Written in Alexandroupolis

The script does not make any sense. The scenery is esoteric. The direction transforms the concept of the idea in the idea of the concept. However (some times) I am projected into the action and inside the characters’ emotions. And also sometimes (much less often) I experience it from inside. You just believe it.

This is the magic of human voice and of opera. Numerous are those who sing very well, but much more rare are the ones able to bring you inside their own world. I build a personal and intimate relation with some special opera voices as well as with other singers: Maria Callas, Christa Ludwig, Sandrine Piau, Elisabeth von Magnus, Emma Kirkby, Andrea von Ramm, Monayat Yultchieva, Fairouz, Haris Alexiou, Misia, Lycourgos Lycourgopoulos, Henri Ledroit, Derek Lee Ragin. The worst is that comes out of volatile instants. The most unknown singers have their days of absolute transcendence. If they repeat it often, they are exceptional. You have to be there or a sound engineer had to be present. It happened to me four times: Sandrine Piau, Véronique Gens, Elisabeth von Magnus and I don’t remember whom in Lady MacBeth of Mzensk. After these moments, all what you want is to crawl at feet of the singer. It is more powerful and intense than sex. By the way it is the only thing which in my opinion can replace it.