Lisa Xanthopoulou in Izmir
Anadolu Ajansi 12.03.2011
The conductor Lisa Xanthopoulou has enchanted music lovers. As a woman in a male-dominated profession, she has encountered many difficulties and has been able to succeed only with a great deal of work.
On the occasion of International Women's Day, Greek conductor Lisa Xanthopoulou conducted the Izmir State Orchestra in the Ahmed Adnan Saygun concert hall. Bahar Birick was the violin soloist for the evening. On the programme were a piece by the female composer Ebru Güner Cambey, and the violin concerto by Cemal Recit Rey. After the intermission, the orchestra played Suite No.1 by J. Konstantinidis, and the Suite “Zorba” by Mikis Theodorakis.
Music lovers gave them a standing ovation.
Anadolu Ajansi interviewed Lisa Xanthopoulou, who has been in Izmir for five days.
Lisa Xanthopoulou.: “The city of Izmir is closely linked historically and culturally with the Greek people. I am greatly inspired by this. Even our cuisine and general outlook are very similar.”
In the world of classical music there are very few female composers and conductors.
L. X.: “In this sphere, which is dominated by men, female conductors have a hard time.”
She herself has had it hard and has had to push herself forward. In many countries she experienced doubts about her ability as a conductor, but after the first rehearsals the ice melted.
L. X.: “A woman is expected to stay at home and look after the children. I have experienced this repeatedly even in advanced countries. Few women become pilots, managers or bosses. I have come this far with great difficulty. The only way to develop as a conductor is to practice as a conductor. But to do this as a woman, you have to convince the people, who have the power to invite her for engagements. In comparison with male colleagues, she must work with greater conviction. On the other hand, the public is open, and happy and disarmed by the sight of a woman at the conductor's podium. The Izmir State Orchestra has the great opportunity to make every rehearsal at the concert hall. It is a very good orchestra. The members of the orchestra have received me most warmly and also given me 100% from the first rehearsal. The excellent concert hall, the skill of the musicians, and their lack of prejudice towards me as a woman have made my very happy.”
The director of the IZDSO said that he had wished to put on a special concert and that he was most fortunate in working with a female conductor to achieve it. The idea of performing the work of a female composer with a female conductor and a female soloist pleased the audience very much.
The Opera cannot be dependant on the State Theater of Northern Greece
ELEFTHEROTYPIA - 05/11/2007
"This Greek conducts with her entire being", wrote the German newspaper "Frankfurter Allgemeine Zeitung" in 2000 about Lisa Xanthopoulou , a conductor from Thessaloniki. Nevertheless, in her own words, she put a very promising international career "on hold" in order to assume the position of Artistic Director of Thessaloniki Opera.
She has conducted significant German orchestras such as the Berlin Symphony Orchestra, the Stuttgart Radio Symphony Orchestra, the Munich Symphony Orchestra, the Beethovenhalle Orchestra, the State Orchestra of Frankfurt (Oder), the Landeskapelle Eisenach, the New Brandenburg Philharmonic, the Nuremburg Symphony Orchestra, the Baden-Baden Philharmonic, and others.
Nonetheless, she returned to her birthplace and began to climb the 20 steps - one by one - that lead to the establishment of a full-fledged operatic organization. She is now in the third and last year of her contract with Thessaloniki Opera. And she is on "the third step", as she says.
She is the second German-trained artist at the helm of a cultural organization in this city, along with the Artistic Director of Thessaloniki State Orchestra, Myron Michailides, giving proof to the notion that German method, discipline, and austerity bring about good results.
On Friday, Lisa Xanthopoulou presented a series of events on behalf of Thessaloniki Opera, devoted for a second consecutive year to the goal of shaping the audiences and artists of tomorrow: the Opera's Educational Program for 2007-2008. It consists of musical education workshops, the opera Die Kluge of Carl Orff by young performers and the 2nd "Pes Opera" Festival, with performances, competitions, activities, etc.
She also announced the Opera's new production, opening on the 2nd of February, of a little-known opera by Ruggiero Leoncavallo, Edipo Re.
