Face - Blue Star Ferries

FACE
∞ ∏ƒµ∞¡π∆∞∫∏
ºˆÓ‹
∂Ï¢ıÂÚ›·
¶Ò˜ Ó· ÔÚ›ÛÂȘ ÌÈ· ʈӋ, Ò˜ Ó· ÌÈÏ‹ÛÂȘ ÁÈ· Ù· Û˘Ó·ÈÛı‹Ì·Ù·
Î·È ÙȘ ÂÈÎfiÓ˜ Ô˘ ÛÔ˘ ÌÂٷʤÚÂÈ. ¶Ò˜ Ó· ·Ú·ÙËÚ‹ÛÂȘ ÙËÓ ÂÚÌËÓ›·
Ù˘ ∂Ï¢ıÂÚ›·˜, ·ÊÔ‡ ‰ÂÓ Â›Û·È ·¤Íˆ ÁÈ· Ó· ÙËÓ ‰ÂȘ, ·ÏÏ¿ ̤۷ Ù˘
Î·È Û˘Ì¿Û¯ÂȘ. ÕÚ· ‰ÂÓ ÌÔÚ›˜ Ó· ÙËÓ ÎÚ›ÓÂȘ. ¢ÂÓ Â›Ó·È Ë ÊˆÓ‹
Ù˘ Â·Ó¿Ï˄˘ Î·È Ù˘ Ì·ÓȤڷ˜, ‰ÂÓ ÛÔ˘ ÙÚ·ÁÔ˘‰¿ ·Ï¿,
ÛÔ˘ ·ÚÔ˘ÛÈ¿˙ÂÈ ÙȘ ÂÚÌËÓ›˜ Ù˘. ª¤Ù·ÏÏÔ Ô˘ ÂÚÈÏ·Ì‚¿ÓÂÈ
ÙËÓ ∞Ó·ÙÔÏ‹ Î·È ÙËÓ jazz, ÙË ÌÔÓ·ÍÈ¿, ÙËÓ ÔÚÁ‹, ÙÔ ¤ÓıÔ˜,
ÙÔÓ Ï˘ÁÌfi, ÙËÓ ·ÔÁ›ˆÛË…
™’ ¢¯·ÚÈÛÙԇ̠∂Ï¢ıÂÚ›·!
A¶O TON M¶AM¶H ¶A¶A¢ATO
∞TheRVANITAKI
Voice
Eleftheria
How can one define a voice, speak of the feeling it carries
and the images it creates in the audience’s imagination?
How can the audience be just an observer to Eleftheria’s
interpretations when they are not really standing opposite her, but
they are inside her, carried away by the feeling of her voice…
Thus the listener can’t judge her. Hers is not a voice of repetitive
patterns or mannerisms; she does not simply sing; she interprets a
wide range of genres, from Anatolian to jazz. She may sing about
loneliness and anger, mourning and sobbing, to songs of exultation.
BY BABIS PAPADATOS
OnBlue 49
FACE
}
Music is as important
in my life as my
personal life is
ŸÙ·Ó ÍÂÎÈÓ‹Û·Ù Ì ÙËÓ ÔÈÛıÔ‰ÚÔÌÈ΋
ÎÔÌ·Ó›· ÙÚ·ÁÔ˘‰Ô‡Û·Ù Û ÔÈÔ‡˜ …Î·È ÛÂ
ÔÈ¿ ∂ÏÏ¿‰· ÙÚ·ÁÔ˘‰¿Ù ۋÌÂÚ·;
∏ ‰ÂηÂÙ›· ÙÔ˘ 80 ‹Ù·Ó ÌÈ· ‰ÂηÂÙ›· ÁÂÌ¿ÙË
·ÈÛÈÔ‰ÔÍ›· ÁÈ· ÙÔ Ì¤ÏÏÔÓ Ô˘ ¤ÊÂÚÓÂ Ë ÔÏÈÙÈ΋ ·ÏÏ·Á‹ Ô˘ ÍÂΛÓËÛ ÙfiÙ ÎÈ ·˘Ùfi ηıÚÂÊÙÈ˙fiÙ·Ó Û fiÏÔ˘˜ ÙÔ˘˜ ÎÔÈÓˆÓÈÎÔ‡˜ ¯ÒÚÔ˘˜.
√ ÎfiÛÌÔ˜ ‹Ù·Ó ÈÔ ¯·ÌÔÁÂÏ·ÛÙfi˜ Î·È ÈÔ
·ÈÛÈfi‰ÔÍÔ˜. ™ÙË ÌÔ˘ÛÈ΋ ¤Ó· ·fi Ù· ÈÔ
¯·Ú·ÎÙËÚÈÛÙÈο Ú¿ÁÌ·Ù· ‹Ù·Ó fiÙÈ Í·Ó·‚Ú›ÛηÌ ÙËÓ ÈÛÙÔÚ›· Ì·˜ ̤۷ ·fi ÙËÓ ÌÔ˘ÛÈ΋,
‰ËÏ. ̤۷ ·fi ÙÔ ÚÂÌ¤ÙÈÎÔ Î·È ÙÔ ÛÌ˘ÚÓ·›ÈÎÔ ÙÚ·ÁÔ‡‰È, οÙÈ ÛÙÔ ÔÔ›Ô ·›˙ÂÈ Î·ıÔÚÈÛÙÈÎfi ÚfiÏÔ Ë √ÈÛıÔ‰ÚÔÌÈ΋ ∫ÔÌ·Ó›· Ë ÔÔ›·
·›ÚÓÂÈ ·˘Ù¿ Ù· ÙÚ·ÁÔ‡‰È· Î·È Ù· ‚Á¿˙ÂÈ ÛÙË
ÛÎËÓ‹. °›ÓÔÓÙ·È Û˘Ó·˘Ï›Â˜, Ô ÎfiÛÌÔ˜ Û˘ÌÌÂÙ¤¯ÂÈ Ì ÂÓıÔ˘ÛÈ·ÛÌfi Î·È ·›˙Ô˘Ì ÛÙËÓ
∂ÏÏ¿‰· Î·È ÛÙÔ Â͈ÙÂÚÈÎfi Û ηٿÌÂÛÙ˜
·›ıÔ˘Û˜. ∂›Ó·È Ë ÂÚ›Ô‰Ô˜ Ô˘ ÍÂÎÈÓ¿Ó ÌÂÙ¿
50 OnBlue
ÙÔ ¢ÈÔÓ‡ÛË ™·‚‚fiÔ˘ÏÔ Ó· ÂÌÊ·Ó›˙ÔÓÙ·È ÔÈ
ÙÚ·ÁÔ˘‰ÔÔÈÔ›, fiˆ˜ Ô µ·ÁÁ¤Ï˘ °ÂÚÌ·Ófi˜
Î·È Ê·›ÓÂÙ·È fiÙÈ ÌÈ· ηÈÓÔ‡ÚÈ· ÁÏÒÛÛ· ÍÂÎÈÓ¿ÂÈ ÛÙÔ ÛÙ›¯Ô ·fi ÙÔ ª·ÓÒÏË ƒ·ÛÔ‡ÏË Î·È ÙË
§›Ó· ¡ÈÎÔÏ·ÎÔÔ‡ÏÔ˘. ∂›Û˘, Ó¤ÔÈ Î·È ·ÏÈÔ› Û˘Óı¤Ù˜ Â›Ó·È ÛÙËÓ Î·Ï‡ÙÂÚË ÙÔ˘˜ ÂÚ›Ô‰Ô. ™ÙË ‰ÂηÂÙ›· ÙÔ˘ 2000 ˘¿Ú¯ÂÈ Ë
΢ÚÈ·Ú¯›· Ù˘ ÂÈÎÔÈÓˆÓ›·˜ ̤ۈ ÙÔ˘ ‰È·‰ÈÎÙ‡Ô˘ Î·È ÙˆÓ media. À¿Ú¯Ô˘Ó ÌÂÁ·Ï‡ÙÂÚ·
ÔÈÎÔÓÔÌÈο ÚÔ‚Ï‹Ì·Ù·, ·Ì˯·Ó›· ÛÙÔ˘˜
·Ú·‰ÔÛÈ·ÎÔ‡˜ ÙÚfiÔ˘˜ Ù˘ ‰ÈÛÎÔÁÚ·Ê›·˜,
ÏÈÁfiÙÂÚË ÎÔÈÓˆÓÈ΋ Â·Ê‹, ·ÏÏ¿ Ì ÙËÓ ·Ó·ÌÔÓ‹ ÂÓfi˜ ÌÔ˘ÛÈÎÔ‡ ÎfiÛÌÔ˘ Ô˘ ÁÂÓÓȤٷÈ
̤۷ ·fi ÙÔ ‰È·‰›ÎÙ˘Ô Î·È Ô˘ ı· ʤÚÂÈ Ó¤Â˜
ÚÔÙ¿ÛÂȘ.
