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"The hottest name of alternative opera" Fotini Barka, Eleftherotypia
"Ingenious, demoniac" Olga Sella, I Kathimerini
"The 'Wunderkind' of Greek music theatre" Faye Karaviti, Realnews
"An excellent composer with rare artistic skill and a qualitative interest in the subversion of cultural normativities." Giorgos Sampatakakis, Athens Voice


"Creators as well as public agree that, in Goyós's work, they have found something that was missing from the Greek capital […] Athens had been looking for such a work for a long time, and had not found it. […] Goyós uses the musical gesture as theatrical expression, and the theatrical gesture as music. The two domains, music and theatre, have been merged here." Costis Demertzis
"This goes to prove that opera can be alive, fresh and full of humour; that it can matter to young people, who would never have thought to 'entertain' themselves with such a spectacle; that one can rid it of the pretentiousness and the sterile atmosphere of the National Opera and the Concert Hall."


"Hetaira Pasiphile's Birthday is straight away characterised by creative maturity, obvious in the soundness of the construction and the relevance of the means to the end of the work, factors that, combined with the authentic youthful élan and imagination, are the hallmark of a unique production." Costis Demertzis


"The work shows real sophistication and a true flair for vocal/dramatic settings. Continuous writing, fluid and well orchestrated […] with coloristic splashes when they emerge from the music (and not just without the music)." George Tsontakis
"The operatic adaptation by Goyós […] is done in full awareness of the seriousness of the material." Costis Demertzis
"Fresh blood in Greek opera […] People talking about 'a fresh breeze in opera' are on to something." Elias Maglinis, Kathimerini
"An impressively well-written libretto that rehabilitated the notion of darkly humorous psychodrama, and an exhaustingly rich musical work that flirted with musical literature as well as post-modern operatic philosophy, containing endless experimentations with rhythm and orchestration." Iliana Dimadi, Αthinorama
"Startling and moving, moving because it's startling. […] An unexpected blast of modern lyric theatre, but with a personal touch." Nikos Sarafianos,
"A shattering production that revealed a whole talented generation hitherto hidden from the general public. […] As if the aura of Hadjidakis's game […] blessed this group from nowhere to focus on a never-before-heard essence, which may shock music lovers but imparts a new-found ethos on the work."
"[A] complex, weird work that made justice to the novel […] a very interesting avant-garde work, quite sarcastic and cynical."


"An event. Not only artistic, but also social." Maria Katsounaki, I Kathimerini
"The popular opera 'Trovatore' in its most lively, fresh, euphoric, attractive and vigorous rendering." Maria Katsounaki, I Kathimerini
"'Something' happened to those of us who managed to see Verdi's 'Trovatore' at BIOS: we fell in love." Iliana Dimadi, Athinorama
"The kids who did this show […] washed 'Trovatore' clean […] and gave back to us a new and unsullied, great popular work – exactly what it is." Yorgos Sarigiannis, Ta Nea
"Among the most interesting operatic experiences of the last years." Kyriakos Loukakos, Avgi
"An unadorned 'Trovatore' full of knowledge, life and emotion" Maria Katsounaki, I Kathimerini
"The unconventional staging worked in favour of the drama, treating the audience as part of the story, the unmediated music […] took aback the startled public, that was used to watching opera as an… exotic, emotionally uninvolving genre." Olga Moschohoritou, Imerisia
"Whoever missed Verdi's 'Trovatore' by The Beggars' Operas should regret it!" Antigoni Karali, Ethnos
"Fresh, daring, youthful, technically solid, both inventive and well-founded" To pontiki
"How many times have you heard Trovatore? […] Well, forget everything you knew about it."
"I found myself wishing that more people could enjoy the sold-out, refreshingly different take on Verdi's much-loved masterpiece" Katerina Voussoura, I Kathimerini