"But there will be only seven performances, as these were the only days available for the stage of the Foundation for Macedonian Studies, to be presented between two productions by the State Theater of Northern Greece", says Lisa Xanthopoulou. "Time and space remain our biggest problems," she notes, "inasmuch as, even if we had funds, we cannot prepare a major production in just two months". Accordingly, her main goal remains achieving independence from the State Theater of Northern Greece, which is also the wish of Nikitas Tsakiroglou.
On the road to autonomy
"For Thessaloniki Opera to be established and functioning properly it needs to become an actual entity, to have its own budget, staff and building. At the moment we are renting costumes because we do not have access to the seamstresses of the State Theater of Northern Greece, of which the Opera is a part." But the issue of autonomy seems to be heading in the right direction. "In February, a bill will be introduced in Parliament for the establishment of the State Opera of Macedonia-Thrace," she states. Until it is actually passed and implemented, Lisa Xanthopoulou's proposal to the Ministry of Culture is the separation of the Opera from the State Theater of Northern Greece, as an interim solution.
For the time being, funding has been increased to €850.000 from €760.000 and the balance has been provided by the "Politismos" - Culture and Civilization program of the Ministry of Culture, as well as European programs. "For Thessaloniki Opera to function as an organization it needs proper funding. For the production of Aida at the "Forest Theater", in the summer we had to rent absolutely everything and recruit external staff because we were not allowed to use any of the State Theater's technical crew. We had to hire workers, rent costumes and storage space; we were forced to bring in an orchestra from outside Thessaloniki, as both city orchestras were otherwise committed. This meant extra costs in terms of travel and hotel expenses and hospitality, for many days. An enormous cost for a production performed on only three nights, since the Forest Theater had been booked for other events already."
Despite all this, Lisa Xanthopoulou is optimistic when she sees the response of the public. "It is the people who will bring pressure to bear on our political leadership, so that the city can acquire a bona fide opera. And the people seem to want an Opera House in Thessaloniki." Something which, however, may take some time. "I'm used to delays. A beginning has been made, and there is no turning back."
CAPTION No.1:
German-trained Lisa Xanthopoulou gave up a very promising international career to become the artistic director of Thessaloniki Opera (foto)
CAPTION No. 2:
The children of Thessaloniki are introduced to opera through the various activities at the "Pes Opera" Festival (foto)
Sakis Apostolakis
GIUSEPPE VERDI - AIDA. The « Exotic Opera »
www.classicalmusic.gr, 28.08.2007
S.X.: Ms Xanthopoulou, how difficult is it actually for an artist to direct a cultural institution? Artistic directors are exposed to criticism. They rarely manage to satisfy everyone, rarely remain with an organization long enough to enjoy seeing the results of their efforts. Doesn't such a position require courage?
Lisa Xanthopoulou: It's true that the artistic director of such an organization in Greece is required to act as an accountant, economist, manager, diplomat, charismatic leader, lawyer, judge, psychologist, teacher, sociologist and prophet , impervious in body and soul to constant stress, as a deus ex machina, and much more - and all at the same time. The main concern that absorbs such a person is the constant responsibility to be taken for actions and decisions, mainly because, as you said, of constant exposure to criticism by just about everyone. I can accept any criticism as long as it is well intentioned and is intended to contribute to the improvement and the development of the institution which I direct and love. When the new administration took over Thessaloniki Opera, it was a completely subservient entity, housed in a small room, a separate but not independent part of a larger body, the State Theater of Northern Greece. Thanks to endless struggles, the Opera has now achieved some substantial progress. But the continuing dependence of the Opera on the decisions of the State Theater of Northern Greece is something that has exhausted us.
S.X.: Thessaloniki Opera is a pleasant surprise for our city, which is somewhat musically "deprived". What is your vision for this institution? Does it have a future in a country where classical music does not - it is said - receive the support it deserves from the State?