À¿Ú¯Ô˘Ó Ê¿ÛÂȘ ÛÙËÓ Î·ÚȤڷ ÂÓfi˜ ÙÚ·ÁÔ˘‰ÈÛÙ‹. ∞Ó Ó·È, ÂÛ›˜ Û ÔÈ¿ Ê¿ÛË ÈÛÙ‡ÂÙÂ
fiÙÈ ‚Ú›ÛÎÂÛÙÂ;
°È· ̤ӷ Ô Î·ÏÏÈÙ¤¯Ó˘ ÂÚÓ¿ Ê¿ÛÂȘ ¿Ú·
Who was your audience when you started off
with Opisthodromiki Compania and who is
your audience today?
The 80s was a decade full of optimism for
the future. The political change of the time
was reflected on all social areas. The world
smiled more and was more optimistic. One of
the most characteristic elements of music is
when we rediscover history through it. This
happens with the rebetic and Smyrnian
songs – something that the Opisthodromiki
Compania does systematically.
The audience joined in enthusiastically
during concerts, in Greece and abroad, in
jam-packed concert halls. That was the
period marked by Dionyssis Savopoulos,
followed by other song writers, such as
Vangelis Germanos, Manolis Rassoulis and
Lina Nikolakopoulou, who introduced a new
‘language’ of lyrics. New and older
composers were also at their peak. In the
decade of 2000, communications, the
internet and the media, dominate the music
scene. There are greater economic issues,
awkwardness in the traditional channels of
discography, less social contact, and the
anticipation of a new musical world born
through the internet, which will usher in a
new era.
Are there phases in a singer’s career? If so,
what phase do you think you are in right now?
I think that an artist goes through phases very
often. I see three phases of my career. The
first was the period of ‘the band’, during
which we all experienced the joy of
discovering a whole period of Greek music –
I mean the rebetiko, folk, and Smyrnian
songs, which I consider the foundation of my
musical quest. The second phase started in
1986 outside the group, on a solo career;
and the third period started in 1991, when I
began to produce everything I sing.
Do certain situations and people that have to
do with music still touch you or everything is
strictly professional now?
Music is as important in my life as my personal
life is. I have experienced exhilarating moments
listening to songs, interpreters and composers
–on recordings or live shows– and I feel that
this feeling will always follow me, because
there will always be distinguished artists,
distinguished songs, and distinguished singers.
We want what we can do… or when there is
a will there is a way? Which of the two
expresses you most?
When there is a will there is a way. I am
convinced that if you wish something from
the bottom of your heart and you set a clear
and specific goal, you can definitely succeed.
