Viva la mamma!

Alternative Stage Founding Donor

Major Sponsor of the Greek National Opera

The comic opera Viva la mamma!, a modern and highly subversive take on Gaetano Donizetti’s work Le convenienze ed inconvenienze teatrali (Conventions and Inconveniences of the Stage, 1827), is coming to the GNO Alternative Stage at the SNFCC. The new version, directed by Sophia Paschou, who also stamps her mark on the adaptation in collaboration with the team, will be showcased from 21 February to 7 March 2026. Odd sets, stunning costumes with endless trains, and human vanity take center stage, while the select cast of opera singers and actors delivers an unpredictable situation comedy filled with misunderstandings, abundant humour, and sarcasm.

The opera Viva la mamma! brilliantly satirizes the endless confrontations and vanity prevailing behind the scenes of a music theatre company. The story focuses on the preparations for a performance, which test everyone’s nerves and relationships.  A semi-amateur company struggles to stage an opera production, facing innumerable obstacles; however, their efforts go off course due to the whims and conflicts among the singers, the ploys of a disheartening tenor from abroad, and, most importantly, the arrival of the sweeping “mamma” Agata, the mother of the second star in line, who storms rehearsals demanding revisions to the score and new music written especially for her daughter – until the entire production team is brought to collapse.

Synopsis
This year, the Greco-Italian Operatic Association of Kallithea, a group passionate about music, is staging a performance titled The Unknown Donizetti, which is primarily inspired by the composer’s opera Viva la mamma!. The audience follows a rehearsal taking place at the Greek National Opera, specifically in the Alternative Stage hall, which is, however, in complete disarray from the previous event. The GNO has not been notified that the hall will be used by the Association because the space was unofficially “booked” through a personal connection.

The soloists and actors in the performance speak Greek but sing in Italian, except for this year’s official guest of the Association, a German tenor. Although the technician of the Alternative Stage is initially resentful of the unexpected rehearsal imposed on him, he eventually tries to help the Association and soon joins the singers.

As if the already existing intrigues and schemes among the members of the Association weren't enough, soon, the mother of one of the singers, Mamma Agata, storms the rehearsal. She has an opinion about everything, sings confidently, and is commanding. The Association’s maestro places her into the rehearsal and the performance without second thoughts. This results in even more problems for the company.

During the rehearsal, the soloists use whatever stage props they find in front of them, while the maestro constantly adjusts the lights and sets. Soon, a surreal condition prevails, enhancing the already comic atmosphere, like an awkward yet enchanting choreography of objects and people who are never synchronized and constantly attempt to turn the spotlight on them. Ultimately, they inadvertently create poetic images.

The performance ends at some point, but real life continues, somewhere out there in Kallithea…Or perhaps it is just beginning .

The work and its course
The story of Gaetano Donizetti’s opera Le convenienze ed inconvenienze teatrali featuring a libretto by Domenico Gilardoni, ranks among the most complex in the repertoire. No single definitive version of the work survives; instead, it exists in many different local variations. At the heart of the opera stands the emblematic figure of a pushy and overprotective mother, a role originally written for a male voice, whose grotesque and satirical power has decisively shaped the work’s popularity. The dominance of this figure on stage led to the work’s most widely known title, Viva la mamma!, which it is still used in performances today.

The work premiered in Naples in 1827 as a one-act operatic farce titled  Le convenienze teatrali. It was inspired by Antonio Simone Sografi’s comic diptych of the same name, and focused on the on-stage and off-stage world of theatre from a satirical perspective.

In 1831, it was presented as a two-act work titled Le convenienze e inconvenienze teatrali, in two different, reworked versions: the first was staged in Milan, without the composer’s direct supervision, and the second was presented in Naples with his active involvement. The two-act Naples version is regarded as the one closer to the work’s final form, and is also the basis for the new production that will be presented at the GNO Alternative Stage.

Mamma Agata storms the Greek National Opera
The new Alternative Stage production, directed by the experienced Sofia Paschou, tells the story of a music theatre company struggling to stage a production that ultimately ends in blatant failure. The director also led the full adaptation of the work in collaboration with the team, creating a performance that reflects contemporary theatrical reality. The production is a playful journey of balance among the elements of an operatic performance, with a cast that combines opera singers and actors, offering a multilayered interpretation that emphasizes the work’s comedic power and enduring appeal.

Kharálampos Goyós handled the adaptation of the musical text and musicological supervision, and served as a consultant on musical dramaturgy. The set and costumes were designed by Claire Bracewell, and the lighting design was created by Sofia Alexiadou.

The cast features Dafni David, Christos Kechris, Chyssa Maliamani, Marios Sarantidis, Marinos Tarnanas, Alexandros Chrysanthopoulos, and Apostolis Psichramis

Christos Sakellaridis plays the piano. 

