(Photo A. Simopoulos)

As a child, Vassilis Christopoulus woudl sit on the floor of an Athens rehearsal room next to his father, the principal oboist watching conductors, studying their every gesture, the “magic of their movements.”

Decades later, Christopoulus will be on the podium when the Greek National Opera makes it Carnegie Hall in a program that honors the legacy of author Nikos Kazantzakis through music from Mikis Theodorakis’ “Zorbas,” Manos Hadjidakis’ “Captain Mihalis,” and Dimitri Mitropoulos’ “Cretan Feast.”

Christopoulous’ relationship with his country’s most renowned opera company began in 1999, when, as a 24-year-old, he stepped into a performance of “Tosca” at the company’s old theater without a single rehearsal. Then, in 2017, he led the company’s first “Elektra,” which inaugurated its new home at the Stavros Niarchos Foundation Cultural Centre. In addition to his work with the Greek National Opera, the conductor is Chief Conductor of Graz Opera since September 2023.

OperaWire had a chance to speak to Christopoulos ahead of the big Carnegie Hall debut, what it means for Greece, and the challenge of performing Kazantzakis-inspired music.

OperaWire: What is your relationship with the Greek National Opera and what does the company mean to you?

Vasilis Christopoulos: The Greek National Opera is my musical family! Our relationship goes back a long way. The first time I conducted in the old theatre I was only 24 years old, in November of 1999. They entrusted me to take over a Tosca performance without a rehearsal, which was extremely challenging, considering the fact that I’d never been in an orchestra pit before! As it seems, the experiment was rather successful and I’ve had the pleasure of guest conducting at the GNO regularly ever since. One of the highlights of our collaboration was “Elektra” in 2017, which officially inaugurated the company’s new venue in the Stavros Niarchos Foundation Cultural Centre.

OW: You are leading the Greek National Opera’s Carnegie Hall debut. What does this moment signify for you and your country?

VC: This is a historic moment for all of us. The Carnegie Hall is not just another concert hall, it is a legendary venue in one of the world’s greatest cities, very far from Greece. And I believe this is the first time a Greek orchestra will appear in this temple for classical music. We are humbled and thrilled to be performing on this stage and can’t wait to give our very best.

OW: Tell me about the program chosen for this occasion. Describe the importance of Nikos Kazantzakis’s works and his influence on Greek music. What can audiences expect from the experience?

VC: Kazantzakis is one of the most important Greek authors; his oeuvre describes sometimes very accurately and harshly the Greek, and in particular the Cretan soul, and has had a huge influence on Greek culture in general. I feel fortunate to be able to read him in Greek, because he has created his own linguistic style, which cannot really be translated. The programme we are presenting in New York is a caleidoscope of Greek music inspired by Kazantzakis’s universe and is extremely diverse. I believe the audience will be amazed at how many different colours a single concert can offer.

OW: Anita Rachvelishvili and Maria Kostraki will also be performing in this concert. What excites you most about performing with these artists?

VC: Hadjidakis’s songs from “Captain Mihalis” are practically their own genre, something between rembetiko and rock ballads, while Theodorakis in “Zorbas” writes beautiful, simple, folk-like melodies accompanied by a big symphony orchestra. So there is a challenge for classically trained opera singers to perform these compositions in the right style. On top of that, Anita will sing in Greek, which is no easy feature!  But both our soloists are wonderful artists in their own way and it’s a pleasure performing with them and feeling their emotions in close proximity.

OW: On a personal note, how did you first know that being a conductor was your vocation? Who are the artists who have inspired you along your journey in classical music and opera?

VC: My father, who was principal oboist at the Radio Symphony Orchestra and later at the Athens State Orchestra used to take me with him to rehearsals when I was a small child. I would sit on the floor between him and the solo flutist and observe the conductors during rehearsals. I was absolutely fascinated by the magic of movements which transformed into sound and wanted to do the same thing! Along my journey I have been inspired by many great personalities, not least by Dimitri Mitropoulos, whose “Cretan feast” we will be performing at the Carnegie Hall. An extremely passionate conductor from the mountains of Arcadia – like my father – who became Music Director of the New York Philharmonic.

OW: What are some of your favorite operas?

VC: There are so many operas that I absolutely adore that I don’t really know where to start. I certainly feel a great affinity for Verdi and Richard Strauss, but there’s also Mozart, Puccini, masterpieces like “Les Troyens” or “Die Walküre,” “Wozzeck,” and, and, and…