Magnificent background Herodes Atticus Odeon Athens has hosted one of the greatest voices of our time. Jonas Kaufmann“Debuted in the ancient amphitheater in September, his awe-inspiring performance took the audience on a musical journey.
The iconic aria, No one should sleep, One of Kaufman’s signature songs was also included in the program. The song explains that the conductor’s leader is sung countless times because it is sung so often by Kaufman. “But every time he sings, it’s a joy and makes people happy. It’s a really great experience,” he adds.
The world-famous conductor Jochen Rieder has performed in most of the major opera houses and concert halls. He has worked with some of the most admired soloists and orchestras in the world, but has made special musical friendships with Jonas Kaufmann. They are also planning more concerts together by the end of the year.
Herod Attica’s Odeon was built in 161 AD. It is one of the oldest venues Kaufman performed. It dominates the western edge of the southern slopes of the Acropolis.
Herodion, sometimes referred to by another name, was the third Odeon built in ancient Athens, following the Pellicle’s Odeon on the southern slopes and the Agora Agora’s Odeon in Athens.
Giorgos Coumendakis, Artistic Director Greek National OperaGreece says it is lucky because “there are many ancient theaters of the classical and Roman-Hellenistic period”. “We have been using the enormous energy of these historic places for many years in the best way we know.”
Herod Atticus Odeon was built by Herod Atticus, a Roman citizen from an important family in Athens. It was made in memory of his wife, Regilla, who died in 160 AD.
The covered Odeon was originally used primarily for music festivals and was able to welcome up to 5,000 spectators. The front is a three-story building, and because it uses Lebanon sugi wood, it was expensive to construct.
The building was destroyed around 267 BC after an attack from the Heruli who burned and flattened many buildings in ancient Athens. The stands and stages were finally restored in the 1950s using the marble of Mount Pentelicus.
Kaufmann explains, “It’s really fascinating to feel the charm of the ancient world and think that there was already an audience who listened to art 2000 years ago.” He was intrigued by the treasures of Greek architecture and conducted several experiments during the performance. Due to Corona’s safety precautions, he wasn’t in what he called the “acoustic sweet spot.” So he moved to give the audience what he felt was a more influential experience.
Kaufmann was told by many Greeks during his trip to Athens that he would be able to communicate with the gods during the performance because he was close to their seats. However, Kaufmann is humble and simply says, “It’s very beautiful for artists to perform at such historic sites.”
Jonas Kaufmann fascinates Athens in a wonderful environment
Source link Jonas Kaufmann fascinates Athens in a wonderful environment