"Вкладывая душу" -Третий альбом Никоса Икономопулоса (Νίκος Οικονομόπουλος) "Кататези Психис" (ΚΑΤΑΘΕΣΗ ΨΥΧΗΣ)

(Перед вами слушательский обзор, который не может быть полным и детальным, но все-таки дает мне возможность поделиться с публикой кое-какими наблюдениями. Надеюсь, что мои заметки окажутся полезными и приведут моих читателей к слушанью музыки, которую я только-что открыла для себя.)

Никос Икономопулос - восходящая звезда на горизонте Греческой популярной музыки. С его победного дебюта на реалити ТВ шоу, через успех его первых двух альбомов молодой человек из Патры уверенно идет навстречу еще большему успеху.

"Кататези психис" (название можно перевести как "Вкладывая душу") - это альбом из 12 треков, выпущенный Sony Music и реализованный через посредничество еженедельной газеты "Еспрессо Кирияки" 3го января 2010 года. В него вошли песни разных жанров и нескольких авторов. 6 песен написаны Александросом Хризовергисом ( вместе с поэтом Спиросом Ятрaсом, 3 композиции принаделжат Христосу Пападопулосу на стихи Элени Яннацулиa. Эта же поэтесса вдохновила и двух других композиторов - Мариоса Псимопулоса и Янниса Пердикaриса к написанию их песен для CD. И одна композиция написана Маритой Росси (музыка) и Паносом Фаларосом (слова)

Подобранные песни принадлежат к разным стилям, некоторые из них можно отнести к "сихроно лайко" (вид ориентальной поп музыки), другие близки евопейским лирическим балладам, некоторые скорее принадлежат ориентальному техно.
Альбом должен быть интересен разным типам слушателей: от любителей Греческой "лайка" до очень требовательных музыкальных экспертов.

Последней из названных групп я бы порекомендовала обратить особое внимание на качество аранжировок этого альбома в целом, а затем бы посоветовала вслушаться в три песни, написанные Христосом Пападопулосом. Х.Пападопулос - очень заметная фигура на греческой музыкальной сцене, фантастический исполнитель на восточных струнных щипковых инструментах и лидер группы "Та Педиа апо тин Патра" ("Ребята из Патры"). Сам факт, что этот большой музыкант и, в добавок, земляк Никоса, принял участие в создании альбома как композитор и инструменталист - уже приманка для музыкальных знатоков. Его песня " Один Бог знает" (ΕΝΑΣ ΘΕΟΣ ΞΕΡΕΙ) - трек #8 - прекрасно демонстрирует глубочайшее знание Христосом ближневосточной музыки, его виртуозную технику и способность создать превосходный современный звук в своих инструментовках. Другая его композиция " Мне сказала душа" (ΜΟΥ 'ΠΕ ΜΙΑ ΨΥΧΗ, трек 7) это прекрасная восточная баллада и "Хочу быть" (ΘΕΛΩ ΝΑ 'ΜΑΙ, трек 10 ) - очаровательная лирическая песня, надо заметить, что она написана совместно с Димитрисом Анастасопулосом на слова Вангелиса Каразаноса.

Тандем Александрос Хрисовергис - Спирос Ятрaс уже принес удачу Никосу с успехом его предыдущего диска "Акуза".
В новом альбоме я вижу несколько очевидных хитов, написанных ими. В перую очередь я бы отметила замечательную любовную песню " Абсолют" ("ΑΠΟΛΥΤΟ ", трек# 6), которая следует лучшим традициям жанра и позволяет нам насладиться уникальным по красоте голосом Никоса благодаря великолепным волнам ее мелодии. Длаее, конечно, мощная, написанная под влиянием  жанра зейбекико заглавная песня альбома "Вкладываю душу" ( трек #4) и ориентальный танцевальный трек "Хит" (ΧΤΥΠΑ трeк #2). Не буду описывать еще три композици этих же авторов, могу лишь пообещать - каждая из них заслуживает быть услышанной.
Единственная песня Мариоса Псимопулоса на этом диске - "Что мне делать с тобой" - (“ΤΙ ΘΑ ΚΑΝΩ ΜΕ ΣΕΝΑ ",стихи Елени Яннацули, трек #1) оказалась выбрана для промо видео клипа. Это вальсовая композиция с легко запоминающейся мелодией, позволяющая певцу великолепно показать свой голос, что Никос и делает, демонстрируя парящий с легкостью звук.

