• The Exclusive Opera Lively Interview with Maestro Myron Michailidis from the Greek National Opera

    Opera Lively traveled to Greece and interviewed in person maestro Myron Michailidis, Artistic Director of the very dynamic and resourceful Greek National Opera. [Opera Lively interview # 123]



    Artistic Biography

    Myron Michailidis is regarded today as one of the most important Greek conductors of his generation. His vivid conducting style is characterized by conviction and authority coupled by outstanding dynamic control and variety of expression. Since 2011 he has been serving as Artistic Director of The Greek National Opera (GNO), following his former position as General Artistic Director and Principal Conductor of The Thessaloniki National Orchestra (TSSO), a post held since 2004. Between 1999 until 2004, Maestro Michailidis was Permanent Conductor at the Opera of Eastern Saxony in Germany.

    Born in 1968 in Crete, Maestro Michailidis studied piano in Athens with Dimitris Toufexis and conducting at the Music Academy in Berlin with Hans-Martin Rabenstein, Miltiadis Karydis and Simon Rattle. He also holds a law degree from the Athens University.

    His diverse repertoire ranges from classical to contemporary, and his conducting credits span the symphonic and operatic and choral worlds. In addition to the core symphonic and operatic composers, he is a great proponent of the music of Beethoven, Tchaikovsky and Rachmaninoff with recordings of international acclaim, whereas in the operatic field, his interpretations of composers such as Verdi, Gounod, Puccini, are particularly noteworthy, resulting in collaborations with the finest stage directors and set designers of the world.

    While with the TSSO, Maestro Michailidis has led concerts at various festivals in Greece and abroad. In December 2007, during the celebration events of the Cultural Year of Greece in China, he took the Orchestra on tour in Beijing China, host of the 2008 Olympic Games. He has conducted several important orchestras in Germany, Israel, Italy, Czech Republic, Mexico, Slovakia, Poland, Portugal, Taiwan (Berlin Symphony Orchestra, Roma Symphonic Orchestra, Slovak Philharmonic Orchestra, George Enescu Philharmonic Orchestra, Prague Radio Symphony Orchestra, Jerusalem Symphony Orchestra, Μexico State Orchestra, etc), as well as all major orchestras in Greece.

    Maestro Michailidis is also a prolific recording artist. He has recorded for EMI Classics and repeatedly for Naxos, as well as for numerous Greek labels and the Greek Radio. His recent recording of Beethoven’s 3rd and 4th piano concertos with Aldo Ciccolini, has already brought him into the international spotlight, whereas his recordings of works by Ildebrando Pizzetti with Naxos received in 2009, a Five Diapasons award in "Diapason". In addition, the “Greek Classics” CD featuring works by Greek composers for the same label, was given the “Supersonic Award” by the Pizzicato Classics in Luxembourg and was recommended from NAXOS for two Grammy awards.



    Maestro Michailidis has collaborated with distinguished artists such as, Paul Badura-Skoda, Salvatore Accardo, Aldo Ciccolini, Cyprien Katsaris,Ivo Pogorelich, Lars Vogt, Shlomo Mintz, Misha Maisky, Vadim Repin, Martino Tirimo, June Anderson, Cheryl Studer, Paata Burchuladze, Fazil Say, and several others.

    In 2009 Maestro Michailidis received the prestigious Honorable Award from the Greek Critics Association for Music and Theater.


    A brief history of opera in Greece

    Opera companies toured what is today the territory of the Greek state, even before a Greek company was founded in 1830. Italian troupes produced and performed works on the Ionian Islands and especially Corfu, since these were never under ottoman rule.

    After 1830 and during the whole of the 19th century in all major commercial cities and ports connected to the West, such as Athens, Patras and Syros, theatres where built where touring companies could produce operas. In Athens the first indoors theatre was inaugurated in 1840 with Donizetti’s opera Lucia di Lammermoor.

    During the same period Greek composers such as Pavlos Carrer produced works based on themes inspired by the Greek revolution. Composer Spyros Samaras, mainly known for the anthem of the Olympic Games (composed in 1896) pursued an international career in France and Italy, writing successful operas, some in verismo style predating Puccini.

    The first private Greek opera company, called the “First Greek Melodrama” was formed in 1888. In 1900 the more long-lived “Third Greek Melodrama” was inaugurated with Puccini’s opera La Bohème produced in Athens’ Municipal Theatre.