FACE
{
∏ ÌÔ˘ÛÈ΋ Â›Ó·È ÙfiÛÔ
ÛËÌ·ÓÙÈ΋ ÛÙË ˙ˆ‹ ÌÔ˘ fiÛÔ
Î·È Ë ÚÔÛˆÈ΋ ÌÔ˘ ˙ˆ‹
Ôχ Û˘¯Ó¿. ªfiÓÔ ¤Ó·˜ ÎÚÈÙÈÎfi˜ ı· ÌÔÚÔ‡Û ӷ ÌÈÏ‹ÛÂÈ Ì ·ÎÚ›‚ÂÈ·. ¶ÚÔÛˆÈο ‰È·ÎÚ›Óˆ ÙÚÂȘ Ê¿ÛÂȘ. ∏ ÚÒÙË Ê¿ÛË Â›Ó·È Ë
ÂÚ›Ô‰Ô˜ ÙÔ˘ group, ηٿ ÙËÓ ÔÔ›· ·fi
fiÏÔ˘˜ Ì·˜ ˘¿Ú¯ÂÈ Ë ÌÂÁ¿ÏË ¯·Ú¿ Ù˘ ·Ó·Î¿Ï˘„˘ ÌÈ·˜ ÔÏfiÎÏËÚ˘ ÂÚÈfi‰Ô˘ Ù˘ ÂÏÏËÓÈ΋˜ ÌÔ˘ÛÈ΋˜. ªÈÏ¿ˆ ÁÈ· ÙÔ ÚÂÌ¤ÙÈÎÔ, ÙÔ
‰ËÌÔÙÈÎfi Î·È ÙÔ ÛÌ˘ÚÓ·›ÈÎÔ ÙÚ·ÁÔ‡‰È, Ô˘ ÁÈ·
̤ӷ Û˘Ó¯›˙Ô˘Ó Ó· Â›Ó·È Ë ‚¿ÛË ÛÙË ÌÔ˘ÛÈ΋
ÌÔ˘ ·Ó·˙‹ÙËÛË. ∏ ‰Â‡ÙÂÚË ÂÚ›Ô‰Ô˜ ÍÂÎÈÓ¿ÂÈ ÙÔ ‘86, ¯ˆÚ›˜ ÙÔ ÁÎÚÔ˘ È· ·ÏÏ¿ Û ÌÈ·
ÚÔÛˆÈ΋ ÔÚ›·. ∏ ÙÚ›ÙË ÂÚ›Ô‰Ô˜ ÍÂÎÈÓ¿ÂÈ ÙÔ ‘91 Ô˘ ¤¯ˆ Î·È ÙËÓ Â˘ı‡Ó˘ Ù˘ ·Ú·ÁˆÁ‹˜ Û ÔÙȉ‹ÔÙ οӈ.
™˘ÁÎÈÓ‹ÛÙ ·ÎfiÌ· Ì ηٷÛÙ¿ÛÂȘ Î·È ·ÓıÚÒÔ˘˜ ÙÔ˘ ÙÚ·ÁÔ˘‰ÈÔ‡. ◊ fiÏ· Á›ÓÔÓÙ·È ·˘ÛÙËÚÒ˜ Â·ÁÁÂÏÌ·ÙÈο;
∏ ÌÔ˘ÛÈ΋ Â›Ó·È ÙfiÛÔ ÛËÌ·ÓÙÈ΋ ÛÙË ˙ˆ‹ ÌÔ˘
fiÛÔ Î·È Ë ÚÔÛˆÈ΋ ÌÔ˘ ˙ˆ‹. Œ¯ˆ ˙‹ÛÂÈ
‰˘Ó·Ù¤˜ Û˘ÁÎÈÓ‹ÛÂȘ ·ÎÔ‡ÁÔÓÙ·˜ ÙÚ·ÁÔ‡‰È·,
ÂÚÌËÓÂ˘Ù¤˜, ÌÔ˘ÛÈÎÔ‡˜ – ›Ù Û cd, ›Ù ÛÂ
˙ˆÓÙ·Ó¤˜ ÂÌÊ·Ó›ÛÂȘ- Î·È ·ÈÛı¿ÓÔÌ·È fiÙÈ ·˘Ù‹
Ë Û˘ÁΛÓËÛË ı· Ì ·ÎÔÏÔ˘ı› ¿ÓÙ·, ÁÈ·Ù›
¿ÓÙ· ı· ˘¿Ú¯Ô˘Ó ͯˆÚÈÛÙÔ› ηÏÏÈÙ¤¯Ó˜,
¿ÓÙ· ı· ˘¿Ú¯Ô˘Ó ͯˆÚÈÛÙ¿ ÙÚ·ÁÔ‡‰È·,
¿ÓÙ· ı· ˘¿Ú¯Ô˘Ó ͯˆÚÈÛÙ¤˜ ÂÚÌËÓ¢ÙÈΤ˜
ÛÙÈÁ̤˜.
£¤ÏÂȘ fiÙÈ ÌÔÚ›˜ …‹ ÌÔÚ›˜ fi,ÙÈ ı¤ÏÂȘ;
¶ÔÈfi Û·˜ ÂÎÊÚ¿˙ÂÈ ÂÚÈÛÛfiÙÂÚÔ;
ªÔÚ›˜ fi,ÙÈ ı¤ÏÂȘ. ¶ÈÛÙ‡ˆ ‚·ıÈ¿ ÛÙËÓ ÂÈı˘Ì›· Î·È ÙÔ ÛÙfi¯Ô. ∂›Ì·È Û›ÁÔ˘ÚË fiÙÈ ·Ó ÂÈı˘Ì›˜ οÙÈ ‚·ıÈ¿ Î·È Ô ÛÙfi¯Ô˜ ÛÔ˘ ›ӷÈ
ηı·Úfi˜ Î·È ·ÎÚÈ‚‹˜, ÙfiÙ ÌÔÚ›˜ Ó· ÙÔÓ
ÂÙ‡¯ÂȘ.
∆· ÌÂÁ¿Ï· ‰È·ÛÙ‹Ì·Ù· Ô˘ «Ì¤ÓÂȘ ÂÎÙfi˜»
Â›Ó·È ÁÈ· Ó· Ì›ÓÂȘ ÂÚÈÛÛfiÙÂÚÔ ÂÓÙfi˜, ˘¿Ú¯Ô˘Ó ÊÔÚ¤˜ Ô˘ ÓÔÈÒıÂȘ fiÙÈ ı· ÌÔÚÔ‡Û˜
Ó· Â›Û·È ·Ú·ÁˆÁÈÎfiÙÂÚË;
√È ÂÚ›Ô‰ÔÈ Ô˘ Ê·›ÓÂÙ·È fiÙÈ ·¤¯ÂȘ, fiÙÈ
«Ì¤ÓÂȘ ÂÎÙfi˜», ÚÔÛˆÈο Â›Ó·È ÔÈ ·Ú·ÁˆÁÈÎfiÙÂÚ¤˜ ÌÔ˘ ÂÚ›Ô‰ÔÈ. ∂›Ó·È ÔÈ ÂÚ›Ô‰ÔÈ Ô˘
ÛΤÊÙÂÛ·È, Í·Ó·ÎÔÈÙ¿˜ ·˘Ù¿ Ô˘ ¤¯ÂȘ οÓÂÈ,
‚¿˙ÂȘ ηÈÓÔ‡ÚÈÔ˘˜ ÛÙfi¯Ô˘˜, ·ÎÔ‡˜ ‰È·ÊÔÚÂÙÈο ÌÔ˘ÛÈ΋, ÔÓÂÈÚ‡ÂÛ·È.
