reality within this crack, where whispers and breaths open alternative modes of existence. It imagines a humanity exhausted by isolation and anthropocentric thinking, searching for new ways of being. Four performers with and without disability from the En Dynamei ensemble construct a modular narrative through dance and music made of human voices and cello. MOUTH unfolds as a practice of coexistence with rupture: a collective, ritual, and playful experience where fragmentation does not disappear but transforms into rhythm.
The fascinating life of the Greek composer of three continents and five seas unfolds through music and visual fragments, reflecting the essence of the era that shaped him. For composer Leo Rapitis, a child of a strange and liberated time—before the Nazi shadow covered Europe—found himself in the England of sensitive troubadours, Noël Coward, Ivor Novello, and musicals. He brought back to Greece (perhaps the first and only one to do so) something of the charm of interwar Britain.
An enigmatic figure of the Greek music scene during both the pre-war and post-war periods, Leo Rapitis wrote songs performed by Sofia Vembo, the Kalouta sisters, Nikos Gounaris, and Panos Visvardis. His music continues to boldly resonate today, with echoes of a hidden past. Did his audience at the time recognize their own passions behind his notes? His melodies, intertwined with historical moments and the emotional sensitivity of an entire era, remain alive—reinterpreted by contemporary artists and infused with new meaning in today’s musical landscape. Rapitis’s work proves that music, when in dialogue with history, becomes timeless.
Michalis Papapetrou—conductor, pianist, and director of the ERT Choir—undertakes to reintroduce the music of Leo Rapitis, shedding light on the composer’s personal journey through his songs: from Athens to Manchester, Palestine, New York, and finally to the Belgian Congo, where he ended his life under the mistaken belief that he had killed his lover.
The orchestration draws on the familiar timbres of the era, while adding a polyphonic ensemble that brings out the jazz elements of his music. Leo Rapitis’s story is deeply moving: a man initially forced by his family to follow a path that wasn’t his, but ultimately won over by music. The “Deconstructed Loom” becomes a symbol of this journey. This traditional weaving tool transforms into a space of liberation—the fabric unravels, the strings are revealed, and music finds its way again.
Following a dream that foreshadows disasters for her son, Queen Atossa of Persia is informed that the Persian army has been destroyed. Emerging from the underworld, her dead husband, Darius, explains the reasons that led to the defeat and urges them to stop the attacks against the Greeks.
In this new production, Aeschylus’ ancient drama converses with Samuel Beckett’s play, Happy Days. The performance draws upon Beckett’s masterful conception, creating a striking spectacle that employs Aeschylus’ poetry intact. The Queen of Persia, immobilized by the weight of her memories, gradually immerses herself in the burden of tragic past events. Sitting next to her, her deceased companion reads the devastating news in the newspaper.
This new piece reminds us that our past cannot be cut off from our future; they both co-exist intact within our present.
In the exhibition Model Collapse: Love you, bye, Maria Mavropoulou explores parallels between the human brain and artificial intelligence in terms of their decay process. The gradual loss of memories, as it manifests in cases of dementia or Alzheimer’s, is compared to the phenomenon of model collapse in artificial intelligence, where models are fed back with the data they’ve produced, leading to errors.
Following research on patients in the early stages of dementia, the artist documents personal stories and objects associated with their memories while conversing with artificial intelligence applications to comment on the distance between an individual’s contradictory subjectivity and the supposed objectivity of AI models’ data.
The exhibition is enriched by the dialectical relationship between the works and the archaeological findings showcased at the Archaeological Museum of Eretria, a par excellence repository of collective memory.
The work invites audiences to reflect on the significance of human memory and the role of technology in shaping our collective and individual identities.
The performance Hounds of Madness draws from Euripides’ The Bacchae, exploring notions of collectivity, ritual, and ecstasy. Through a dynamic blend of movement, voice, and music, the choreographic work brings forth the Chorus’s autonomous artistic status, reimagined as a collective of women who are bound by both tender support and sharp resilience.
Hounds of Madness is an invitation to engage in a transformative game that directly confronts the deep-seated fears within us. It asks urgent questions relevant to our increasingly fear-driven world: What truly unites us? What fuels our motivation? And what ultimately sets us free?
This production delves into one of history’s earliest fictional accounts of female bodily autonomy. Hounds of Madness brings together a diverse group of women with and without sensory and motor disabilities, a group that in Modern Greece struggles to find their place both within society and on the stage. Their presence mirrors the women of Thebes in Euripides’ play, who defiantly fled to Mount Kithairon to escape patriarchal control, emphasizing a shared spirit of defiance and liberation.
Α choreographic work that bridges the historical trace with contemporary readings on the role of women as subjects of resistance and emancipation of their bodies. A transcendent dance composed in a post-Bacchae universe.
*Many thanks to Katia Savrami, Christos Papamichael
* The performance will be accessible to individuals with visual and mobility disabilities. There will be a tactile guided tour before the start of the performance for blind and visually impaired people.