    The first state funded opera company was founded in 1939 as part of the National (then Royal) Theatre. In 1944 it became a separate organization under the title Greek National Opera (Ethnikì Lyrikì Skinì) while in 1994 it became a private law entity. Until this day it remains the only opera company in Greece.

    The opera company gave performances initially in its historic neoclassical building on central Aghiou Constantinou Street, designed by the famous German architect Ernst Ziller. Subsequently it moved into the old Olympia Theater on Academias Street, where the first opera given was Rhea, a Greek opera by Spyros Samaras. In 1958 a new Olympia Theater was built at the same location, and the inaugural opera was Aida. In addition to the main venue, summer productions were staged at the Herodes Atticus Odeon as well as at the Ancient Theatre of Epidaurus starring Maria Callas, who many years before had made her professional debut as Maria Kalogeropoulou with the Greek National Opera.

    The company's steady artistic development was interrupted by the military coup of 21 April 1967. In 1974, when democracy was reinstated, the Hellenic Ministry of Culture assumed responsibility for the company. Since 1994, the GNO has been a private, but state-funded organization. It is about to move into luxurious quarters, with the new headquarters and theater under construction as part of the Stavros Niarchos Foundation Cultural Center, a state-of-the-art performing arts center located in a 42-acre park close to Faliro Bay in Athens, to be delivered in 2015.



    During the 75 years of its operation the Greek National Opera (GNO) has produced hundreds of titles covering the complete operatic repertory, ranging from Monteverdi to John Adams, including major works by composers such as Handel, Vivaldi, Mozart, Beethoven, Rossini, Bellini, Donizetti, Verdi, Puccini, Weber, Wagner, R. Strauss, Berlioz, Gounod, Massenet, Mussorgsky, Dvorak, Shostakovich, Bartok, Stravinsky, Poulenc and many others. Along the international repertory the GNO has produced works by Greek National School composers such as Manolis Kalomiris, Spyros Samaras, Pavlos Carrer, Andreas Nezeritis, Marios Varvoglis and others.

    Operetta has been on the GNO’s repertory ever since its founding. Alongside works by Johann Strauss, Franz Lehar and Jacques Offenbach the company produces works by Greek composers such as the much beloved Godfather by Theofrastos Sakellaridis and The Apaches of Athens by Nikos Chadjiapostolou.



    Ballet has also been part of the GNO since its first days. All great romantic works of the 19th century have been produced, including ballets such as Swan lake, Giselle, The Nutcracker, Sleeping beauty, Romeo and Juliet etc. The company has commissioned new works to famous choreographers on music by Greek composers such as Xenakis, Theodorakis, Hadjidakis, Vangelis (Papathanassiou) and others.

    During the past decade, the GNO has regularly produced works for children, in order to nurture future friends of the opera. As we will learn from maestro Michailidis' interview below, the company is engaged in a large array of cultural activities, such as the programs Suitcase Opera and Opera Bus, a Young Artists Program, a Children's Choir, an outreach program in schools, open rehearsals in street venues, and other initiatives. It is remarkable to learn that in the middle of the economic debt crisis in Greece, the company has increased, rather than decreased, the number of its productions. The Opera Lively envoy was impressed not only with the vitality of the company and its intelligent leadership and development plan, but also with the quality of the singing (we attended one of the rehearsals for La Cenerentola), which prompted us to nominate the organization as Opera Company of the Year for the 2014 International Opera Awards.

    Greek National Opera's website: http://www.nationalopera.gr/en/

    Greek National Opera's YouTube channel: click [here]

    If you are in the area, make sure that you catch one of the productions of this fine company. The next one is Macbeth, on January 17, 18, 19, 21, 22, 24, 25, and 26 2014. Tickets can be found at the above website. The sets look beautiful:



    T
    he Exclusive Opera Lively Interview with Myron Michailidis


    © Opera Lively - Disclaimer: this exclusive interview is copyrighted by Opera Lively with all rights reserved, and is not to be reproduced without express authorization. Brief excerpts can be used after consultation (use the Contact Us form) as long as proper credit and a link to the full interview on Opera Lively are provided. Links to the interview can be posted without authorization.

    Credits - Questions by Luiz Gazzola. Photo sent by Greek National Opera, credit included in pictures when known; fair promotional use.