ŸÏ˜ ÔÈ ‰Ô˘ÏÂȤ˜ Û·˜ ‰Â›¯ÓÔ˘Ó Ôχ «·È‰Â̤Ó˜». ∆È Û˘Ì‚·›ÓÂÈ Â›Ó·È ÂÍ›ÛÔ˘ ·È‰Â̤ÓË
Ë ·ÈÛıËÙÈ΋ Û·˜ ‹ Ë „˘¯‹ Û·˜;
52 OnBlue
¢ÂÓ ¤¯ˆ οÓÂÈ Ú¿ÁÌ·Ù· Ô˘ ‰ÂÓ ‹ıÂÏ·. √Ùȉ‹ÔÙ ¤Î·Ó· Ì ÂÎÚÔÛˆÔ‡ÛÂ. £ÂˆÚÒ
ÌÂÁ¿ÏË Ù‡¯Ë ·˘Ùfi Ô˘ Û˘Ó¤‚Ë. ª‹Î· ÛÙË
‰ÈÛÎÔÁÚ·Ê›· ÙÚ·ÁÔ˘‰ÒÓÙ·˜ Ù· ÙÚ·ÁÔ‡‰È· Ô˘
‹ıÂÏ·, Û˘ÓÂÚÁ·˙fiÌÂÓË Ì ηÏÏÈÙ¤¯Ó˜ Ô˘
ÂÎÙÈÌÔ‡Û· ‚·ıÈ¿, ‰ÂÓ ·ÈÛı¿ÓıËη η̛·
›ÂÛË ·fi ÙȘ ‰ÈÛÎÔÁÚ·ÊÈΤ˜ ÂÙ·ÈÚ›˜ ηÈ
fi,ÙÈ ¤¯ˆ ÙÚ·ÁÔ˘‰‹ÛÂÈ Â›Ì·È ÂÁÒ. ∫·È ·ÈÛı¿ÓÔÌ·È Ôχ Ù˘¯ÂÚ‹ ÁÈ’ ·˘Ùfi.
ã∂Ó· ηÈÓÔ‡ÚÁÈÔ ÙÚ·ÁÔ‡‰È ÙÈ ÔÊ›ÏÂÈ Ó· ÂÚȤ¯ÂÈ ÁÈ· Ó· ÌËÓ Â›Ó·È ¿ÏÏÔ ¤Ó· ηÈÓÔ‡ÚÁÈÔ ÙÚ·ÁÔ‡‰È ÌfiÓÔ; ∫·È ¤Ó· ·ÏÈfi ‰È·¯ÚÔÓÈÎfi ÙÈ ÂÚÈ›¯Â Î·È ¿ÓÙÂÍ ÛÙÔ ¯ÚfiÓÔ Î·È Û˘Ó¯›˙ÂÈ Ó·
·ÊÔÚ¿ Î·È ÙÔÓ ¿ÓıÚˆÔ Û‹ÌÂÚ·;
∂ÈÏÈÎÚ›ÓÂÈ·. ŸÙ·Ó fiÏˆÓ ÙˆÓ Û˘ÓÙÂÏÂÛÙÒÓ Ë
ÚfiıÂÛË Â›Ó·È ÂÈÏÈÎÚÈÓ‹˜.
Do you use the long periods of time you are
not ‘in action’ for reflection? Are there times
you feel you could be more productive?
The periods that I seem to be ‘inactive’ are
my most productive periods. They are the
periods when I reflect on my work and what
I have done so far; I set new goals, listen to
music in a different way, and dream.
All your albums seem to have involved
extensive preparation. Is this a result of your
aesthetic outlook or your internal make- up?
I haven’t done things I didn’t want to do.
Whatever I have done represents me. I
consider myself very fortunate. I started off
performing songs I really liked, working with
artists I held in high esteem. I never felt
FACE
{
I personally owe a great
deal to the public
{
¶ÚÔÛˆÈο ÔÊ›ψ
¿Ú· ÔÏÏ¿ ÛÙÔ ÎÔÈÓfi
™ÙÔ ·ÎÚÔ·Ù‹ÚÈÔ Û·˜, ÙÈ ‚ϤÂÙÂ; ÙÔ ›‰ÈÔ ÌÔ˘ÛÈÎfi ÁÔ‡ÛÙÔ; ÙËÓ ›‰È· ÔÈfiÙËÙ·; ÙȘ ›‰È˜ ÚÔÙÈÌ‹ÛÂȘ; ‹ ¤¯ÂÙ ÙËÓ ÔÏ˘Ù¤ÏÂÈ· Ó· ‰È·ÎÚ›ÓÂÙ „˘¯¤˜ Î·È Ì˘·Ï¿;
°È· Ó· ˘¿Ú¯ÂÈ Ë Ù¤¯ÓË, Ë ÔÔÈ·‰‹ÔÙÂ
ÌÔÚÊ‹ Ù¤¯Ó˘, ¯ÚÂÈ¿˙ÂÙ·È ÙÔ ÎÔÈÓfi. ∞˘Ùfi Û˘Ì‚·›ÓÂÈ Î·È Ì ÙË ÌÔ˘ÛÈ΋. ∫·È ¯·›ÚÔÌ·È Ôχ
fiÙ·Ó ‚Ϥˆ ÎfiÛÌÔ Ô˘, ·Ó Î·È ‰Â ÁÓˆÚ›˙ÂÈ
οÔÈ· ÙÚ·ÁÔ‡‰È·, ÁÔËÙ‡ÂÙ·È ·fi ·˘Ù¿. ¢ÂÓ
·¢ı‡ÓÔÌ·È Û οÔÈ· οÛÙ·, ·¢ı‡ÓÔÌ·È
Û fiÏÔ ÙÔÓ ÎfiÛÌÔ.
∆È Î¿ÓÂÈ ¤Ó·Ó ÙÚ·ÁÔ˘‰ÈÛÙ‹ ÌÂÁ¿ÏÔ;
∏ ÚÔÛˆÈÎfiÙËÙ· ÙÔ˘, Ë ÂͤÏÈÍË ÙÔ˘ ̤۷
ÛÙËÓ Ù¤¯ÓË ÙÔ˘, ÙÔ Ó· ÙÔÏÌ¿, Ó· ·Ó·ÓÂÒÓÂÙ·È,
Ó· ·Ê‹ÓÂÙ·È.
