I don’t know if you’ve noticed, but Greek orchestral ensembles, though few, are currently excelling both domestically and internationally. The undeniable improvement in their sound quality, along with their fresh interpretations of works that either belong to the standard repertoire or appear sporadically but deserve to be performed, make our orchestras stand out.

A few months ago, the Athens State Orchestra gave us a stunning performance of Salome by Richard Strauss, and I deliberately mention an operatic work as a highlight, even though I could talk about so many symphonic concerts they’ve recently performed to demonstrate their current level. Moreover, the Camerata – Orchestra of the Friends of Music offers us countless sonic delights in its concerts, both within and outside Greece. After all, I don’t recall any other Greek orchestra having won international awards (the ones that truly matter, like the Diapason). The Hellenic Youth Symphony Orchestra (ELSON) also appears to be on a steady upward trajectory, offering us exceptional concerts. Youth orchestras, in particular, are incredibly promising: the Underground Youth Orchestra, MOYSA Thessaloniki Concert Hall Youth Orchestra, our own Camerata Junior of the “Friends of Music” Association, the work done by the El Sistema youth orchestra, and other excellent examples of similar ensembles.

I have also heard wonderful concerts from the other symphonic ensembles in the capital, such as the ERT National Symphony Orchestra, the Athens Municipality Symphony Orchestra, and of course, the Philarmonia Orchestra of Athens, which consistently supports Greek art music while also performing exceptionally well! I presume that those who have heard other ensembles in the regions have similar positive impressions.

I saved the Thessaloniki State Symphony Orchestra for last in my mention, and their monumental appearance at the Elbphilharmonie in Hamburg in a truly packed hall. And not only that! The orchestra performed Shostakovich’s Symphony No. 9, Camille Saint-Saëns’ Cello Concerto No. 1, and of course, Giannis Konstantinidis’s Dodecanese Suite No. 1, a work that is unfairly overlooked if it’s not in the European repertoire, as well as Fazıl Say’s Ballad of Ephesus, performed by Nikos Xanthoulis on the ancient Greek lyre, which he has successfully revived, naturally accompanied by the orchestra. A fresh program, wisely balanced and certainly satisfying for both audience and musicians. Two works from the core of the orchestral canon (Shostakovich and Saint-Saëns) and two works that would likely not be heard if it weren’t for the TSSO (Say and Konstantinidis). Something like ‘domestic’ (of course, I include Fazıl Say in this) and ‘international’ music production.

The conclusion is that we are currently at a crossroads, and Greek orchestral ensembles appear to have embarked on a path of excellence and progress. Let’s support them as much as possible and show them our trust and love. They deserve it.