    Luiz Gazzola for Opera Lively - I have heard of a tribute to Maria Callas you have presented in five outdoor performances around the city, which drew more than five thousand spectators. Is the memory of Maria Callas very much alive in Greece today?



    Myron Michailidis – Maria Callas is a legend for Greece. She is one of the most important elements that connect our younger generations of artists with this historical theater. We work here with technical difficulties but historically we never forget that on this stage Maria Callas had her first steps. So every year we have some ceremonies and some concerts dedicated to her memory. This year we decided to insert these activities about her, in our general master plan for cultural activities outside the theater. We did a totally different tribute to Maria Callas. We organized this promenade in five acts. We started in the Acropolis Museum and then continued to the Herodes Atticus Odeon, then to central squares of Athens, and the final concert was in front of the National Archeological Museum, and in all those concerts more than five thousand people were with us.


    Tribute to Callas - this photo and the next two





    OL – Five thousand in each concert?

    MM – I’d say that they came together and followed us to each venue, since it was a promenade. This was something that had a very strong effect on our citizens. Our city, during the crisis, had a lot of problems. We miss our friends on the streets. They suffer from the crisis. And now, the live theater gives them the opportunity, to every member of society even if they are not rich, to be together and to pay together a tribute to a famous singer like Maria Callas.

    OL – What about the new generations? Are the youngsters aware of Maria Callas as well?

    MM – Yes. We believe that Maria Callas doesn’t only belong to Greece. She belongs to the history of opera and to the world. Our singers, directors, and conductors when they study opera, have Maria Callas as the standard. The same is true for the younger generations: for them, Maria Callas is still alive.

    OL – How popular is opera in Greece?

    MM – In my opinion opera is very popular in Greece, and even more popular is the institution Greek National Opera. The GNO is a very popular institution. I don’t know all the reasons for it, but I can tell you some of them.

    The GNO started at the beginning of the 20th century as part of the National Theater. It became an independent organization during World War II. In those years Maria Callas made her debut. The GNO as an independent organization is about seventy years old. Opera is something that impresses the Greek friends of the arts, because it combines theater – and let’s not forget, theater had a great tradition in Greece – with singing – and Greeks sing a lot. A big part of the repertory by Verdi and Puccini, and also the French repertory, is very similar to the Greek Mediterranean mentality. The Italian mentality is very similar to the Greek mentality.

    Our numbers show that we have the possibility, in the summer when we do our eight open air theater performances in the Herodes Atticus Theater which is big and has a seating capacity for five thousand people, to have it full for all eight evenings. Only the Greek National Opera has the possibility of filling this theater for eight evenings.

    The problem we have at the Olympia is that it is a small theater with about seven hundred seats. We are not happy because we are always sold out; we need more seats. We are very happy that we are moving into our new house; I will tell you about it later.

    OL – Opera has suffered around the world for the last four years due to the economic crisis; not just in Greece, but everywhere. What is the situation for the financing of opera in Greece?

    MM – It is very difficult. Before the crisis hit five years ago, our annual cost was of about thirty-three million Euros, and our budget fully met that cost. Then, because of the crisis, our debt grew, and at the beginning of 2011 we had a deficit of about 17 million Euros. When I was appointed as Artistic Director here two years ago, we started a recovery project to make the organization healthy. Today our debt is of 4.7 million, so to go from 17 million to 4.7 is very good and positive. We now have annual funding of about 16.7 million Euros – that’s what we need to go ahead. Unfortunately all institutions had budget costs, and we are getting only 12 million per year.

    This is a very big problem. We strongly believe in the last three months that the government will continue its support and will consider which institutions are functioning well and which organizations belong to the society and have already done reconstruction. We have already remade ourselves; to cut any further is just not possible. We believe that when we have something that is doing well, we should not destroy it. It’s easier to keep a good thing stable for the future instead of trying to fix other organizations that are not functioning well. We are sure that the government shares the same logic in this.

    OL – Other than the governmental subsidies, what sources of income do you have?

    MM – We sell about 3 million Euros in tickets, and we get private sponsorships, but this past year was a disaster. Banks in the recent past before the crisis were strong sponsors for the opera, but now the bankers are very afraid. The businessmen from private corporations are now very afraid to engage in big sponsorships. We still get a few sponsorships for specific productions, and we get subsidies from the State Lottery. I hope that investors will understand that investing in cultural organizations could help them in coming out of the crisis.