Вклад тандема Марита Росси - Панос Фаларос в альбом - поп баллада "Очищение" (ΞΕΚΑΘΑΡΙΣΜΑ, трек #5), которая обещает стать весьма успешной и очень скоро.

Единственная песня Янниса Пердикориса здесь - "Сказать по правде" (Η ΑΛΗΘΕΙΑ ΝΑ ΛΕΓΕΤΑΙ, трeк #12) - завершает альбом нежной элегической мелодией.

Мои первые впечатления от рассмотренного диска привели меня к выводам, что все это разнообразие песенных жанров обьединено выдающимися певческими качествами Никоса и высочайшим профессионализмом команды, работавшей с ним вместе над альбомом.
Я беру на себя смелость утверждать, что Никос Икономопоулос обладает одним из лучших голосов нашего времени в популярной музыке (наблюдения исходят так же и из впечатлений от записей в живую) и должен принести новую славу для Греции.

С наилучшими пожеланиями Никосу Икономопулосу

Люси Ваганова

Новая Зеландия

"An Offering from the Soul" - Nikos Economopoulos/Νίκος Οικονομόπουλος

The third album by Nikos Economopoulos: “Katathesi Psychis”

Sony (Greece) 2010




This is a listener’s review, which can’t be full and detailed, but still it gives me an opportunity to provide a public with some sort of observations. Hopefully my writing will be useful and leading my readers towards the listening of the music I just discovered for myself.

Nikos Economopoulos (Νίκος Οικονομόπουλος) is a rising star on the Greek music horizon. From his winning debut on the TV reality show through the success of his previous two albums, young Patras native is surely coming to a bigger fame, being now supported by world recognized coryphaeus Giannis Parios and other famous musicians.

“Katathesi Psichis” (can be translated as “An Offering from the Soul”) is a 12 tracks album, which was released by Sony Music through weekly newspaper "Sunday Espresso" at 3rd of January 2010. It includes songs of various genres and different composers. 6 songs are written by Alexandros Chrisovergis together with a poet Spiros Giatras, 2 compositions belong to Christos Papadopoulos with a poetry by Eleny Giannatsoulia (don't be confused, please! We have 2 authors with the same name on this CD! Another Christos Papadopoulos was taking part in the writing of the song together with Dimitris Anastasopulos on the words by Vangelis Karatzanos) . The same poet inspired two other composers – Marios Psimopouls and Giannis Perdikoris to write their songs for the CD. One composition is written by Maritta Rossi (music) and Panos Falaros (words).

The songs compilation represent various styles, some can be classified as σύγχρονο λαϊκό (sort of oriental colored pop) others are more close to European lyrical ballades and some are inclined to the oriental techno.

This album should be found interesting by various categories of listeners: from lovers of Greek laika till very demanding musical experts.

For the last of the above mentioned groups I would recommend to listen to the quality of the arrangements in this CD in general; then I would suggest turn their attention to the two songs, written by Christos Papadopoulos. Papadopoulos is a very prominent figure in Greek music scene,a fantastic oriental plucked instruments player and the leader of the group “Ta pedia apo tin Patra” ( “The Guys from Patras” ). The fact that this big musician and, by the way, a countryman of Nikos, took part in the creation of the album as a composer and an instrumentalist is already a strong attraction for the musical experts. His song “ Enas Theos kseri” (Only God Knows) displays in full Christos deepest knowledge of the Middle East music, his virtuosity and ability to create a perfect contemporary sound with his instrumentation. “Mou’ pe mia psihi” is a beautiful oriental ballade, which style is very close to song for the TV serial"Dangerose Zone" Christos wrote and Nikos sang.


Alexandros Chrisovergis and Spiros Giatros tandem was already lucky for Nikos with the success of his previous CD “Akousa”. As for the new album, I can see there a few obvious hits written by them. Firstly I would mention a great love song “Apolyto” (Absolute), which follows the best traditions of the genre and lets us enjoy a unique Niko’s voice in full on the magnificent waves of the tune. Then, of course, a powerful zeibekiko influenced title song of the album “Katathesi Psychis” and an oriental style folk dancing piece “Htypa”. I will not describe other three songs by this authors, but just will promise you – each one of them deserves to be listened to.


