Chodorkowski
Alternative Stage
Chodorkowski
Opera - Periklis Liakakis
February 2020
Δημιουργική Ομάδα

CONDUCTOR
Jury Everhartz

LIBRETTO, DIRECTOR
 Kristine Tornquist / Assistant Roberta Cortese

SETS
Andrea Költringer

COSTUME DESIGN
Markus Kuscher /  Assistant Claire Blake

CHOREOGRAPH
Bärbel Strehlau

LIGHTING DESIGNER / TECHNICAL DIRECTOR
Edgar Aichinger

DIRECTOR OF STUDIES
Petra Giacalone

PRODUCTION
Martin Scharnhorst

Πρωταγωνιστές Παράστασης

CAST
Michail Borissowitsch Chodorkowski: Clemens Kölbl
Marina Filippowna Chodorkowskaja: Ingrid Habermann
Wladimir Wladimirowitsch Putin: Alexander Mayr
Igor Iwanowitsch Setschin: Steven Scheschareg
Leonid Borissowitsch Newslin: Gernot Heinrich
Iwan Iwanowitsch: Sébastien Soulès
Natascha: Lisa Rombach
Xenia Kritikowskaja, TV-Reporter: Elsa Giannoulidou
Kate, PR-Firma: Josipa Bainac
Alexej Wladimirowitsch Pitschugin: Matthias Haid
Wladimir Petuchow: Martin Mairinger
Roman Arkadjewitsch Abramowitsch: Richard Klein
Matteo Tiziani: Dieter Kschwendt-Michel
Fortuna: Bärbel Strehlau

With the participation of a 13-member instrumental ensemble

 

Ticket prices: €15, €20
Students, children: €10

Alternative Stage
Opera

Chodorkowski

Periklis Liakakis
Opera

Available Dates

  • 27, 28, 29 Feb 2020

Greek premiere 

A co-production with Sirene Operntheater / Austria

Greek National Opera Alternative Stage
Stavros Niarchos Foundation Cultural Center

Starts at: 20.30 |   

A co-production with 

sirene logo gelb

 

Distinguished composer and professor at the University of Music and Performing Arts Vienna Periklis Liakakis’ modern opera Chodorkowski, which won the prize for 2017 Best Independent Opera Production at the Austrian Music Theatre Awards, will be given its Greek premiere. The opera is about the rise and fall of Russian oligarch Michael Chodorkowski, who stood against Vladimir Putin in the ’90s.

“It is a political opera in which the protagonists are real persons, and this is of course what initially drew me to begin writing this opera. But what made me give my best to this endeavour was the realization of how similar the stories and fates of simple people were, people who are distant observers of the never-ending hunt for power, both in Russia and in crisis-stricken and collapsing Greece”, notes Periklis Liakakis. “The opera is not trying to pick anyone’s side. I believe that in modern opera there should not be good or bad people, just facts and reactions to these facts. Sanctifying or demonizing people has been avoided, to the extent that that was dramaturgically possible, and my main concern was that this opera could speak to a Russian, same as to an Austrian or a Greek”.