    OL – What about private citizens? Do they give money to the opera? In the United States a significant part of a company’s revenue comes from individual donations.

    MM – Yes, we’ll be trying to find new ways, in our new home, to find possibilities for support of the GNO. We have a club called “Friends of the Greek National Opera”. I think that sponsorships should go to support specific cultural activities but we shouldn’t rely on them to pay the salaries of our personnel. The salaries are the minimum that the government has to ensure. We have a staff here which generates ongoing costs, and this cost should be met by the government, and then it will be up to us to use our energy to find sponsors for our activities.

    OL – Do you have a fixed staff of singers, like the German model?

    MM – We do. We have a relatively small staff of Greek and we also invite foreign singers. About ninety Greek singers are singing in our productions. We also have a very interesting program financed by the European Union, which is an interactive way of making an opera in primary schools. With this program we go to schools in the whole country and we give the students the opportunity to participate in a production by making the sets and the props, and singing as well. We are taking “The Barber of Seville” to schools. We send them the material one month in advance, then we go there the day before the show to train them, and the next day the opera is presented in the school auditorium. This system is a big success. We go everywhere, including the islands and small villages in the North and the South, and it’s a win-win situation because not only they get to see opera, but we also get to hire young animators and choreographers, set designers and musicians, etc. This program which is going very well shows how popular opera can be in Greece.

    OL – With the crisis, have you had to cut the number of productions?

    MM – No. Our strategic plan was not to cut productions. Instead, we actually doubled the number of productions. We used to have one hundred productions – now we have 210 productions all over Greece. One can have very expensive productions that are not of good quality, but one can have very economic productions that seem rich. Instead of making very big and expensive productions, we are giving - an example for this is “La Cenerentola”- an opportunity to a very young director who worked for the Royal Opera House Covent Garden, named Rodula Gaitanou. She and the costume designer, Alexia Theodoraki, were able to recycle old costumes and sets we had from our past productions. We use many tricks to be able to make these productions. In this theater, on the main stage we have about 12 productions. Outside the main stage we also offer opera, operetta, ballet, and Greek operetta.

    OL – How do you select operas to present to the public? Do you try to present operas that are outside of the usual standard repertoire, or do you need to focus on the more popular ones in order to put people on the seats during the crisis?

    MM – Thank you very much for asking this which is a very interesting question. To make an interesting season, it’s like a Sudoku game. We are the only opera company in Greece. We used to have a stagione company in Thessaloniki, but during the crisis it closed down. We are a national company and as such we have to present the repertoire. It would be a disaster if the basic repertory operas couldn’t find a venue to be shown to the Greek public. We need to continue to stage “La Traviata”, “La Bohème”, “Il Trovatore”, “Tosca”… but we are trying to also present operas that are less familiar to the public, like “Faust” from Gounod which was last seen in Greece twenty years ago.

    Our main productions in our main stage are either traditional or modern but they all respect the operas. We do have an experimental stage where we engage in more adventurous productions. In our plan we have Janacek, Wagner and Richard Strauss but we do continue to present the very popular Verdi and Puccini operas. This season we are doing “Werther” from Massenet which is a big risk for us. We are collaborating in this production with Spyros Evangellatos who is a very well-known Greek director.

    So, a very popular work like La Cenerentola, we are presenting with a very young director. A very difficult title like Werther, we are presenting with a very experienced director like Evangellatos. So we are always trying to find viable ways to present these operas. Our Don Giovanni this summer is with Yannis Houvardas, another very important Greek director. He was up to two months ago the artistic director of the Greek National Theater.

    I have to tell you about our Suitcase Opera program. We make a miniature of the opera and transport it to every place where normally they wouldn’t be able to stage an opera. We transport the sets and lights and good singers. The Stavros Niarchos Foundation is sponsoring this program which is a big success. They are a private foundation, and they are building now a cultural center in the South of Athens, which will host our new opera house. The center is 170,000 square meters in a park full of trees, and will host the National Library and the Greek National Opera. It will be our new home in two years. It is amazing that during the crisis, a private foundation is building this enormous center. It will be ready by the end of 2015, at a cost of 566 million Euros. This private foundation is also the sponsor of our Suitcase Opera program – Opera Tis Valitsas.

