The silent one – A contemporary khorikòn
Alternative Stage
The silent one – A contemporary khorikòn
Music Theater - Dimitra Trypani
October 2019
Δημιουργική Ομάδα

Conception, composition
Dimitra Trypani

Libretto
Pantelis Boukalas

Sets
Katherine Wise

Lighting designer
Valentina Tamiolaki

Collaborating visual artist
Nikos Kokkalis

Costumes
Dimitris Grammatikogiannis, Irini Barsaki 

Πρωταγωνιστές Παράστασης

 Milia: Sophia Ketedjian
Mother: Aliki Siousti / Georgiana Filippaki
Brother I – Kyriakis: Antonis Vasiliadis
Brother II – Sotiris: Alexandros Psihramis
Brother III – Diakoumis: Giorgos Kasavetis
Brother IV – Panayiotis: Rafael Kritoulis
Brother V – Kostantis: Nikos Ziaziaris
Father: Giorgos Nikopoulos / Vasilis Pelantakis
Seer Teiresias / Harp: Gogo Xagara
Violoncello: Dimitris Travlos

 

Ticket prices: €12, €15
Students, children: €8

 

Alternative Stage
Music Theater

The silent one – A contemporary khorikòn

Dimitra Trypani
Music Theatre

Available Dates

  • 11, 12, 13 Oct 2019

A co-production with the Paxos Music Festival 

Greek National Opera Alternative Stage 
Stavros Niarchos Foundation Cultural Center 

Starts: 20.30 (Sunday: 19.00|   

 

Dimitra Trypani’s The silent one is based on real events that happened in a poor mountain village of Greece around 1850. A young woman, Milia, is murdered by her father and brothers to “wash away the family’s shame”, after the groom finds out she is not a virgin on her wedding night.
The story unfolds in an atemporal setting, in a Dantean limbo, a place inhabited by forgotten souls. There, the characters coexist without meeting each other, racing with their memory, wrath, guilt and sorrow. By taking responsibility for their hideous act, they are led to repentance and self-forgiveness.
The work is an alternative requiem; like an ancient chorale. The story’s heroes find their way to forgiveness and redemption, singing dirges and lamenting over themselves.
Pantelis Boukalas’ libretto, written especially for this work, gives Dimitra Trypani the chance to perfect her basic compositional tool, which she has been working on and developing for twelve years in her works and constitutes the most typical element of her aesthetics: it is the almost absolute abolition of “seams” between text and music, achieved through the strict and orchestrational integration of the text into the music score.

With the kind support of the J. F. Costopoulos Foundation

 

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