Lisa Xanthopoulou: The public of Thessaloniki is in my opinion the most demanding and discerning in the country. The cultural life of the city has grown in leaps and bounds in the last 15 years. Of course, the problem of a lack of a venue still remains, as well as the absolute necessity of adequate funding for cultural organizations, so that the cultural life of the city can continue to flourish, creating a tradition, a significant statement which is missing in regard to classical music. Thessaloniki and northern Greece need a permanent Opera House, and it is in this direction that current political will seems to be steadily bending. An Opera House should not be considered a dream, but rather as something quite self-evident.
S.X.: Allow me to say that, even though we are greatly impressed with the cast of AIDA (and we wish you much success), many people question the choice of foreign artists and are concerned that perhaps Thessaloniki Opera might well become an organization favoring foreign artists. Aren't there local young artists who could be recruited, rather than bringing in foreign performers?
Lisa Xanthopoulou: As I said before, I can accept criticism. This particular example is well-intentioned, as it encourages the employment of local artistic talent. Please believe me, though, when I say that this criticism is based on a lack of information. Those asking this question probably do not recall that last season, Thessaloniki Opera collaborated exclusively with Greek talent, both upcoming as well as renowned performers. Just look at the casts of the productions of Mozart's The Abduction from the Seraglio, Strauss' Die Fledermaus, and Orff's Die Kluge. In fact, in November 2006, we organized a master class, free of charge, with the participation of 30 young singers under the auspices of famous mezzo-soprano Christa Ludwig. Our educational program during the past school year introduced opera to some 7000 children. Recruiting foreign artists is often essential, due to factors that few people can even imagine. For example, it may well be that the Opera, while forced to wait for the approval of a venue, is unable to book the appropriate Greek artists in time, who then may no longer be available due to prior commitments to other cultural organizations. Perhaps a new cultural organization needs to look beyond its borders, something achieved through the participation of artists from abroad, and common practice at all opera houses throughout the world? There is absolutely no reason to feel that Greek artists are threatened by or are considered inferior when colleagues are recruited from abroad; many times the comparison is in their favor, or proves beneficial.
Sofia Xygala
1st "Pes Opera" Festival
City Portal, 8/5/2007
Our goal was to draw in children and young people, so that they could discover the magical world of opera for themselves, and we succeeded," said Lisa Xanthopoulou, Artistic Director of Thessaloniki Opera about the 1st "Pes Opera" Festival to Anastasia Grigoriadou and CITY magazine.
Is opera for children? Why, and what are the prerequisites?
The basic element of the multi-faceted art form that is opera is speech. Many of the libretti of the works have their roots in the world of fairy tales. If the plot of an opera can be followed and is appropriate, then its musical interpretation can easily reach children, who are always a good "conduit" for melody, harmony, and rhythm.
How was the educational program "Pes Opera" initiated? What was the idea, what was the goal? Is the educational program of Thessaloniki Opera important to you and why?
On the one hand, I believe that a viable independent musical theatre in the Balkans must educate its future audiences, on the other hand, such education about opera simply does not exist. Our goal was to draw in children and young people so that they could discover the magical world of opera for themselves, and we succeeded. Our ambition is to offer our still-young audiences intellectual yet unforgettable experiences. It is worth noting that all our educational activities are offered free of charge, since they are funded by the cultural program "Politismos".
What has been your experience up to now, the educational programs' first year? What was the response of the public, both young and old?
Well above our expectations! I would like to report on the number of visitors to our productions and the participation of children in the program, which, of course, was also enthusiastically attended by adults:
20 junior high school students participated in Thessaloniki Opera's workshop on the opera Die Kluge by Carl Orff, which you will see at the festival. They worked amongst themselves, as well as with the crew of the production, on direction, set, and costumes.
65 schools from Thessaloniki and the surrounding districts took part in the "Pes Opera" workshops.
300 children and young artists will appear at the Festival to display their talent and their love for this genre of music theater.
1500 children were introduced to the magical world of opera, in their own schools, by virtue of hands-on experience with opera provided by six specially trained performers-animateurs.
6000 children from Thessaloniki, the surrounding districts, and charitable institutions attended opera performances specially adapted for them.
What are your future plans for the educational programs of Thessaloniki Opera? How can these be best implemented?
