07.07.2022, Monopoli, Greece
An evening of mystagogy at Herodeion with the musical legacy of Mikis Theodorakis – Eirini Zavitsanou
The article is a review of the concert of M. Farantouri and T. Christoyannis at Herod’s Atticus Odeon, in Athens, in 04.07.2022.
Farantouri’s concert marks an artistic event in itself. And when she is accompanied by musicians of international fame, then we are talking about landmark performances. A mystical evening with influential musicians who, as a whole, offered a performance that could well be the definition of cultural summer in our country.
The entire performance was an ode to music and poetry.
Maria Farantouri, a megalith in the world music scene, appears on the stage of the packed Herod’s Atticus Odeon and with an abundant mental reserve and a sharpened mood she performs her (our) beloved songs. It is the treasure of her voice that carries so much weight, making the audience sometimes watching the “priestess” of Mikis stunned and enchanted and sometimes unable to contain their enthusiasm and admiration for the great artist, bursting into prolonged applause. Everyone perceives and feels redemption or ecstasy differently, so we are not referring to the formalism of art but to what makes you feel to the very core of your soul. Maria Farantouri transmutes herself into “art” and listening to her singing, it seems as if she is not relying on convenience but asking for hidden, unwritten laws that govern music. The artistic and emotional ferment in her face and in her being takes on a multifaceted dimension, leaving a clear and luminous core.
But I will not only dwell on the “musical” strong moments but also on something that gave me a strong sense of hope, optimism and light. Right next to me was a child aged 13-14 years old. I wondered at that age what he might know about ‘Canto General’, I was struck by his dedication and the way he was watching. We didn’t exchange a word, I will just carry this image and every time I bring it to mind, I will feel proud of what we call the “new generation”, thinking that something is beginning to change, something beautiful and hopeful is brewing in our world because obviously such images and movements reflect and address beyond musical boundaries, touching comfortably on the socio-political. It is worth mentioning that the 14-year-old child sitting next to me was no exception. The target group attending the performance may have been different, but to their credit, there were quite a few young people in the Herodeion that night.
E. Zavitsanou