"I trusted Kharálampos Goyós and The Beggars' Operas for their talent, but also because I was interested in seeing my work afresh. The wonderful new result belongs to them." Nikos Kypourgos, Eleftherotypia
"Fascinating. […] This kind of children's show is missing from our stages." Thanassis N. Karagiannis, Rizospastis
"A touching theatrical proposal. […] The Beggars' Operas […] invite children and adults to feel music theatre, giving at the same time a solid lesson in contemporary music education, something sorely missing from our conservatories." Eleftheria Raptou, Avgi
"Special and charged" Angeliki Poulou, I Kathimerini
"The world of music is laid before us in this show, the despair of an artist, the stubbornness of the powerful, the love of creation."
"Relaxed structure, surreal stage direction, […] jazzy live music (by Nikos Kypourgos!). The result is borderline dreamy, even for grown-ups."
"Amazing […] It indicts the evils of the musical world, the smart-ass connoisseurs, the learned lovers of everything foreign, the uncultured rich." Nikos Sarafianos,
"The result is once again stunning and the 3 singing actors manage to astonish the audience."
"Three opera singers with enjoyable acting talent, […] stage presence and immediacy […]. Take your children and go see this hand-made but well-tuned Greek show." Matina Kaltaki, O Kosmos tou Ependyti
"The work flourishes in the hands of The Beggars' Operas. […] This fortunate production aims to initiate children to the world of operatic/symphonic music. And it succeeds absolutely. In a flash, before even the youngest spectators get bored." Tatiana Kapodistria, I Kathimerini


"A production with limited means and many volunteers […] with enthusiasm as the dominant quality. […] The music was inventively and succesfully arranged for a small ensemble by Kharálampos Goyós, without compromising the essence of the material." Nikos Dontas, I Kathimerini
"Goyós's reduced orchestration faithfully transcribed the essence of Sakellaridis's original, securing at the same time a contemporary touch to the result. […] The revival posed several interesting, serious issues ripe for discussion, and practical questions to be answered." Yannis Svolos, Eleftherotypia
"Kharálampos Goyós […] succesfully arranged and conducted the eight-piece orchestra, constantly alert and developing a 'playful' dialogue with the prose." Katerina Diakoumopoulou, Avgi
"I found their idea of a… total recall on stage […] of this forgotten, not to say unknown, operetta by Sakellaridis extremely interesting. […] The musical part was excellent […]." Yorgos Sarigiannis, Ta Nea
"Sakellaridis's operetta fell in good hands with the theatre group The Beggars' Operas." Stylianos Tziritas,
"Mr. Kharálampos Goyós, who gave us the sense of operetta with extremely limited means." Iason Triantafyllidis, Adesmeftos Typos
"Hilarious […] congratulations for the uninhibited approach and the daring of the creators" Ioanna Koropioti,
"This operetta from 1923, dealing with the important matter of the Greek mother-in-law and other perennial problems of the married life, found its ideal production" Dimitris Kiousopoulos, Eleftherotypia
"Goyós's leadership was exact, flexible and theatrical." Eftychios Horiatakis, Athinorama
"A breath of optimism […] full house and enthusiastic crowd" Kyriakos Loukakos, Avgi

YASOU AIDA! / 2012

"Ganz neu, schräg, unkonventionell" Funkhaus Europa
"Τheatralisch in jeder Hinsicht virtuos." Peter Uehling, Berliner Zeitung
"Viel unterhaltsamer und komischer als jede Nachrichtensendung." Pinar Abut, Berliner Morgenpost
"Ein griechisches Regieteam katapultiert Verdis 'Aida' ins Jahr 2012. […] Gut gemacht, witzig und intelligent […] Das Gespür für Timing stimmt und […] Verdi in jedem Augenblick ernst genommen wird. […] Selbstironie ist eine der Stärken des Abends. Eine andere ist Wahrhaftigkeit." Udo Badelt, Der Tagesspiegel
"Kritik wird hier zwar mit augenzwinkerndem Humor versüßt, aber dieser binationale Cocktail hat es in sich. […] Kharálampos Goyós' respektlos-kongeniales Arrangement […] Der Produktion gelingt es, die Brücke zu schlagen zwischen dem Schicksal eines kaputtgesparten Landes und der Geschichte einer Migrantin, die für unsere Zeit paradigmatisch ist […]" Kristina Rath, Die Tageszeitung
"Un opéra tout à fait réjouissant […] Plus subtil qu'il y paraît, ce spectacle est une farce réussie." Frédéric Lemaître, Le Monde
"Eine herrlich überzogene zeitgenössische Oper" Lucía Tirado, Neues Deutschland
"Yasou Aida in keinem Moment Klamotte oder Comedy wird […]. Von beeindruckender musikalischer Qualität, das […] Ensemble wird von Goyós mit übermenschlicher Disziplin zusammengehalten." Matthias Nöther,
"A successful music theatre production that undermines all certainties with finesse and toys with throwing stereotypes in the direction of the public." Katerina Economakou, Ta Nea
"Amazingly lively, to the point, enjoyable and furthermore impressively resistant to even the most insistent, distrustful examination of its consistency in matters of musical and stage dramaturgy." Yannis Svolos,
"Satire, humour, sarcasm, emotion, indictment […] in generous dosage, and, however, not a moment too much." Isma Toulatou, To Vima
"An unqualified triumph that justified all expectations. […] Respecting the original, while musically and dramatically deconstructing it with merciless humour, […] it is an exciting model of contemporary, politically thoughtful music theatre." Eftychios D. Horiatakis, Athinorama
"Its main idea could as well be adopted by any opera theatre. Indeed, it would probably be preferable to doubtful taste 'spectaculars' that commonly befall Verdian operas with faux-historical subjects […] The multi-level musical and textual transcription […] proved successful, the dramaturgy had no holes. […] The music was transcribed with equal success, losing none of its character and power." Nikos A. Dontas, I Kathimerini
"Even Schäuble himself would enjoy this show. […] How much talent was needed for this radical adaptation to convince us that it doesn't deform the great Verdi clumsily and needlessly! […] One of the strongest productions of the Athens Festival." Vena Georgakopoulou,
"Humour, relevance, originality, sensibility and emotion. […] Not just an imaginative and expressive Verdi transcription, but a meeting of friendship and hope." Maria Katsounaki, I Kathimerini
"A successful revue, or, if you prefer, music theatre without the variety and cheap seasonableness of satire. […] By far the most –substantially– innovative thing we saw during this, largely predictable, 2011-2012 season.» Nikos Sarafianos,