Brief biographical notes

Christos Kechris
Greek tenor, born in Athens. His repertoire includes a wide range of roles and works from the Baroque, Classical and Romantic periods, music of the 20th century as well as contemporary experimental musical creation. He is regarded as one of the most highly specialised Greek lyric performers in 20th- and 21st-century music, with a consistent artistic focus on contemporary creation, combining outstanding musical precision with a strong stage and theatrical presence. He participated as an artist-in-residence soloist and principal interpreter in the GNO Composition Masterclass Cycle. He collaborates regularly with both the Main and the Alternative Stage of the GNO as well as with leading Greek institutions such as the Athens State Orchestra, Armonia Atenea, Hellenic Broadcasting Corporation (ERT), Athens Philharmonia Orchestra, Ergon Ensemble, National Theatre of Greece, Greek Art Theatre Karolos Koun. He has also appeared at the country’s most important cultural venues and institutions, including Athens Epidaurus Festival, Megaron – The Athens Concert Hall, Thessaloniki Concert Hall, Olympia Municipal Music Theatre ‘Maria Callas’ and Onassis Stegi. He maintains an active international presence, performing leading operatic roles and appearing as a guest soloist in Switzerland, Germany, Austria, Italy, France, Malta, Lithuania, Slovenia, Turkey, and Croatia. His collaborations include the Opéra de Lausanne, Opéra de Fribourg, Opéra national de Lorraine, Passau State Theatre, Teatro Manoel, the Borusan Istanbul Philharmonic Orchestra as well as the Seviqc Brežice Festival and the Early Music Festival ‘Banchetto Musicale’.

Christos Sakellaridis
Pianist, recognised as one of the most active Greek musicians of his generation. He has built an international career as a member of the Ergon Ensemble and the piano duo P 4 2. He has performed in Switzerland, England, Cyprus, Hungary, Germany, Croatia, Italy, Norway, and Denmark as well as at festivals such as KunstFestSpiele Herrenhausen, Sani Festival, Athens Epidaurus Festival and Suså Festival. Since 2023, he has served as répétiteur of the GNO Alternative Stage. He studied at the Franz Liszt Academy of Music in Budapest as a scholarship recipient of the Onassis Foundation.

Marinos Tarnanas
Greek baritone, born in Athens. At the age of twenty-two, he began voice studies with Agapi Houzouraki at the Nea Smyrni Athenian Conservatory on a scholarship, graduating with honours and first prize in 2018. In 2012, he began studying piano on a scholarship with Evi Marinakis and graduated with honours in 2015. He has participated in seminars with distinguished soloists such as Dimitri Kavrakos, Dimitris Tiliakos, Tassis Christoyannis, and Aris Argyris. During the 2018/19 season, he attended the GNO’s ‘Youth Opera’ educational programme under the guidance of Angelo Simos and Michalis Papapetrou. Since 2019 Marinos has performed roles including Publio (La clemenza di Tito) and Lorenzo (I Capuleti e i Montecchi) as part of the ‘Youth Opera’ programme and has appeared in GNO productions such as Don Carlo, Andrea Chénier and Otello, presented at the Stavros Niarchos Hall. Additionally, as a chorus member, he has participated in productions of Faust, Rigoletto, Nabucco, Rise and Fall of the City of Mahagonny, among others.

Marios Sarantidis
He was born in Athens. He holds a degree from the Department of Communication, Media and Culture of Panteion University. He earned both his undergraduate and postgraduate degrees from the Hochschule für Musik und Theater München, studying in the class of Daphne Evangelatos. In recent years, he has been studying with the bass Dimitri Kavrakos. He began singing opera at the age of fourteen, winning first prize at the Panhellenic Student Music Competitions in 1999. He has participated in more than 50 productions of opera, operetta, musical theatre and performance in Greece and Germany. He is regarded as one of the most versatile artists of his generation, having performed repertoire ranging from Claudio Monteverdi to Philip Glass, and from opera and Lieder recitals to national premieres of musicals and works of electronic music. He speaks French, English, Italian and German. Among the artists with whom he has collaborated are Michail Marmarinos, Spyros Evangelatos, Nico and the Navigators (Berlin), Akyllas Karazisis, Katerina Evangelatos, Markellos Chryssicos, Loukas Karytinos, Stathis Soulis, Konstantinos Terzakis, Thanos Papakonstantinou, Ermonela Jaho, Rolando Villazón, among others. He has appeared, among other venues and institutions, at GNO, Radialsystem V Berlin, Gärtnerplatz Theatre Munich, Bayreuth Baroque Opera Festival, Little Theatre of Ancient Epidaurus, Onassis Stegi, Odeon of Herodes Atticus, Megaron – The Athens Concert Hall and Thessaloniki Concert Hall.