“Thelo na’mai” (I Would Like to Be) is a rival of "Apolito" meaning the lyricism, it is very simple but deeply charming pop song (this composition is written by young authors, pianist Dimitris Anastasopulos and a drummer Christos Papadopoulos on the words by Vangelis Karatzanos)."The only composition by Marios Psimopoulos in the album “Ti tha kanw me sena” ("What Can I do With You?", words by Eleny Giannatsoulia) is a lucky one, being chosen for the promo video and placed as the first track on the CD. It is a waltz type love song with a catchy tune, providing a singer with a great voice exposition opportunities. And Nikos uses this opportunities in full, displaying amazingly soaring vocal sound.

Tandem of Maritta Rossi and Panos Falaros contributes to the CD a pop style dramatic ballade “Ksekatharisma” (Scrub), which is promising to become very popular soon.

The only song here by Giannis Perdikoris and Eleny Giannatsoulia “I alythia na legete” (To Say the Truth) finishes the album with the gentle elegiac melody.

My first observations on the CD lead me to a conclusion, that this variety of song genres is united by Nikos outstanding singing qualities and a high professionalism of the team, which created the album.I believe that Nikos Economopoulos has got the one of the best voices of our time in popular music and is going to be a new pride of Greece!

With the best wishes to Nikos Economopoulos!
Με τις καλύτερες ευχές στο Νίκο Οικονομόπουλο!

Lucy Vaganova BMus(Hons) Auckland, New Zealand

From the Russian Point of View on " Eugene Onegin" in NZ Opera

>

Pushkin and Tchaikovsky. These names, these two hypnotizing sounds deeply touch the most subtle and intricate fibres of every Russian soul. The news about New Zealand opera performance based on the ingenious masterpieces by the great writer and outstanding composer could not pass without causing a great interest for Russian speaking New Zealanders.
“Eugene Onegin” is not the only creation by Pushkin–Tchaikovsky union. Another masterpiece, “The Queen of Spades”, one of the highest peaks in the history of opera, has been the final result of colossal work done by the composer for re-arranging Pushkin’s story and adopting it for the musical theatre. Being the first experience of the composer, “Onegin” is more close to its literature original; it sounds less sophisticated, yet breathes with youthfulness and sincerity.

Initially, Tchaikovsky was thinking of his “Onegin” as being performed by students. The composer wanted to create a truthful story of passionate young people facing the realities of life on the sharp verge of their feelings. Tchaikovsky believed that only young performers could naturally reproduce the images of emotionally unchained, spirited Lensky and Tatyana, as well as the other characters. Eugene Onegin, too, has to be a young, extraordinary, developing personality, with all his flashy sarcasm, nihilism and coldness being just masks to disguise his sensitive soul, deeply wrapped into the multiple layers of fake gloss of society and class.

New Zealand Opera Company used a brilliant opportunity to invite an outstanding young soprano Anna Leese for the role of Tatyana. Napier born beauty is one of the most promising lyrical sopranos on the world’s opera stage. Rich and tender tone of her soaring voice, bright dramatic temperament and perfect stage appearances make her an ideal Tatyana Larina, the key personage for the success of the opera with the title “Eugene Onegin” being merely a formality, because it is well known who the favorite heroine of Pushkin and Tchaikovsky is. The way Anna played her part during the night scene could be described in only one word – brilliant. However, it is a mystery, why opera director Patric Nolan made Tatyana sit almost motionless while writing the letter – one of the crucial moments of the story. In spite of the magnificent music and high level performance, this tremendously important scene turned out to be static and despondent. Other scenes with Tatyana were by far more impressive, with the final act becoming a real triumph for Anna Leese. Her interaction with William Dazeley (Onegin) here achieves the point, when sensuality of music and drama are breaking far beyond the borders of operatic art and burning the hearts of the audience with the flame of pure sizzling passion. Bright, rebellious appearance of the young singer creates such a perfect extra effect, that it becomes impossible to imagine how this young woman could run away from her own temptation.