    OL – What about contemporary Greek operas – are there good ones, and do you present them?

    MM – Yes, of course. Every year we have new opera productions in the beginning of summer, and we work on it in two ways. One way, is that we have an opera competition and we invite young Greek composers to write one-act operas, and we present two of them on the stage. The other way is to commission compositions by very important and established Greek composers. Next year we will present the opera “Fonissa” based on one of our most famous Greek novelists, Alexandros Papadiamantis, and the composer is Giorgos Koumendakis, who organized the music for the 2004 Olympic Games opening and closing ceremonies. This will be a totally Greek production: a Greek title, a Greek author, and a Greek composer.

    OL – Are there other important contemporary Greek composers that you would quote?

    MM – Yes, we have Tsontakis who lives in the United States, Antoniou, Kouroupos, Tsalahouris, Christos Samaras. For example, Antoniou composed an opera named “Oedipus”, and we will combine his opera with Stravinsky’s opera “Oedipus Rex”.

    OL – Tell me about your Opera Bus program – is it the same as the Suitcase Opera?

    MM – No, these are different programs but both are important cultural activities in our planning. We have a specialized team for the planning, and another team for the productions. We discuss about it almost every day. The Opera Suitcase like I said, is a traveling program with small ensembles, sets, props, costumes, and a piano, which allows us to give shows in places that are not equipped for mega opera.


    Suitcase Opera (this picture and the next two)





    It’s very important to realize that admission to these performances is free of charge for the public. The other project is this Lyric bus.


    The Opera Bus



    In some cities and occasions, we show up unannounced, with no publicity, and suddenly we sing parts of operas in different places like a market or a subway station.


    Opera in the meat market


    Open rehearsal - street in downtown Athens

    We do open rehearsals as well. You can find them on YouTube. They became viral, lots of people have seen them. We went to the Piraeus port and presented rehearsals for our upcoming season. This is the Flower Waltz from “Nutcracker” [he shows me the YouTube clip on his smartphone]. It is nice, isn’t it?



    OL – Yes. You have a very dynamic and lively company!

    MM – Yes! This is also in our Facebook page. This one here is our Herodes Atticus Theater rehearsal for “Madama Butterfly” [he shows other clips]. This one was in the Acropolis, and this one at the Archeological Museum. This one here was a very crazy concert, in the Meat Market.

    OL – What about this one here, the Manon Lescaut Meets Carmen?

    MM – We did that as a street event in a subway station, the Monastiraki station. It was with singing and dancing.





    OL – Do you engage in collaboration with sister institutions in Europe?

    MM – Yes, we’ve had collaborations with the Royal Opera House, the Arena di Verona, and the Vienna State Opera. We are now discussing co-productions with them. In November we will have in Verona a co-production with the Arena di Verona, the Greek National Opera, and the La Fenice in Venice, of “I Capuleti e i Montecchi”. The production will be given first in Verona, then will go to Venice, and will arrive here in two years. Isn’t it nice?

    OL – Tell me about the most successful Greek opera singers.

    MM – There are many important Greek singers both here and abroad. Let me tell you some names: Dimitra Theodossiou, Alexia Voulgaridou, Myrto Papathanasiou… Of course there is Anja Harteros but she isn’t only Greek. Other good Greek singers are Dimitri Platanias who was Rigoletto in Covent Garden, Dimitri Tiliakos who was Macbeth in Paris, and Tassis Christoyannis.

    OL – Ms. Vassiliki Karayanni is a very beautiful soprano.



    MM – Yes, she belongs to our ensemble.

    OL – How is operatic training in Greece? Do you have good conservatories? Does your company have a Young Artists Program?

    MM – Unfortunately in Greece we don’t have a National Music Academy. This is a very important shortcoming. We need one; we need to invest in one. We have some private conservatories. Some of them have good teachers but some others do not. Young singers need to choose the right teachers to improve their singing art, but it is very difficult to do so in Greece. The most important Greek singers often need to go abroad to finish their studies.

    But yes, the Greek National Opera is offering a Young Artists Program. We have improved the program in the last two years. We are a very vital organization. We have now about fourteen young singers. It’s a two-year program. They study with our artists. They learn singing, dancing, foreign languages, and they collaborate with the conductors and directors. At the end of each year they present a full production. This year we had Mozart’s “La Finta Semplice”. It goes very well because some of them start to have small and even bigger parts in our productions.