∆È Â›Ó·È ÙÔ Ù·Ï¤ÓÙÔ;
¢ÂÓ ÌÔÚ›˜ Ó· ÔÚ›ÛÂȘ ÙÈ Â›Ó·È ÙÔ Ù·Ï¤ÓÙÔ.
™›ÁÔ˘Ú· Â›Ó·È Î¿ÙÈ Ô˘ ¯·Ú›˙ÂÙ·È. ◊ ÙÔ ¤¯ÂȘ
‹ ‰ÂÓ ÙÔ ¤¯ÂȘ. ∞fi ÎÂÈ Î·È ¤Ú· ÙÈ ı· ÙÔ
οÓÂȘ Â›Ó·È ÌÈ· ¿ÏÏË ÈÛÙÔÚ›·.
∆È Â›Ó·È ·˘Ùfi Ô˘ ‚¿˙ÂÈ ÊˆÙÈ¿ ÛÙÔ Ù·Ï¤ÓÙÔ Î·È
ÙÔ Î·›ÂÈ;
¶ÔÏϤ˜ ÊÔÚ¤˜ Â›Ó·È Ë ›‰È· ÛÔ˘ Ë „˘¯‹, Ë
54 OnBlue
·Ó·ÛÊ¿ÏÂÈ· ÛÔ˘, Ô ÙÚfiÔ˜ Ô˘ ÛΤÊÙÂÛ·È.
√È ¿ÓıÚˆÔÈ ÛËÌ·‰Â‡Ô˘Ó Ù· ÙÚ·ÁÔ‡‰È· ‹ Ù·
ÙÚ·ÁÔ‡‰È· ÙÔ˘˜ ·ÓıÚÒÔ˘˜;
™˘Ì‚·›ÓÔ˘Ó Î·È Ù· ‰‡Ô. √È Î·ÏÏÈÙ¤¯Ó˜ Ô˘
ÁÚ¿ÊÔ˘Ó Î·È Ô˘ ÂÚÌËÓÂ‡Ô˘Ó Ù· ÙÚ·ÁÔ‡‰È·
Ù· «ÛËÌ·‰Â‡Ô˘Ó», ·ÏÏ¿ ˘¿Ú¯ÂÈ Î·È ÙÔ ÎÔÈÓfi
Ô˘ Ù· ·Á·¿ Î·È Ù· οÓÂÈ Ó· ·ÓÙ¤¯Ô˘Ó ÛÙÔ
¯ÚfiÓÔ. ¶ÚÔÛˆÈο ÔÊ›ψ ¿Ú· ÔÏÏ¿ ÛÙÔ
ÎÔÈÓfi. ¶ÚfiÎÂÈÙ·È ÁÈ· ÌÈ· ÌÂÁ¿ÏË Î·È ÂÈÏÈÎÚÈÓ‹
Û¯¤ÛË Ô˘ ÎÚ·Ù¿ÂÈ ¯ÚfiÓÈ· Î·È ¯·›ÚÔÌ·È Ô˘
Û·Ó Î·ÏÏÈÙ¤¯Ó˘ Ë Û¯¤ÛË ·˘Ù‹ ÔÚ›ÛÙËΠ·fi
ÙÔ ›‰ÈÔ ÙÔ ÎÔÈÓfi Î·È fi¯È ·ÓÔÚıfi‰ÔÍ·, ‰ËÏ·‰‹
ÂÂȉ‹ ÙÔ Â¤‚·Ï·Ó Ù· media.
∆È ÌÔ˘ÛÈ΋ ·ÎÔ‡ÙÂ;
∂›Ó·È ÌÈ· ÂÚ›Ô‰Ô˜ ÙÒÚ· Ô˘ ·ÎÔ‡ˆ ·ÚÎÂÙ¿
ÎÈÓËÌ·ÙÔÁÚ·ÊÈ΋ ÌÔ˘ÛÈ΋, ·ÏÏ¿ Ì ÁÔËÙ‡ÂÈ
¿ÓÙ· Ë ÌÔ˘ÛÈ΋ Ô˘ ¤¯ÂÈ ÂÓÙÔÈfiÙËÙ·, ÔÈ
Ì›ÍÂȘ ‰È·ÊÔÚÂÙÈÎÒÓ ÂȉÒÓ, fiˆ˜ Â›Û˘ ηÈ
Ë Ì·‡ÚË ÌÔ˘ÛÈ΋.
√ˆÛ‰‹ÔÙÂ Ô Î·ÏÏÈÙ¤¯Ó˘ Ú¤ÂÈ Ó· ·Ó˘„ÒÓÂÙ·È, Ô ¿ÓıÚˆÔ˜ fï˜ Ú¤ÂÈ Ó· ·Ú·Ì›ÓÂÈ ÛÙË ÛÎÈ¿ ÙÔ˘.
¶ÚÔÛˆÈο, ‰Â Ì’ ÂӉȷʤÚÂÈ Ë È‰ÈˆÙÈ΋ ˙ˆ‹
pressured by the record companies and
whatever I have done reflects who I am.
What does a new song need to have so that
it is not just another new song? What quality
did old, timeless songs possess that endures
through time and continues to concern
contemporary life?
Honesty – on behalf of all the parties involved
in the production.
What do you see in your audience? The same
musical taste? The same quality? The same
preferences? Or do you have the luxury to
distinguish their inner make-up?
For art to exist –any kind of art– it needs an
audience. This goes for music too. I am very
glad to see listeners enjoying a song, even
though they might not know it. I am not
referring to a specific group, but the public in
general.
What makes a singer great?
His or her personality, development through
their art, being daring, renewing themselves,
letting go…
What is talent?
Talent cannot be defined. It is definitely a gift.
Either you have it or you don’t. What one
does with it is another question.
What douses the flame of talent?
Often, it is one’s own soul, insecurities, and
their way of thinking.
Do singers mark songs or songs mark
singers?
Both can happen. Artists who write and
perform songs definitely leave their mark on
them, but there’s also the public that loves
them and makes them endure through time.
I personally owe a great deal to the public.