Baritone William Dazeley as Onegin perfectly fitts the part of the hero who is less favored by the composer, giving us the picture of a self-absorbed dandy, who eventually turns into a suffering man, smitten by sudden feeling of love. By the way, this is typical Tchaikovsky’s way of showing Onegin’s character, because for Pushkin Eugene is far more complicated person. As a Russian listener, I would admit that Russian pronunciation by Dazeley is of exceptional quality and to me sounded clearer then that of Shualckoff (Lensky), Russian tenor, popular these days in Moscow opera circles.

Image of Lensky has become a perfect job of a director, his actions showed very distinctively why the duel had happened. Lensky was called by Pushkin ‘half-Russian’ and described in following words:

“Good looking, in the flower of age,
A poet and a Kantian sage
He’d brought back all the fruits of learning
From German realms of mist and steam,
Freedom’s enthusiastic dream,
A spirit strange, a spirit burning,
An eloquence of fevered strength,
And raven curls of shoulder length” (tr.Ch.Johnston)

As we know from the novel, Lensky is a few years younger then Onegin, he is not even 19, almost a boy, probably of southern descent (he is having black curly hair), with hot blood running in his veins. (I would like to remind to my readers, that to some extent Lensky was a self-portrait of the writer - Pushkin had endowed him with some of his own personal characteristics – qualities that a poet was desperately hiding, such as emotionality and explosiveness. Besides Pushkin was a quarter Ethiopian on his mother’s line.)
That is why we can assume that creating a proper image of Lensky is a hard task for a lyrical tenor – as the musical part is obviously written for this type of voice. Lyric tenors are used to portray rather sentimental or even timid characters, who need tender, light sound with great mezzo voce qualities. All of that we can find in Roman Shulackoff’s voice (though he did not manage to be perfectly in tune in some parts), but it could have been better to have some more fire and passion in his performance, as well as in his singing.
In my opinion, Lensky is still on the waiting list for his best interpretation on the opera stage.

Olga has found her successful interpretation, created by Kristen Darragh, young, but already well recognized mezzo-soprano from Auckland. Deep velvety sound of Kristen’s voice was giving a vivid picture of a spoiled child, which all of a sudden became a fatal woman for the whole story.

Andrew Glover with his immaculate performance of Monsieur Triquet couplets did what his turn was for – he distracted public’s attention from the drama which was unfolding at the ball and gave us a brilliant and stylish sample of Tchaikovsky’s favorite trick: a divertimento in opera or ballet.

Martin Snell as a Prince Gremin added some new colors to the well-known image: most features of his character are full of sincerity and trustfulness.

Madame Larina was beautifully portrayed by Patricia Wright and created an amazing ensemble together with Rosemary Gunn (Filipyevna).

Richard Green perfectly performed a somber second of Lensky, Zaretsky, and Daniel O’Conner sounded well in a small part of a Capitan.

Choir in the opera was of a very high class, combining excellent singing qualities with a very good level of acting and dance.

The work of Alexander Polianichko with the orchestra demonstrated his special feature – the violins sounded like one in the perfect unison, which is no wonder, remember that Polianichko is not only an internationally acclaimed conductor, but also a professional violinist!

Costumes were strictly in the style of Pushkin’s period of time and were made with a very sharp feeling of the color, creating a perfect ensemble with simple, but expressive stage decorations. (Production Designer – Genevieve Blanchett)

Amazing work of a lighting designer Bernie Tan competed with a director’s work in the way of unfolding the poet’s and the composer’s plot.

With all described great qualities of New Zealand production in this most beloved Russian opera, there are few tiny details that could become subjects for the conversation about style, for example the choice of birches for creating the atmosphere in the first episode. In Russia, birch is not an appropriate tree for the garden and could not be associated with nobility’s mansion. Birches had never been described by Pushkin, whose poetry is full of nature elements, by the way. For Russians the birch is strongly associated with the name of another great poet - Esenin, the representative of the beginning of 20th century’s “Villager’s” trend in poetry. The big girls’ choir, doing dishes in Larin’s house was not a very successful find as well. But those details are not of the great importance and can’t be a reason to be less impressed by the performance. New Zealand Opera has done tremendous work and created an extremely successful masterpiece of operatic art.