We will continue our in-school educational workshops, since many schools that had requested to participate in the program unfortunately could not be included. As a matter of fact, we are planning to double the number of our animateurs, so as to be able to reach a greater number of schools every day. The best way to ensure a future for these workshops depends to a great extent on establishing a tradition for this type of program as well as the improvement in the collaboration between educators and the Opera.
Have you already worked with educators and others with regard to your educational and other programs? Do you intend to expand your collaborations and activities?
The Opera has already worked extensively together with the principal conservatories in the city, as well as with the deans of the universities and their music departments, with educational groups and associations, and has had the special support of the Municipality of Thessaloniki. The Opera has benefited greatly from its policy of reaching outward, communicating and collaborating with other cultural and educational bodies, especially since just a short while ago no one even knew of its existence.
In addition, we need to offer professional experience to the young. Up to now, this has only been possible by going abroad.
What can one see at the 1st "Pes Opera" Festival? To whom is it addressed?
Basically, it is a great celebration for children, combining games, performances, children's activities, surprises, as well as the communication of knowledge and experiences from the world of music theatre. It is not so much the artistic perfection of the production that is important, rather it is the creative efforts of 300 children. I believe that many adults have benefited and will benefit from our educational programs as well, inasmuch as they are often not much better versed in this art form than their children. I believe we will spot many adults in the hall where we will be presenting our new digital educational material, as well as browsing through our electronic opera guide for kids, and adults avidly playing the video game The Abduction from the Seraglio.
The events will culminate in a fireworks display that will light up the sky to the west of Thessaloniki!
Does the Festival aim to become an institution? What new form will it take? Are there examples of this kind of activity abroad?
Yes! That's why we named it the 1st Festival. The 2nd will be competitive and international. Such a grand celebration, a creative meeting of crowds of children and young people in the name of opera, a multi-faceted musico-theatrical happening by children for children will certainly be a major cultural event with an incalculable and long-lasting educational contribution. Similar ideas have been implemented frequently in many other countries.
Is there an audience for opera in the city of Thessaloniki? Is this audience large enough to support opera productions and performances? What could be done to support this audience and perhaps expand it?
The public of Thessaloniki is discerning, intellectually aware and demanding. It has shown its love for opera. If the Opera succeeds in acquiring its own "time and space" and its autonomy, its audience is guaranteed, especially since the citizens of northern Greece have tolerated the absence of such a cultural entity for so long, while even Tirana has an opera house.
Has Thessaloniki Opera solved its basic problems regarding lack of materials, technical staff, etc.? What are your main priorities? At this moment, what do you consider to be the greatest problem which you would like to see solved as soon as possible?
Thessaloniki Opera has evolved into a viable cultural entity, with a staff, organization, goals, and programming. Unfortunately adequate management and technical cover are still lacking, as well as a venue of its own, one not subject to the programming of the State Theater of Northern Greece. On February 23, 2007 its future autonomy was announced and its name changed to the STATE OPERA OF MACEDONIA-THRACE, under the proposal to be submitted by the Ministry of Culture. However, until this materializes, it is necessary for the State to come up with solutions so that the artistic integrity and function of the Opera is not totally dependent on the management of the State Theatre of Northern Greece. This separation is something the State Theater also hopes for, but without taking steps to contribute to any sort of progress.
The conductor Lisa Xanthopoulou speaks about the new production of Thessaloniki Opera
www.classicalmusic.gr, February 2007
Paris Konstantinidis: On February 10th, Johann Strauss' operetta Die Fledermaus will open at the Theater of the Foundation for Macedonian Studies. Would you like to tell us a little about the plot and the production?
Lisa Xanthopoulou: Die Fledermaus is the carnival disguise of Dr. Falke, who, drunk and abandoned by his friend Eisenstein, wakes up one morning in the street after an evening of carnival carousing. Falke takes his revenge on his friend for this prank a year later, exposing him to a series of unpleasant but amusing - for the audience - surprises.