There is a great and honest relationship
between us that has lasted all these years
and I am very glad, as an artist, that this
relationship has been defined by the public
itself and was not imposed by the media.
What music do you listen to?
Lately, I have been listening to film
soundtracks a lot, but I am also captivated by
music that has an ethnic character to it. I like
mixing different genres as well as African
American music.
Certainly, an artist should be elevated, but a
person should keep to him or herself.
FACE
{
∂ÁÒ ı· ÌÈÏ‹Ûˆ
ÁÈ· ÙÚ·ÁÔ‡‰È·
Ô˘ ·ÓÙ¤¯Ô˘Ó ÛÙÔ ¯ÚfiÓÔ
ÂÓfi˜ ηÏÏÈÙ¤¯ÓË, fiÛÔ Ë Î·ÏÏÈÙ¯ÓÈ΋ ÙÔ˘ ˙ˆ‹.
Œ¯ˆ ·Á·‹ÛÂÈ Î·ÏÏÈÙ¤¯Ó˜ ÙˆÓ ÔÔ›ˆÓ Ë
Û˘ÌÂÚÈÊÔÚ¿ ‰ÂÓ ‹Ù·Ó Ë Î·Ï‡ÙÂÚË. °È· ̤ӷ
·˘Ùfi Ô˘ ̤ÓÂÈ Â›Ó·È ÙÔ ¤ÚÁÔ ÙÔ˘˜.
ŸÏÔÈ ÌÈÏÔ‡Ó ÁÈ· fi¯ı˜ ÙÔ˘ ÙÚ·ÁÔ˘‰ÈÔ‡, fiˆ˜
Î·È ·˘Ù‹ Ë Â›Ê·ÛË ÙÔ˘ ÔÈÔÙÈÎÔ‡ ÙÚ·ÁÔ˘‰ÈÔ‡
ÙÈ Û·˜ ϤÂÈ;
∂ÁÒ ı· ÌÈÏ‹Ûˆ ¿ÏÈ ÁÈ· ÙÚ·ÁÔ‡‰È· Ô˘ ·ÓÙ¤¯Ô˘Ó ÛÙÔ ¯ÚfiÓÔ. À¿Ú¯Ô˘Ó ÙÚ·ÁÔ‡‰È· ÙÔ˘
ÁÏÂÓÙÈÔ‡ Î·È Ù˘ ¯·Ú¿˜, ÙÚ·ÁÔ‡‰È· Ù˘ ÂÏ·ÊÚfiÙËÙ·˜, ·ÏÏ¿ Î·È ÙÚ·ÁÔ‡‰È· ÙÔ˘ fiÓÔ˘, Ù˘
·ÒÏÂÈ·˜, Ù˘ ÂÛˆÙÂÚÈÎfiÙËÙ·˜ Ô˘ fiÏ· ›ӷÈ
ÛÙÔȯ›· Ù˘ „˘¯‹˜ Ì·˜ Î·È Ô˘ fiÏ· Ù· ¯ÚÂÈ·˙fiÌ·ÛÙ ÁÈ’ ·˘Ùfi Î·È ı· Ì›ÓÔ˘Ó ·ÈÒÓÈ·.
¶¿ÓÙ· fï˜ ı· ˘¿Ú¯ÂÈ Î·È Ë ÚfiıÂÛË Ù˘
‡ÎÔÏ˘ Î·È ÂÊ‹ÌÂÚ˘ ÂÈÙ˘¯›·˜ Ô˘ ‰ÂÓ
ÎÚ·Ù¿ÂÈ.
56 OnBlue
¶ˆ˜ ÛÙ¤ÎÂÛÙ ÛÙȘ Û·ÚˆÙÈΤ˜ ·ÏÏ·Á¤˜ Ô˘
˙Ô‡ÌÂ, ηÏÏÈÙ¯ÓÈο, ÔÈÎÔÓÔÌÈο ÎÔÈÓˆÓÈο;
∑ԇ̠۠ÌÈ· ηÈÙ·ÏÈÛÙÈ΋ ÎÔÈÓˆÓ›· È·.
∂ΛÓÔ Ô˘ Ï›ÂÈ Â›Ó·È Ô ÛÙfi¯Ô˜ Î·È Ë ÂÏ›‰·
ÌÈ·˜ ¿ÏÏ˘ ÔÈfiÙËÙ·˜ ˙ˆ‹˜, Ô˘ ˘‹Ú¯Â ÌÂ
ÙËÓ ‡·ÚÍË ÙÔ˘ ÎfiÛÌÔ˘ ÙÔ˘ ·Ó·ÙÔÏÈÎÔ‡
ÌÏfiÎ. ªÂÙ¿ ÙËÓ Î·Ù¿ÚÚ¢ÛË ÙÔ˘ ¯¿ıËΠÙÔ
fiÚ·Ì· ÌÈ·˜ ÈÔ ÈÛÔÚÚÔË̤Ó˘ ÎÔÈÓˆÓ›·˜.
∑ԇ̠ÛÙÔÓ ¿ÎÚ·ÙÔ Î·ÈÙ·ÏÈÛÌfi Î·È ‹ ·Ú·Û‡ÚÂÛ·È ‹ ·ÓÙÈÛÙ¤ÎÂÛ·È ·Ó¿ÏÔÁ· Ì ÙÔ Ò˜
¤¯ÂȘ ÔÚÁ·ÓÒÛÂÈ ÙË ˙ˆ‹ ÛÔ˘. ∑ԇ̠۠ÌÈ·
ÎÔÈÓˆÓ›· Ô˘ ÔÈ ÂÚÈÛÛfiÙÂÚÔÈ ¿ÓıÚˆÔÈ
‰˘ÛÙ˘¯Ô‡Ó Î·È ÔÈ Ôχ ÏÈÁfiÙÂÚÔÈ ˙Ô˘Ó ÛÂ
Â˘Ì¿ÚÂÈ·. ∑ԇ̠۠ÌÈ· ÎÔÈÓˆÓ›· Ô˘ Ô ÔÈÎÔÏÔÁÈÎfi˜ ΛӉ˘ÓÔ˜ Â›Ó·È È· Ôχ Ê·ÓÂÚfi˜.
Œ¯ÂÙ ÙÔ ¯¿ÚÈÛÌ·… ‹ ÙÔ ›ÛÌ·; ¶Ò˜ Á›ÓÂÙ·È
Ó· οÓÂÙ οı ηÈÓÔ‡ÚÁÈÔ Û·˜ ÙÚ·ÁÔ‡‰È
I personally am not interested in the private
life of an artist as I am in his artistic course.
