Next Saturday, tenor Dimitris Paksoglou will perform the leading male role in Ruggero Leoncavallo’s famous *Pagliacci* for one evening in Heraklion, Crete. On the occasion of this new co-production by the Cultural & Conference Center of Heraklion, we spoke about the work and his career, which in recent years has focused on Sweden and the wider Baltic region.
Of all the countries in the world, you are currently pursuing your career in the one that produced the greatest tenors of the 20th century – Jussi Björling and Nicolai Gedda. What and how led you there – how difficult was the competition?
The life of a lyrical artist is usually full of travels abroad, if, of course, they are fortunate enough to belong to the category of singers active outside Greece. Thus, my artistic life offers me the opportunity for continuous travel to countries I might not have had the chance to visit if I had chosen another profession. Sweden has recently given me this opportunity to develop my art. It is the third time I am performing roles there, and my next contract for 2026 will again be in Stockholm. Swedes love opera and have a tradition of very great singers. I only need to mention names like Birgit Nilsson, Jussi Björling, and Nicolai Gedda – as you also mentioned. It is therefore a challenge for a singer to perform in front of an initiated audience that knows a lot about opera. The competition, of course, is mainly with yourself, as you must not just be adequate, but above all, be considered indispensable.
What keeps you in Sweden, apart from the warm social atmosphere, good weather, and delicious cuisine?
Working conditions in countries like Sweden are ideal for an opera singer. I will only mention the respect with which they approach you, not to speak of the obvious, such as excellent professional relationships, adherence to health and safety regulations, and many others. Swedes are generally very open people. At the same time, they are very sensitive to social justice and equal treatment. An ideal place for creation, I would say. As for the cuisine, I prefer Mediterranean…
You started your career as an actor and then became a lyrical singer. What led you to this decision, and how easy or difficult was the transition?
Knowledge of theatre is essential in our work. My studies and previous experience in dramatic theatre are invaluable assets for me. The transition was not difficult and happened smoothly. Everything was decided within me when I had my first rehearsal with the orchestra. I found myself alone with the conductor and the orchestra musicians in the hall where I had to perform an aria, I closed my eyes and said to myself, “this is what I want to do.” Looking back, I believe it was the right choice, and I have no regrets at all!
The role you will perform is Canio – a traveling actor. Apart from the famous – and demanding – aria Vesti la giubba that everyone knows, what is the general interest and challenges of the role?
That’s right, apart from the aria, the role has many other beautiful musical moments both at the beginning and towards the end of the work. Leoncavallo’s work belongs to the verismo category, meaning it is deeply realistic and true. Therefore, the performer must pay special attention not only to the music but also to their acting interpretation, as the work has many moments full of passion, truth, and intense emotions. It is truly a challenge.
Do you have an idea of what the direction and overall production will be like?
This particular production is in collaboration with the Provincia di Lecce and the Politeama Greco Theatre in Lecce, Italy. The direction is by the famous theatre artist Giandomenico Vaccari, and the musical direction is by conductor and artistic director of the CCCH, Myron Michailidis. The direction is basically classical but at the same time very interesting, as, like I said before, it relies on the truthfulness of the performers. It has nothing superfluous.
How important is the collaboration between director and conductor for a successful opera performance?
The relationship between the director and the conductor-orchestra director in a production is perhaps the most important. Both must function like communicating vessels and complement each other, as one’s work is intertwined with the other’s. They both share the same vision, which they may have co-decided even before preparation and rehearsals. In this particular production of *Pagliacci*, there is a special harmony between the two.
Pagliacci is your second collaboration with Myron Michailidis and the Philarmonia Orchestra of Athens at the CCCH in 2025, as you sang Tosca in April.
Yes. At this point, I would like to specifically mention Maestro Myron Michailidis, who is doing a great job in Heraklion. A job that is in no way inferior to international productions, and I am proud and grateful to be a part of this important effort. We are also fortunate to be accompanied by the excellent Philarmonia Orchestra of Athens. I have worked with them before and I can say that I am particularly happy to collaborate again.
Very recently, just last month, you debuted in the titular and leading role in Wagner’s opera Tristan und Isolde. What does this signify for your development as a singer?
Contact with Wagner is a pivotal moment in every singer’s career. This repertoire develops you as an artist but also affects you as a person, as the preparation is a painstaking process. It requires dedication and a lot of time for musical study. It is also necessary to delve into Wagner’s unique world. You must understand the entire symbolism of the work and its deep meanings. Don’t forget that we are the composer’s messengers.
How vocally and interpretatively difficult is the transition from Tristan to Pagliacci within two weeks?
Anything after Tristan is easier for a singer. Of course, *Pagliacci* also has its difficulties, as I mentioned before, which if not addressed, will expose you irrevocably. Generally speaking, I can say that they are interpretatively close, if you exclude the total duration of the works, as in the case of Tristan we are talking about four hours of continuous performance, while in Leoncavallo’s work the duration is only an hour and a half.
Your next scheduled appearances will again be in the North: in spring you will sing Calaf (Turandot) and in autumn Otello.
Yes, I look forward to performing one of the most famous roles in the repertoire at the renowned Royal Swedish Opera in Stockholm, and as for Otello, which I will perform in Tallinn, Estonia, it is a role I have done before – twice, in fact – and I consider myself very lucky for that.