Die Fledermaus is traditionally performed in Vienna and in theaters the world over during the Christmas and New Year holidays. Thessaloniki Opera decided to present it now because this is the time slot that the State Theater of Northern Greece granted us for the use of the Theater of the Foundation of Macedonian Studies - for the second consecutive year. The cast of this production is exclusively Greek; first, because the performance is in the Greek language, and second, because we want - to the extent possible - to work with artists from our own country. The director of our production is Zachos Terzakis and the sets and costumes are designed by Apostolos Vettas. The Thessaloniki Chorus is participating in a Thessaloniki Opera production for the first time, while, after many years, we are working with the Symphony Orchestra of the Municipality of Thessaloniki. The Municipality's Cultural Department is providing their staff musicians free of charge. And I must note that our collaboration has been excellent.
P.K.: Do you believe that today this work simply depicts the life of the bourgeoisie in the capital of the Austrian Empire, or does it contain timeless human values, insecurities, passions, weaknesses and ambitions?
L.X.: Yes, I believe it is absolutely timeless, as marital - even platonic - infidelity, the thirst for amusement, the need to forget daily drudgery, and the search for happiness are all here with us today. Though I must say that in 1870, the champagne parties and dances in three quarter beat provided a better quality entertainment than what we have today. Anyway the economic crash of that period drove the bourgeoisie to letting off steam through frenzied entertainment; something which I think also characterizes contemporary Greek society.
P.K.: What will be your approach to this operetta as far as direction, costumes, and sets are concerned? Will it be a classical approach or will you be emphasizing certain aspects? And why did you choose your approach?
L.X.: The directorial approach is classical; its purpose is to entertain, rather than to burden the audience with various hard-to-understand messages. On the contrary, the sets contain various riddles, which the spectators are called upon to decipher for themselves if they wish.
Most of the costumes come from the wardrobes of the State Theater of Northern Greece and the Opera itself, while the rest of them, as well as the sets, were produced in the workshops of the State Theater. For the music, we tried to remain true to the Viennese tradition.
P.K.: One could say that, in a way, the music forms a psychological outline of the characters. Would you like to briefly describe the character of the protagonists?
L.X.: Eisenstein is the arrogant, na¨ve, philandering husband, Rosalinde, his mature, clever but deceived wife. Alfred is the crazy, torrential tenor. Falke is the devious plotter of revenge. Frank is the uncouth, emotionally starved civil servant; Adele is the ambitious chambermaid, affected and sly. Frosch is the prison warden, always drunk and seeing double. Bild is the stuttering lawyer, Orlofski, the extremely wealthy, melancholy prince, and Ida, the naїve dancer.
P.K.: The maestro can either emphasize or play down certain aspects by the way in which he or she interprets the score. As a female maestro, how do you approach Rosalinde? Do you believe that a conductor's gender - bearing in mind other performances - can influence his or her interpretation?
L.X.: Gender is a biological issue; the music that flows through our veins knows no gender. My musical interpretation of Rosalinde, or any other character, for that matter, could never be influenced by the fact that I am a woman. When I am at the podium conducting the Csárdás, I am possessed by Greek perseverance and Hungarian passion...
P.K.: Tell us about Thessaloniki Opera. How was the institution created? What has it accomplished to date? What problems does it face?
L.X.: Thessaloniki Opera, before the new Supervisory Board and Administration took over, operated out of a small dressing room provided by the State Theater of Northern Greece for the activities of the Board and a secretary. Although battles were fought in order to establish this institution, one could never consider this cell of the State Theater as an organization in its own right. That's what we, the Supervisory Board, my colleagues, and I, are trying to achieve. Our goals are many, and we are trying to achieve them simultaneously, so that we can make Thessaloniki Opera autonomous as soon as possible.
The co-existence of the two entities (the State Theater and Thessaloniki Opera) under one roof, the scanty administrative and technical services available to the Opera - because of the absence of a clear legislative mandate - but above all, the fact that our artistic output and the time/space factor are decided by the Artistic Directorate of the State Theater are the main problems of our Organization, which we hope to solve in the not too distant future by perseverance; we have already proven ourselves to be very patient.
P.K.: Would you like to tell us about your educational program? In your opinion, how is it being received by the children?