"Ein ziemlich großer Spaß […] allen Ernstes." Inforadio rbb
"Kharálampos Goyós verlegt das Ganze nicht nur ins Jetzt, sondern in eine ungewisse Zukunft […] und lässt Rossinis Gesellschaftsschmonzette durch Dimitris Dimopoulos so hammerhart in die Gegenwart texten, dass einem mehrfach der Mund nicht zuklappen will. Da auch wirklich kein einziges Klischee über Macht und Mächtige ausgelassen wird und die Welt frech aus der Sicht derer gefeiert wird, die ihr vorstehen, ebbt die Freude über zweieineinhalb Stunden nicht ab. […] Rossinis volles Orchester herunterzudampfen auf vier Instrumente, ist schon nicht ohne. Aber was Klarinette, Flöte, Cembalo und Marimba da zustande bringen, ist oft wunderbar luftig und leicht […] Quirlig, voll, spritzig, laut. Das hebt ab!" rbb Kultur
"Flott umgeschrieben." Berliner Zeitung
"Spätestens […] entpuppt sich die Berliner Flughafenmisere nur als Aufhänger, und die sozialkritische Satire tritt in den Vordergrund. […] Das funktioniert ausgezeichnet." Clemens Haustein, Berliner Zeitung
"Kharálampos Goyós hat die Partitur ziemlich überzeugend […] arrangiert." Udo Badelt, Der Tagesspiegel
"Grandiose musikalische Fassung und […] exzellent auftrumpfende Ensemble." Hermann-Josef Fohsel, ZITTY Berlin
"Es wäre mir nicht im Traum eingefallen, 2013 in der Neuköllner Oper im »Hoch die internationale Solidarität!« skandierenden Publikum zu sitzen." Lucía Tirado, Neues Deutschland
"Ein Feuerwerk witziger Einfälle, […ein] geniale[s] Bühnenbild […] und ein gekonnt für ein kleines, vierköpfiges Orchester aufbereiteten Rossini. […] Paßt wunderbar zum gegenwärtigen Thema, und auch die Idee, die Vielzahl von Personen auf sechs zusammen schrumpfen zu lassen, ist eine glückliche. […] Vorzügliches kabarettistisches Operntheater, […] das kleine Orchester schlägt sich […] mehr als gut" Ingrid Wanja, Der Opernfreund
"This remix of Rossini with current crisis capitalism proves that opera can be contemporary – imagine 'you can download a widget' sung with vibrato." EXBERLINER
"'AirRossini' hebt von der verpatzten BER-Eröffnung in eine noch turbulentere Groteske ab." Patrick Wildermann, tip Berlin
"Wunderbar gelungene Persiflage zur aktuellen Lage […] Oper kann erfreulich frech und sexy sein. […] Locker, leicht und ungemein unterhaltend." Frank Wesner,
"Gewohnt frech und wohl noch lange aktuell." Berliner Morgenpost
"Aberwitziger Kommentar […] lässt zugleich meisterhaft die Schönheiten von Rossinis Partitur erklingen." Märkische Oderzeitung


