Finally, the composer was dominated by a man who values ​​institutions – “I am deeply institutional,” as he says about himself; at the beginning of the new year, the artistic director of the National Opera, Giorgos Kumentakis, began another term, the third. .

In his office, which is located on the fifth floor of the building, there is a round table with books, magazines and several color photocopies of the dedication of the French newspaper Le Figaro to EBS, made on the occasion of the 80th anniversary of his work and has the central title “The National Opera of Greece is worth the trip.” From there we begin our interview with him.

– First of all, I must say that after the experience of the 2004 Olympic Games (he was the musical director, composer and creator of the musical script for the opening and closing ceremonies of the Olympic Games in Athens), I have received from time to time offers to hold public positions, especially a special position in ELLS. In the end, I accepted the offer in 2017. I was already 58 years old, I was in the phase of personal maturity, and I already had a lot of thoughts that I would like to do in Lyrika. The question that worried me was, on the one hand, whether opera as a genre could survive today, and on the other hand, what would be the strategies that would bring it closer to more people, regardless of age, education and social level. Could opera have become part of Greek life, I wondered, and how?

To some extent, the vision has become a reality. Speaking only of the most recent numbers, all ELLS productions have been sold out since the restoration of the halls, and in 2022 we had a total of more than 170,000 spectators at our performances (Stavros Niarchos Hall, Alternative and Herodeion), a higher number and since the pre-pandemic era. Thus, our audience has increased, it is loyal, multi-collective and, in addition, consists of Greek and foreign spectators who come to the country to watch our productions. Therefore, the strategy developed by us and the implemented system justified themselves. You know, history matters in ELLS, but not in the same way as, for example, at La Scala in Milan or at the Paris Opera. We can renew the “contract” of classical opera precisely because we are not responsible to our past. Thus, we can have more innovative proposals, try new ideas and take risks. Work at the Opera of the 21st century.

– This is an opera that respects the great creators, knows its past, but at the same time lives in the present and is not afraid of the future. Commissioned by young composers, over the past six years, ELLS has written 100 new works, which puts contemporary composers in a dialogue with the classics. In addition, 21st century opera opens lyrical art to all other art forms, such as visual arts, creates partnerships and leads to dialogue and different points of view. It is an opera that communicates with its audience not only traditionally but also digitally, welcomes all technological developments and offers a wide range of spectacles from the most classical to the most modern.

21st century opera is inclusive, welcoming all social groups and all ages. At ELS, we do not remain ignorant of current developments. If we don’t define our time in opera in relation to what’s happening now, what future will we have?

“We have achieved two-thirds of the strategy, planning and quality we were striving for. And the dynamics of what has been done has created a producer legacy for ELLS that is a huge asset, a legacy that the organization will draw on for years to come. The same goes for the infrastructure: the set and costume workshops are now excellent, of the highest standard, and a significant contributor to resource savings for our productions.

As for the repertoire, in addition to expanding with operas from the 20th century, we have also started opening a Russian school, but in the coming years we have to do even more. We haven’t introduced Wagner until now, but he has entered our programming as we now have the maturity and technical skills to do so. I am very interested in joint productions, they directly connect us with the reality of musical theater and opera at the international level. Most operas now want our cooperation, we don’t ask them, they ask us. But the path of cultural decentralization must be found within the country, with a clear operatic identity, and we must definitely show our work even stronger abroad.

“Indeed, a donation of 20 million for a four-year period – that is, 5 million for each year – expires in 2023. Our relationship with the foundation remains very creative, the collaboration is ideal, so we hope that the donation will continue. Of course, the YPPOA grant covers the basic expenses of the organization, and without it we would not exist. I have to say that our productions come from tickets, the sponsorship that we methodically demand for them – I personally deal with this issue – and co-productions so that they share the costs. The donation covers most of the joint productions – we’ve had 13 of them on the Central Stage with major operas since 2017 – and outreach costs.

“I wanted Krzysztof Warlikowski, Olivier Pi, Bob Wilson, and we managed to direct in Athens. Now I would like to have the great Dmitry Chernyakov.