L.X.: Within the framework of its educational program "Pes Opera", Thessaloniki Opera organizes a series of activities for children and young people in the city. These include performances for children such as Ravel's opera, L'Enfant et les Sortilèges which was performed in November 2006 at the Aristotle University of Thessaloniki in collaboration with the European Opera Center, and the performance of Mozart's opera, "The Abduction from the Seraglio" in the form of puppet theatre with the simultaneous appearance of live singers on stage at the Aneton Theater in December 2006. This production was offered free of charge to some 6000 students in our city and northern Greece, as well as to charitable institutions.
The program includes workshops for children in primary and secondary schools that take place exclusively on the premises of the participating schools. All activities are designed exclusively by age group, and attempt to take a multi-faceted approach to the musical form of opera from the perspectives of acting, sets, costumes, music and stage presentation, based on the Greek language adaptation of Engelbert Humperdinck's Hänsel und Gretel. It covers 15 hours of teaching over a period of three days. The animateurs of these workshops have been selected from amongst the specialized collaborators of the Opera, which also supplies all necessary materials.
Also included in the program is a workshop for high school students, giving them the opportunity through the medium of puppet theatre to learn about and experience the world of opera. This workshop is based on Carl Orff's opera Die Kluge and includes direction, set construction and costume design, as well as the manufacture and handling of puppets.
The "Pes Opera" program is co-funded by the European Union (Operational Program for Culture) and is under the auspices of the "Education and Culture" umbrella of the Greek Ministry of Culture.
One thing is certain, and that is that children are eager for these types of activities, which, in a simple and viable way, allow them to acquaint themselves with this multi-faceted musical genre. At the same time, they are given the opportunity to function as a team in a unique group art form, thus creating and developing their imagination. A positive indication that our efforts are successful is the number of high schools wishing to attend performances of Die Fledermau,s as well as the number of schools including opera in their end of year events.
P.K.: What can we expect from Thessaloniki Opera in the immediate future?
L.X.: Its autonomy, I hope. So much work, so much love, patience and perseverance must surely lead somewhere.
Paris Konstantinidis, Musicologist
"From the outset, we realized that Thessaloniki Opera needed to reach out, the public needed to see it as an institution and opera itself as an art form."
AYLAIA Magazine, 2007
- What priorities did you set in taking over the artistic direction of Thessaloniki Opera? What radical changes do you expect to initiate?
"The first important priorities of the new administration were the creation of work areas, the staffing of the organization, the payment of debts from previous productions, and seeking out ways to successfully communicate and promote our goal of reaching out. All of these were achieved when the State did respond and increased funding. In brief, Thessaloniki Opera existed as an institution, but not as a functioning organization. The Opera acquired an Artistic Director for the very first time in September of 2005. After the basic staffing was accomplished, we began our artistic efforts. We designed our educational program "Pes Opera". I felt as if I was starting from scratch when I undertook my responsibilities, everything were unstable, uncertain. Thessaloniki Opera was based on an idea, and on the superhuman and dedicated attempts of previous administrations to create the foundations for a future independent opera house in Thessaloniki. In February 2007, it was with great joy that we heard the then minister announce the start of discussions proposing a law for the establishment, within a reasonable time frame, of the Macedonia-Thrace Opera. I hope that this proposal will quickly be introduced in Parliament. As far as radical changes are concerned I personally believe that we cannot accomplish "dazzling miracles" on a regular basis as long as political will does not free Thessaloniki Opera from the constraints of the State Theater of Northern Greece, which now controls its artistic decisions inasmuch as it provides the permission for the use of venues and dates for performances. We are forced to stage events at various venues in the city which are not suited to the genre of opera."
- How much money is required to put on a production?
"In the state that Thessaloniki Opera finds itself today - since it does not have its own singers, its own orchestra, its own choir, its own services or its own space - our production costs are entirely based on outsourcing. This is an enormous amount of money, which will usually have to be paid for a mere six performances. In addition, the administrative and technical support provided by the State Theater of Northern Greece to Thessaloniki Opera is minimal, requiring much of the budget to be channelled towards freelance collaborators. It is definitely worth noting the fact that we are still being funded with a mere 4% of the amount of funding received by the Greek National Opera in Athens."