    We also have a Ballet School. Our ballet company is very good. The director is Renato Zanella who used to be the director in Vienna. We not only have the ballet company but also the ballet school for very young dancers. They are learning classical ballet. It’s very important because we have only one institution in Greece offering classical ballet. Also, in September of 2012 we started a Children Choir. We have 80 young singers and they sang in the ceremony of the passing of the Olympic flame to the Russians for the Winter Olympic games. Our Children Choir is very good.

    OL – To finish let’s talk a little more about the history of opera in Greece. We all know about Maria Callas, but are there other important landmarks, important works?

    MM – Our company has about 70 years of age, and we had not only Maria Callas. I’ll send you a text with our history. We had composers who tried to build a national school in opera. An important one was Manolis Kalomiris. He composed, among other works, “Protomastoras” based on a work of Nikos Kazantzakis – you know him, I’m sure, because he is the author of Alexis Zorbas. We also have Spyridon Samaras, a very important composer, and Dionysios Lavrangas, who was one of the people who made this institution. They all composed operas. Spyridon Samaras is the composer of the Olympic Anthem played everywhere today in the Olympic ceremonies.

    OL – Let’s talk about the future of the company. You told me a lot about the current programs. What are your ideas for the directions you want the company to go into?

    MM – Our planning for our next five years include two years of preparation to get into our new house, then one year to transport everything to the new house, and then the first two years in the new house. We have the following goals: first of all, to improve our repertory. On this stage because of technical difficulties we didn’t have the possibility to present bigger works. We will present bigger and wider repertory. We will present operas that have never been performed before in Greece.

    Second, we will try to bring the lyrical theater to the community, to continue this relationship between lyrical theater and society. This is very important because we strongly believe that the lyrical theater is rich in history and is not for just one segment of society; it is for the whole society. We will have to find special points for each societal category, but will also engage in projects that appeal to the whole society.

    The third goal is to bring lyrical theater to the schools and families. Fourth, we want to reach the ages between twenty and thirty-five. Fifth, we aim at improving our relationship with other theaters abroad, so that the Greek National Opera will belong to a group of theaters – I will not say leading theaters because it’s a very big world – but we want to be one of the most important theaters of the Mediterranean. The last goal is to improve our recordings. We have plans for our first DVD production, with “Faust” by Gounod.

    OL – What about you, how did you come to opera?

    MM – I was born in Creta. I studied piano in Creta and music theory in Athens, simultaneous with Law school – I hold a Law degree. After I finished my studies in Law, I wanted to be a musician. Somehow my piano teacher drove me to conducting. I started Orchestra Conducting in the Berlin Academy. Then I started to work.


    The maestro conducting an open air concerto

    I think this is the best experience for a conductor’s training: the opera theater. I was a young conductor and started to work in various opera houses in Germany. I was in Germany for about 14 years, ten of these as an opera conductor. I had the honor to be nominated Artistic Director at the Thessaloniki State Orchestra, in Northern Greece.

    It was a regional orchestra but today it is more than regional and became an orchestra of a very high level. We arrived to the point of making a discography, and we recorded Beethoven with the famous soloist Aldo Ciccolini, the 3rd and 4th concertos, and it is my pleasure to offer this CD as a gift to you. After seven years in Thessaloniki, it was very exciting for me to come here to become the Artistic Director of the Greek National Opera and try to rescue it from the crisis. I’ve been here since 2011.

    OL – As a person, what do you like to do outside of music?

    MM – I like to travel, to relax in fantastic places in Greece like our islands. You can’t imagine how many nice places we have in Greece that are not famous. The famous places are too full of people, you cannot relax, but Greece, don’t forget, has more than 1,400 islands.

    OL – I was in Santorini this past week.


    MM – Santorini, that’s right. I was there last month. It is one of the most beautiful islands. It is unforgettable, with that ancient volcano. So, I like to travel, to be with friends, to go outside and relax and hike in the mountains, alone in nature, listening to music.

    OL – That’s what we had. Thank you very much.

    MM – You’re welcome. I have some more gifts for you – a tie from the Greek National Opera, and our programs for “Madama Butterfly” and “The Flying Dutchman”, with some texts in English.

    OL – Thank you!

    -----------

    Let's see the maestro conducting in Tessaloniki:



    Announcement for one of the operas by the company:



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