Mezzo-soprano Mary-Ellen Nesi is widely known for her performances in early music and bel canto, where her expressiveness and deep knowledge of style have earned the admiration of music lovers. However, those who consistently follow her and truly know the breadth of her artistic journey are aware that her repertoire is not limited to these genres, but dynamically extends to contemporary music creation, which she serves with the same dedication and passion. At the concert Retrospectives I (Feb. 19), dedicated to the work of Periklis Koukos, she will perform two song cycles. On this occasion, we took a brief look back at her own relationship with the music of the important Greek composer.
Next Thursday’s concert is titled “Retrospectives.” What does this concept mean to you regarding Periklis Koukos’ music?
The title “Retrospectives” refers to a journey into the past of Periklis Koukos’ creative work, through pieces that possess their own value and timelessness. For me, it signifies an opportunity to perform this music, to highlight the emotion through poetic language, and to invite the audience to rediscover it.
What was your first encounter with the composer Periklis Koukos and his work?
My acquaintance with the composer came several years ago. I had the pleasure of discovering his music in the early years of my career and performing his works in concerts, as well as roles in operas such as “Manuel Salinas” and his work “Merlin the Magician.” In fact, many of the works I will perform on February 19 at the Megaron Concert Hall I have sung before, years ago, also at the Megaron Concert Hall, and I am particularly delighted to revisit them. After all, our relationship with the music we perform is never exactly the same; it constantly changes and enriches itself.
What do you consider to be characteristic of Periklis Koukos’ musical writing, and what makes it special for a performer?
Periklis Koukos’ music stands out for its melodiousness, clarity, and its close relationship with the text. For a female performer, this means active participation and meaningful interpretation, beyond purely vocal execution. What I enjoy as a singer is that Koukos’ music supports the voice, giving it space to breathe, connect with the text, and convey emotion directly.
Is there any work or song in the program that particularly touches you?
All the pieces in the program are wonderful and unique. I might perhaps mention the song cycle “Sketches for a Summer” set to the poetry of George Seferis, a work I particularly enjoy singing.
How do you approach the interpretation of a contemporary Greek work compared to the classical or baroque repertoire, which you also serve with such success?
Each era has its own performance technique and requires a different approach. In contemporary Greek works, the voice and technique adapt to the specificities of the music and text, just as they do in the classical and baroque repertoire, without losing personal interpretive freedom.
What does it mean to you when you sing in the Greek language?
Singing in Greek perhaps gives me a natural familiarity with the meaning and emotion of the poems. When I sing in another language, if it’s a language I don’t know, it requires a greater effort to delve into the text. In any case, however, music is what conveys emotion in a more direct way and unites the performer with their audience.
Do you believe that contemporary Greek art music finds the place it deserves today?
Unfortunately not, at least among the general public. Not because it lacks quality – quite the opposite. There are excellent composers, performers, and ensembles of international caliber. However, it is not promoted as much as it should be. For example, contact with art music in schools is almost non-existent or merely superficial. Without early exposure and understanding, it’s difficult to build an audience. Also, in mass media, one rarely has the opportunity to hear art music, except perhaps for an anniversary or something very ceremonial. Fortunately, there are bright exceptions: Megaron Concert Hall, Greek National Opera, Olympia, Athens Festival, State Orchestras of Athens and Thessaloniki, which provide a platform for this music. The Philarmonia Orchestra of Athens also does significant work, having presented and recorded many gems of Greek art music. On the other hand, there is also something hopeful: a small but passionate audience, young musicians experimenting, and a slow repositioning of art music not as a museum piece but as a living language.
Could an international audience be interested in works by Greek composers? – or is language an obstacle?
Music and expressive interpretation make meaning and emotion understandable to everyone, transcending linguistic boundaries. After all, we all listen to works written in other languages with the same pleasure, from Verdi’s Italian to… the Spanish and Korean of international pop. To attract an international audience, a vibrant and authentic interpretation is needed, one that highlights the meaning, emotion, and unique musical language of Greek works. Quality always prevails, provided it has the opportunity to be heard. Presentation through high-quality concerts and recordings can bring Greek music to new international listeners.
