On the evening of Sunday, May 31, the iconic Tombazi Estate on Galata beach will host a unique lyrical evening in a venue that combines rare natural beauty and significant history. Two distinguished Greek lyrical singers, soprano Dimitra Kotidou and mezzo-soprano Eleni Voudouraki, will perform, accompanied by the acclaimed pianist Markos Kotsias, a program of beloved arias and duets from the lyrical repertoire, along with exquisite musical moments from baroque, classical song, and creative references to Greek musical tradition. The evening aims to bring the art of opera closer to everyone, with authenticity, high artistic quality, and an atmosphere of unique intimacy that only a venue like Tombazi Estate can offer.
We usually think of lyrical singing – that is, opera – in relation to large theaters and prominent venues, such as the Odeon of Herodes Atticus, the Megaron, the Greek National Opera, where you have both sung. What is the charm of a concert in a small venue, like Tombazi Estate?
EV: Ideal venues for a lyrical singing evening are those that can support the “natural” sound, meaning there’s no need for amplification with microphones, speakers, etc. Then you truly feel that you have complete control over your sound and can enjoy it, something that becomes increasingly difficult when such a concert takes place outdoors or in very large spaces, and sound coverage becomes unavoidable. For this particular concert, this issue doesn’t exist, as we are talking about an indoor, small space, with natural materials, stone walls — ideal, I would say, for this evening. The charm, compared to large stages, is always the contact and communication, which, due to the proximity of the audience to the singers, is much closer. This automatically creates a warmer atmosphere.
DK: Indeed, opera is intertwined with large stages and imposing venues, and admittedly, singing at the Odeon of Herodes Atticus, the Greek National Opera, and the Athens Concert Hall is a unique experience. On the other hand, smaller venues possess a different but very valuable magic. In such a space, the artist feels an immediate, almost personal connection with the audience. The music breathes differently, and there is a sense of closeness and shared experience. I believe that wherever one sings, what matters is that it is always done with respect for one’s art, with character and authenticity.
The same happens abroad. You both have significant international experience. In fact, you collaborated on the Greek National Opera’s tour in China. That must have been a special experience.
DK: I have sung in very large halls, in big theaters, but also in smaller festivals or special venues, and many times these concerts remain more vividly in our memory, precisely because of the immediacy and atmosphere. The Greek National Opera’s tour in China was truly a unique experience. It was moving to see that music is a truly universal language. Despite distances and different cultures, emotion reaches everywhere in the same way.
EV: The Chinese audience was very enthusiastic. To the point of cheering at the end of the performance. It was the first time that after the performance, they waited for us outside the theater to sign autographs…
How much does artists knowing each other, having friendship, and “chemistry” between them, contribute to the artistic outcome?
EV: Rehearsals help us get to know each other better so that we have better “cohesion” both musically and scenically. Friendship, moreover, is a blessing when it exists, because the better you know the other person, the more comfortable you feel, the better you perform, and also, if something goes wrong, it’s easier to deal with it knowing their character and potential reactions.
Many times, however, we have had to perform for the first time directly on stage with a singer who had to replace someone, and there, only experience and professionalism are the ingredients that will lead to a smooth flow and a successful artistic result.
DK: I think the chemistry between artists plays a huge role. When there is mutual respect, trust, and friendship, this also passes on to the audience; it becomes immediately palpable.
Especially in lyrical theater, it is very important to be able to truly “meet” the other artist on stage. Then something alive and authentic is created, not just a correct execution.
How did you choose the program? You essentially shaped it yourselves. What are the main axes?
DK: We shaped the program with great love and a strong personal criterion. We chose works that we truly love and that we feel express us artistically, but at the same time, we wanted to create an evening that was open and accessible to everyone, specifically designed for this particular venue.
EV: We chose works that we truly love and that we feel express us artistically as our main criterion. However, as Dimitra said, we also wanted to create an evening accessible to everyone, even to people who might be encountering opera for the first time. I believe this is its great magic: it can combine high art and deep emotion without compromising on quality.
DK: Yes, I also deeply believe that opera, when presented with quality and sincerity, can touch even people who are encountering it for the first time. This is its great magic: it combines high art with deep emotion. The main axis of the program is precisely this — a musical journey with lyricism, theatricality, and emotion, that can speak to everyone without losing its artistic essence.
So, the role of these events is to bring opera to a new audience?
EV: I think so. It is important for opera to break free from the narrow confines often attributed to it and to meet people who might not easily go to a large theater. However, this must always be done on proper terms, without artistic or other compromises.
DK: Yes, I believe that such events can truly bring opera to a new audience. And this is very important today. But I equally believe that this must be done on proper terms, without artistic compromises. We all need quality. Opera is not something “distant” or elitist; it is a deeply human art.
Finally, I would like to note that apart from being a great and historic place, Tombazi Estate is a functional estate that produces high-quality organic products, such as its award-winning olive oil. How much does contact with nature, quality nutrition, and generally the quality of life, help the performance of a lyrical artist?
DK: Quality of life directly affects us as lyrical artists, and primarily affects our voices. Contact with nature, tranquility, balanced people around us, proper life rhythms, good nutrition, and exercise; all these are not luxuries, they are essential prerequisites for well-being, balance, and endurance in an extremely demanding profession, both physically and mentally.
EV: The performance of a lyrical singer is indeed directly linked to the quality of life, because our own body is the “instrument” with which we work daily. Proper nutrition, rest, contact with nature, and generally a balanced daily life directly affect not only our voice but also our mental state.
So, is this something that will also be “heard” in your performances?
EV: Yes, because especially in a place like Tombazi Estate, where there is a connection to the earth, natural beauty, and authenticity, an environment is created that helps you truly focus on the music and on communicating with the audience.
DK: Art is not born detached from life. It is nourished by the quality of everyday life, by contact with nature, by the beauty and truth of things. And I think that places like Tombazi Estate express precisely this philosophy!