Daphne David
Βorn and raised in Athens. She studied acting at the Veaki Drama School, Department of Psychology of the Panteion University, and holds a diploma in classical singing with distinction from the class of Giorgos Samartzis. She has also been trained in systemic psychotherapy at the Athenian Institute of Anthropos (AIA). In theatre, she has collaborated with such directors as Giannis Niarros (Spirtokouto: The Musical), Vassilis Mavrogeorgiou (Epitrepontes, Alice in Wonderland), Konstantinos Markoulakis (Noises Off), Odysseas Papaspiliopoulos (Master Class, Lysistrata), Dimitris Agiopetritis-Bogdanos (Into the Woods), Lena Kitsopoulou (Wasps), Yannis Bezos (Ecclesiazusae, Lysistrata), George Paloumbis (Vaso and Vivi), Angelos Mendis (Shrek The Musical), Lydia Koniordou (Hippolytus), Thomas Moschopoulos (The Trachiniae, Alcestis, Electra, Sleeping Beauty Woke Up), Pandelis Dentakis (The Cherry Orchard) as well as Yannis Margaritis, Sergios Gakas, Roula Pateraki, among others. On television, she has appeared in the series To Navagio, Min Psaroneis, Gorgones, Sto Para Pente, and Mystika kai Lathi. Alongside her artistic work, she practices privately as a psychotherapist, working with individuals, groups, and families.

Alexander Chrysanthopoulos
Actor and director. After graduating from Athens College in 2009, he was admitted to the Drama School of the Athens Conservatoire. He graduated in 2013 and immediately began his professional career in theatre. As an actor, he has collaborated with prominent directors such as Vasilis Papavasileiou, Thomas Moschopoulos, Vangelis Theodoropoulos, Kostas Philippoglou, Sofia Paschou, Pandelis Dentakis, Giorgos Papageorgiou, and George Koutlis. As a director, he has staged the productions O Varοnos F (2024/25, co-directed with Giorgis Tsouris) and The Fifth Step (2025/26). At the same time, he stars in television series and feature films.

Apostolis Psychramis
He was born in Athens in 1979, the eldest of seven siblings. He began studying classical guitar and choral singing at the age of six, following his encounter with Dimitris Typaldos. He graduated from the Pallini Music High School. He studied acting at the Mary Voyatzis Traga Drama School and obtained a diploma in classical singing with Panos Dimas. He has been teaching singing since 2011. Since 2015, he has been a regular collaborator with the Patari Project theatre group. He is a member of the polyphonic ensemble Dreamy Whispers. He has been working as a director, actor, and music supervisor in dubbing since 2012 and is a member of the Hellenic Association of Dubbing Actors. As an actor, he has participated in productions at National Theatre of Greece, National Theatre of Northern Greece, GNO, Onassis Stegi, Municipal Theatre of Piraeus, Porta Theatre, Neos Kosmos Theatre, among others. He has been involved in vocal coaching and vocal preparation for theatre since 2008 and teaches at the Drama School of the Athens Conservatoire. As a musician and singer, he has collaborated with numerous composers and artists from 1998 to the present.

Kharálampos Goyós
Kharálampos Goyós is a composer whose work focuses primarily on music theatre, including opera and incidental music. He studied with composers Philippos Tsalahouris and Dimitris Lionis and holds a degree from the Department of Music Studies of the University of Athens. His works have been presented by major cultural institutions such as the Greek National Opera, the Athens Epidaurus Festival, the National Theatre of Greece and the Neuköllner Oper, and he has collaborated with prominent figures from the fields of music, theatre, literature and visual arts in Greece and abroad. His music has received awards in Greece, Cyprus, the United Kingdom and the Czech Republic. He has led the first modern revivals of works by Jani Christou and Theophrastos Sakellaridis. He is a co-founder of the independent music theatre company The Beggars’ Operas and serves as General Director of the choral ensembles CHÓRES and CHORDAE. He teaches at the Athens Conservatoire and the Drama School of the National Theatre of Greece, and is a member of the Greek Composers’ Union.

Chrissa Maliamani
Greek soprano, born in Thessaloniki. She studied voice at the New Conservatory of Thessaloniki under Varvara Tsambali (diploma with honours) and completed her postgraduate studies at the Würzburg University of Music under Cheryl Studer. While studying she sang such roles as Blonde (Die Entführung aus dem Serail), Fanny (La cambiale di matrimonio), Zerbinetta (Ariadne auf Naxos) and Rosina (Il barbiere di Siviglia). Between September 2012 and July 2014, she was a member of the Ensemble of the Plauen-Zwickau Theatre, where she performed numerous roles such as Despina (Così fan tutte), Ännchen (Der Freischütz) and Graziella (Detlev Glanert’s Joseph Süss). She performed the title roles of Lucia di Lammermoor, Leïla (Les Pêcheurs de perles), Eurydice (Orphée aux enfers, Olympia Municipal Music Theatre ‘Maria Callas’), Adele (Die Fledermaus, Thessaloniki Concert Hall), Vivika (The Godson, Olympia Municipal Music Theatre ‘Maria Callas’), while recently she sang Violetta (La traviata) and Rosalinde (Die Fledermaus, Olympia Municipal Music Theatre ‘Maria Callas’). At the GNO she has sung Pamina (Die Zauberflöte), Susanna (Le nozze di Figaro), Frasquita (Carmen), Maid (Powder Her Face), Zerlina (Don Giovanni), Sophie (Werther) and Betty (Les Éclairs).