"A carnivalesque orgy-parade" Artforum
"One of the most interesting and entertaining productions I've seen in a long time. […] A musical show with an impressive ending" M. Hulot, LiFO
"An apotheosis of the postmodern with plenty of humour" Dimitris Kiousopoulos, Eleftherotypia
"Totally far-out […] A mordant commentary of boundless sarcasm" Panagiotis Andriopoulos,
"Audacious and venomous, […] technically, musically and theatrically accomplished […] a felicitous, poisonous satire commenting with cannibalistic harshness on the moral and social degradation of modern Greece." Yannis Svolos, I Efimerida ton Syntakton
"An orgiastic attack to contemporary reality, with vitriolic humour as weapon. […] Thanks to its youthful energy, the result felt redemptive." Nikos Dontas, I Kathimerini


"The live music by Kharálampos Goyós was a feast of conception, gamesmanship, erudition and execution. Smatterings of Mozart, Indian sounds (in 1761, France loses after a century its influence over the East Indies), Balkan brass melodies (young Figaro was abducted by gypsies), Turkish-style lascivious swaying (a reference to the fashion for 'turqueries'), ludic and comic sounds humorously and accurately define the dancing and juggling action" Anny Koltsidopoulou, I Kathimerini
"This theatrical pandemonium is served to perfection by the live music of Kharálampos Goyós, that extends from operatic references to Balkan motifs" Tonia Karaoglou,
"Kharálampos Goyós'[…] diverges —consciously, obviously— from the well-known Mozart motifs and draws his inspiration from the dramaturgy itself. He inserts Balkan Gypsy music, as Figaro is supposedly Gypsy, and through this vehicle reaches to other civilization in contact with the Roma, such as India. The music is in dialogue with the actors' performances, toning up the show's rhythm." Stella Charami,
"Kharálampos Goyós […] marries, with rhyme and reason, different elements, even Indian, Balkan tone colours." Iliana Dimadi, Athinorama
"Kharálampos Goyós's music, […] polymorphic and eclectic, did not confine itself to a sterile musical representation of the period, but added individuality and originality." Giorgos Christopoulos,
"We cannot not mention the excellent live music by Kharálampos Goyós, whose colouristic references to various localities and periods gave the show an even more special character." Georgia Economou,
"See, for example, how, in the music composed for the show by Kharálampos Goyós, barely recognisable motifs from Mozart's opera of the same title are combined with themes that refer to Indian, but also Balkan music […]. Incongruous? Not at all, if you think that, in 1721, Montesquieu wrote the Persian Letters, in 1747 Madame de Pompadour posed as a Turkish lady in Van Loo's painting, and Mozart, also following the fashion for the turquerie, had written in 1782 the very successful opera The Abduction from the Seraglio, inserting in his compositions motifs from Janissary military music." Matina Kaltaki, LifO


"Revelatory music by Kharálampos Goyós" Heleni Koutsilaiou, Mandragoras


"Kharálampos Goyós’s music, perfectly harmonized with the stage direction" Yorgos Sarigiannis,
"Among the positive aspects of the production, the music by Kharálampos Goyós" Stella Charami,
"Of great interest was […] Kharálampos Goyós’s music, with a different style and tone for each part of the show." Dionysis Christopoulos,


"Kharálampos Goyós […] was among the big advantages of the production. He served a genre he loves and knows and rendered wonderfully the period flavour." Olga Sella,


"The play’s transformation into an operetta was happily served by Kh. Goyós, whose music realised the whole gamut of possible theatrical climates (from pathetic drama to romantic naivete and comic absurdity)." Giorgos Sampatakakis, Athens Voice
"Goyós’s contribution is extremely important: his songs, with their marvellous stylistic variety, serve the dramaturgy effectively, keep the perils of realism at bay and lighten the whole affair. His jocular style and subcutaneous humour, well known and characteristic ever since his first work 'Little Red Riding Hood and the (Good) Wolf', find ample room here. The device of the live music box also works perfectly." Giorgos Voudiklaris,












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