I have loved the work of artists whose
behavior hasn’t been the best. For me, what
remains is their work.
Everybody talks of ‘riverbanks’ of singing, as
the phrase ‘quality music’ does. What does
this mean for you?
I will again refer to songs that have lasted
over the years. There are festive and joyful
songs, light songs, songs about pain and
loss, and others about our inner world, all
representing elements of our soul which we
need, that’s why these songs are timeless.
However, there will is always the goal for
easy hits that don’t last.
Where do you stand regarding the drastic
changes we are experiencing in art,
economy, and social environment?
We live in a capitalist society. What’s missing
is a goal and hope for another kind of life that
was there when the eastern block existed.
After it collapsed, the vision of a balanced
society was lost. We live in an extremely
capitalist society and we can either go with
the flow or resist, depending on how we have
FACE
organized our life. We live in a society that
most people are poor and a small percentage
is well off. We live in a society that the
environmental danger is very clear.
You have the gift…or determination – you tell
me which of the two – to make every new
song of yours significant and every significant
song you remake to sound like a new song of
yours. How do you do that?
Firstly, thank you very much. If this happens,
it is because all the people involved have had
a great moment together. It is only great
timing.
As time goes by, do you feel that there are
things you definitely have to do and you feel
so pressed to do them that you say "quickly,
time is flying"?
People also say "quickly, time is flying" when
they want something to last longer. I would
say that for many things that have to do with
my personal but also professional
relationships.
Thank you very much.
You too.
ÛËÌ·ÓÙÈÎfi Î·È Î¿ı ÛËÌ·ÓÙÈÎfi ÙÚ·ÁÔ‡‰È Ô˘
Â·ÓÂÎÙÂÏ›ÙÂ, Ó· ÙÔ Î¿ÓÂÙÂ Û·Ó Î·ÈÓÔ‡ÚÁÈÔ
‰ÈÎfi Û·˜. ¶Ò˜ ÙÔ Î·Ù·Ê¤ÚÓÂÙÂ;
∫·Ù’ ·Ú¯‹Ó Û·˜ ¢¯·ÚÈÛÙÒ Ôχ. ∞Ó ·˘Ùfi
Û˘Ì‚·›ÓÂÈ Â›Ó·È ÂÂȉ‹ fiÏÔÈ ÔÈ ‰ËÌÈÔ˘ÚÁÔ›
‚Ú¤ıËÎ·Ó ÛÙË ÛˆÛÙ‹ ÙÔ˘˜ ÛÙÈÁÌ‹. ◊Ù·Ó Ë
ÛˆÛÙ‹ Û˘Ó¿ÓÙËÛË.
ªÂ ÙÔ ¤Ú·ÛÌ· ÙÔ˘ ¯ÚfiÓÔ˘ ÓÈÒıÂÙ fiÙÈ ˘¿Ú¯Ô˘Ó Ú¿ÁÌ·Ù· Ô˘ Ú¤ÂÈ Ó· οÓÂÙ ÔˆÛ‰‹ÔÙÂ Î·È Ô ¯ÚfiÓÔ˜ Û·˜ Ȥ˙ÂÈ ÁÈ’ ·˘Ùfi ϤÙÂ
«ÁÚ‹ÁÔÚ· Ë ÒÚ· ¤Ú·Û»;
«°Ú‹ÁÔÚ· Ë ÒÚ· ¤Ú·Û» Ϙ Î·È fiÙ·Ó ·ÔÏ·Ì‚¿ÓÂȘ οÙÈ Î·È ı¤ÏÂȘ Ó· ÎÚ·Ù‹ÛÂÈ ÈÔ
Ôχ. °È· ÔÏÏ¿ Ú¿ÁÌ·Ù· ı· ÙÔ ¤ÏÂÁ· ·˘Ùfi
Ô˘ ·ÊÔÚÔ‡Ó Î·È ÙȘ ÚÔÛˆÈΤ˜ ÌÔ˘ ·ÏÏ¿
Î·È ÙȘ ηÏÏÈÙ¯ÓÈΤ˜ ÌÔ˘ Û¯¤ÛÂȘ.
∂Ì›˜ ¿ÓÙˆ˜ ı· ÂÚÈ̤ÓÔ˘ÌÂ. ™·˜ ¢¯·ÚÈÛÙÒ Ôχ.
∫È ÂÁÒ.
