“Open mind and open heart”: this is how Giorgos Koumendakis’s attitude towards the issue of the chamber opera “Strell” is summarized, the number of auditions of which was increased after the work was criticized for having a baritone and a non-transgender woman as the protagonist like in the movie of the same name. And this is also the attitude that the Lyrical Artistic Director puts at the heart of an artistic creation that does not stop at technical issues, but seeks the essence of the story, inviting into it, and not just portraying the persons involved. A stance that pervades Lyriki as a whole and doesn’t seem forced to compromise: the expansion of auditions to find a transgender protagonist of any vocal category, Giorgos Kumentakis says, was done to avoid any suspicion of exclusion. And, as he pointedly notes, he hopes to avoid introversion in the future.

– The extension of the hearing was made in the context of our decision to create a project that would be in line with the essence of its creation, and also because we would in no way want there to be any proposal to exclude the transgender community. women inspired by the work of Panos Koutras and who the National Opera’s performance is intended to bring to the stage in an inclusive way.

– No, there are no restrictions on artistic creativity, since the essence of the work does not change. This is a piece of music that is still in the process of being composed and the goal of all the participants, as well as the National Opera, is to get closer to the truth of the Strella story. Let’s not forget that musical theater has a tradition of flexibility in the use of the voice.

There are no restrictions on artistic creativity, since the essence of the work does not change.

– Gender issues have been worrying the art of opera for several centuries. There are many well-known composers in classical operas who provided for female roles in the performance of men and male roles in women, while the artistic tradition of castrati was also very long. I think the discussion of gender identity is limiting. The challenge we face in this particular project is not only what voice will interpret each role, but the ability to give to a community that has suffered the worst discrimination and demands its own dignity and visibility. We prefer not to close our ears to these questions. I wish that all transgender women have equal access to education in general, as well as access to music education without exception, and apply for all the roles and generally all jobs that they would like to receive depending on their talent and personality .

– For us, the essence here is dialogue. Dialogue without limits, even if it is conducted with intensity, even if it contains failures or unfair judgments. We are here to listen, to support our arguments and – why not – to learn what we do not know or do not appreciate properly. After all, we do not claim to be infallible. My personal opinion is that everything that happened with Strella is positive and important for both ELLS and society. From the first moment I took the job, my priority was to create works, productions, artistic events that cause discussion in society, behind the scenes and the audience who will see them. Works that remain inside the room and do not touch on the conversations we have in our daily lives do not create any division in society. An essential dialogue, the starting point of which is art, opens the horizon of society, aesthetics and politics in the broadest sense.

– What we have been doing at ELS for many years is to have an open mind and an open heart. Listen to what is happening around us in society, whether we are talking about the refugee crisis, unemployment or the environment, gender issues, etc. We hope that in the coming years ELLS will not return to the isolation and conservatism of the past.