- Where do you find funding? Is the State your source?
"When we took over, the State doubled our funding, but it still remains inadequate. However, the government does show a constant interest in our institution. As of this year, we are actively soliciting sponsors."
- Do the Greeks have the requisite musical sophistication to allow them to follow and understand a musical genre as difficult as opera?
"Difficult, no, unfamiliar, yes. Certainly, a general comparison of the classical music traditions in other countries to our own, which is minimal, shows that Greece has made great strides over the latter half of the 20th century. Many Greeks have spent time abroad in the past decades and broadened their experiences. However, comparing our country to say, Germany, would be unfair, since that country has a tradition in opera going back five centuries."
- Which of the best-known operas are favored most by the public?
"The Greek public responds enthusiastically to operas which have music pleasing to the ear and libretti full of intense action and excitement. Most of all, they love the composers of neighboring Italy."
- Who are your favorite composers?
"I have countless favorite compositions, not composers. Masterpieces have been written throughout the centuries; however, Romanticism, Post-Romanticism, and Impressionism are the periods which I can relate to best. Also, if I absolutely had to choose one composer, I would have to speak of that last precursor of Romanticism, Ludwig van Beethoven, who invigorates me whenever I study him."
- How many works have you conducted and which has been the best moment of your career?
"I really can't calculate the number of works that I have conducted. I have conducted concerts and operas. Some of the happiest moments of my career have been the recognition of the sacrifices I have made in arriving where I am today, although there have also been particularly intense moments of musical excitement in rehearsal and on stage. Tears of joy do appear when I work together with performers whose talent is overwhelming. At such moments, I thank God for giving human beings this unique gift of communication, music."
- What does conducting mean to you?
"Conducting means coordination. The conductor has the final responsibility for the interpretation of a work and its true and correct execution. This means being very well prepared, even knowing the work slightly better than its very composer ...Such knowledge, together with the inspired coaching of a work, is necessary, along with other things, for a conductor to gain the respect of an ensemble. Subsequently, the work must be conveyed to the orchestra, the soloists and the chorus. At some point, it all comes together, and the conductor's teaching role is completed at the final rehearsals, which take place on the stage. During the actual performances, the conductor, in addition to being an interpreter, acts as a "traffic cop", careful to prevent any potential "accidents" and guide along the various players by virtue of body language, thus keeping the performance flowing..."
- What do you wish for most in the immediate future?
"Basically, I hope to be able to continue my efforts on behalf of Thessaloniki Opera and see them bear fruit. I want to see Thessaloniki Opera become autonomous!"
- What is your artistic dream?
"I have dedicated myself to Thessaloniki Opera and would like at some point to devote some time to my own personal artistic development. The dream of every maestro is to conduct at the most famous opera houses in the world and to work with the greatest orchestras. If I can hazard a metaphor: driving can be pleasant, but not so nice if the car has problems; some times it's expensive when - as a result of carelessness - you have to pay a fine or cover a sudden repair, or it can even be lethal - due to inexperience, or fate - when an accident occurs; often it can be annoying when there is a lot of traffic, even a nightmare when no parking spaces are available - but it is a joy in the car of our dreams, cruising along in the fast lane!"
Vasilis Papavasiliou
Thessaloniki Opera demands its autonomy
KATHIMERINI, 31/10/2006
"Are we separate or subordinate? Are we part of the State Theater of Northern Greece or an independent opera house? Indeed, are we a necessary cultural institution?
"Existential Questions"
The Artistic Director of Thessaloniki Opera, conductor Lisa Xanthopoulou, caused a stir when, during a press conference, she addressed these questions to the General Secretary of the Ministry of Culture Mr. Christos Zachopoulos, asking for a clearer view - i.e. an indication of political will - of the "path toward institutionalization of the organization" which now receives just "4.5% of the funding that the Greek National Opera in Athens receives".
To these "existential questions", as Mr. Zachopoulos jokingly characterized them, he offered that the road towards autonomy was still long. "This is an institution that requires considerable funding, and the disparity in funding is justified.The Opera House in Athens is an institution of many decades, while Thessaloniki Opera is still taking its first steps."