™ÙÔ Ù¤ÏÔ˜ ·˘Ù‹˜ Ù˘ Û˘Ó¤ÓÙ¢Í˘ ‰ÂÓ ı·
ÌÔÚÔ‡Û· Ó· ÌËÓ ·ÚÔ˘ÛÈ¿Ûˆ ÙȘ ηÏÏÈÙ¯ÓÈΤ˜ ÎÈÓ‹ÛÂȘ Ù˘ ∂Ï¢ıÂÚ›·˜ ∞Ú‚·ÓÈÙ¿ÎË
ÛÙÔÓ ‰ÈÂıÓ‹ ¯ÒÚÔ:
ŸÏ· ÍÂΛÓËÛ·Ó ÙÔ ¡Ô¤Ì‚ÚÈÔ ÙÔ˘ 1997, fiÙ·Ó
ÊÈÏÔÍÂÓ‹ıËΠÛÙÔ ÂÍÒÊ˘ÏÏÔ ÙÔ˘ ÁÓˆÛÙÔ‡
58 OnBlue
‚ÚÂÙ·ÓÈÎÔ‡ ÂÚÈÔ‰ÈÎÔ‡ ÁÈ· ÙȘ ÌÔ˘ÛÈΤ˜ ÙÔ˘
ÎfiÛÌÔ˘, ÙÔ˘ Folk Roots. §›ÁÔ ÌÂÙ¿, ÙÔ 1998,
ÚÔÛÎÏ‹ıËΠӷ ·›ÍÂÈ ÛÙÔ ϤÔÓ ÛËÌ·ÓÙÈÎfi
ethnic Î·È world music ÊÂÛÙÈ‚¿Ï WOMAD
ÛÙËÓ ∞ÁÁÏ›·, ·ÏÏ¿ Î·È ÛÙÔ Ôχ ÛËÌ·ÓÙÈÎfi ‰ÈÂıÓ¤˜ ÊÂÛÙÈ‚¿Ï jazz Î·È ethnic ÌÔ˘ÛÈ΋˜ ÛÙÔ
ªÔÓÙÚ¤ Ù˘ ∂Ï‚ÂÙ›·˜. ¶·Ú¿ÏÏËÏ·, ¤‰ˆÛÂ
Û˘Ó·˘Ï›Â˜ Î·È Û ¿ÏϘ ‰ÈÔÚÁ·ÓÒÛÂȘ ÙÔ˘
ıÂÛÌÔ‡ WOMAD ÛÙËÓ ¶ÔÚÙÔÁ·Ï›· Î·È Ù·
∫·Ó¿ÚÈ· ¡ËÛÈ¿ (Î·È ÈÔ ÚfiÛÊ·Ù· Î·È ÛÙÔ
WOMAD Ù˘ ∞ı‹Ó·˜) Î·È ‹Ú ̤ÚÔ˜ ÛÂ
·ÚÎÂÙ¿ ÎÂÓÙÚÈο ÊÂÛÙÈ‚¿Ï ÛÙËÓ ∂˘ÚÒË. ∆Ô
1998 ‹Ù·Ó Ë ¯ÚÔÓÈ¿ Ô˘ Ë ‰ÈÛÎÔÁÚ·ÊÈ΋
ÂÙ·ÈÚ›· VERVE, ÌÈ· ÈÛÙÔÚÈ΋ ÂÙ·ÈÚ›· Ù˘ jazz
Ô˘ Û˘ÁÎÂÓÙÚÒÓÂÈ ÛÙÔÓ Î·Ù¿ÏÔÁfi Ù˘ ˯ÔÁÚ·Ê‹ÛÂȘ ÛÔ˘‰·›ˆÓ ηÏÏÈÙ¯ÓÒÓ (.¯. Dizzie
Gillespie, Ella Fitzgerald η.) ΢ÎÏÔÊfiÚËÛ ÛÂ
fiÏÔ ÙÔÓ ÎfiÛÌÔ ÌÈ· Û˘ÏÏÔÁ‹ Ì ٛÙÏÔ "Eleftheria
Arvanitaki – The very best of 1989-1998".
ŒÎÙÔÙÂ, fiÏÔÈ Ù˘ ÔÈ ÚÔÛˆÈÎÔ› ‰›ÛÎÔÈ Î˘ÎÏÔÊÔÚÔ‡Ó Î·È ÂÎÙfi˜ Ù˘ ∂ÏÏ¿‰·˜ ·fi ÙËÓ Verve.
∂›Û˘, Ù· ÙÂÏÂ˘Ù·›· 8 ¯ÚfiÓÈ· ‰›ÓÂÈ ÚÔÛˆÈΤ˜ Û˘Ó·˘Ï›Â˜ ÛÙËÓ πÛ·Ó›·, fiÔ˘ Â›Û˘ fiÏÔÈ
Ù˘ ÔÈ ‰›ÛÎÔÈ Î˘ÎÏÔÊÔÚÔ‡Ó Û ÂȉÈ΋ ¤Î‰ÔÛË
ÛÙ· ÈÛ·ÓÈο Î·È fiÔ˘ ¤¯ÂÈ ·Ó·Ù˘¯ı› ÌÈ·
Ôχ ȉȷ›ÙÂÚË Û¯¤ÛË Ì ÙÔ ÎÔÈÓfi. ∆¤ÏÔ˜, Ë
Û˘ÓÂÚÁ·Û›· Ù˘ Ì ÙÔÓ ÎÔÚ˘Ê·›Ô ∞ÌÂÚÈηÓfi
Û˘Óı¤ÙË Philip Glass ÁÈ· ÙÔ ¤ÚÁÔ ÙÔ˘ «øÚ›ˆÓ»,
Ô˘ ÚˆÙÔ·ÚÔ˘ÛÈ¿ÛÙËÎÂ ÛÙËÓ ∞ı‹Ó· ÙÔÓ
πÔ‡ÓÈÔ ÙÔ˘ 2004 Î·È ÌÂÙ¿ Ù·Í›‰Â„ ÛÙËÓ
∂˘ÚÒË, ÙËÓ ∞ÌÂÚÈ΋, ÙËÓ §·ÙÈÓÈ΋ ∞ÌÂÚÈ΋
Î·È ÙËÓ ∞˘ÛÙÚ·Ï›·, ÌÈ· ·fi ÙȘ ÛÔ˘‰·ÈfiÙÂÚ˜
ÛÙÈÁ̤˜ ÛÙËÓ Î·ÚȤڷ Ù˘. ∞˘Ù‹ Ë Û˘ÓÂÚÁ·Û›·
˯ÔÁÚ·Ê‹ıËÎÂ Î·È Î˘ÎÏÔÊfiÚËÛ Û fiÏÔ ÙÔÓ
ÎfiÛÌÔ ÌÂ ÙÔÓ Ù›ÙÏÔ "Orion".
At the end of this interview, I would be remiss
if I didn’t describe Eleftheria Arvanitaki’s
presence in the international music scene:
It all started in November 1997, when she
appeared on the cover of the well-known
British ethnic music magazine, Folk Roots. A
little later, in 1998, she was invited to
perform in the most significant ethnic and
world music festival, WOMAD, in England,
and the major international jazz and ethnic
music festival in Montre, Switzerland. In
addition, she performed in other WOMAD
concerts in Portugal and the Canary islands,
and lately in Athens. 1998 was the year that
VERVE record company, a historic company
that boasts recording jazz legends (such as
Dizzie Gillespie and Ella Fitzgerald) released
the album "Eleftheria Arvanitaki – The very
best of 1989-1998", worldwide. Since then,
all of Eleftheria’s albums that circulate locally
or internationally have been produced by
VERVE. In addition, for the last eight years
Eleftheria has been performing in Spain,
where all her albums circulate in Spanish in
a special edition. Eleftheria has forged a
special relationship with the Spanish public.
Finally Eleftheria’s cooperation with leading
American composer Philip Glass on his
album "Orion" that was first staged in Athens
in June 2004 and traveled to Europe, North
and Latin America and Australia, was of the
most significant moments of her career. That
joined effort was recorded, entitled "Orion",
and circulated worldwide.