Last night, under the (somewhat) starry sky, tucked beneath the side of the Acropolis, thousands sat on the marble steps of the nearly two-thousand-year-old amphitheater, the Odeon of Herodes, for “Soundtracks”: A show of film scores composed and performed by Evanthia Reboutsika, one of the most well-known contemporary Greek composers, accompanied by the Istanbul Cinema Symphonic Orchestra.
Born and raised in Kato Achaia, music has always run through Reboutsika’s veins. Her father, who would sing Byzantine chants at home, also owned a movie theater, where she would spend much of her time, which rang with film scores from Greece and abroad. Subsequently, she began playing the violin at the Conservatory of Patras at just six years old and never let go, using her homeland and heritage as a bastion of inspiration for her signature sound.
Now nearly 30 years in the industry, the Greek musician would go on to compose music for several films, including Notias (Mythopathy), Birleşen Gönüller (Two Hearts as One), 1968, Babam ve Oğlum (My Father and My Son), and A Touch of Spice, from which she compiled the night’s program.
Performing at the Odeon of Herodes Atticus, last night marked the final show before the grand venue closes for much-needed renovations for at least three years.
The Curtain Draw
Throughout the ruins stood stagelights, allowing patrons to find their seats, and once everyone was seated in the ancient performance hall, the lights dimmed.
The audience applauded as the orchestra took its place on stage, they started the show with “The Words of the South,” from the film Notias. The open air was filled with transcendent strings, and the audience was captivated. Surrounded by ruins and caressed by a gentle breeze, spectators knew that the night was certainly to be filled with magic.
As the orchestra faded into “Through You,” continuing the ascension of the prior strain, it was unclear when Reboutsika would make her appearance.
Then, all of a sudden, smoke rose from the archaic backdrop, and beams of light went into position. Two drummers carrying daoulis (an Eastern Mediterranean two-headed drum) brewed tension between the stage and spectators. Looking deep into the audience as their mallets hit the hide of the drumhead, they played the intro to “The Wedding Dance” from the Turkish film Birlesen Gönüller.
Midway, the song sped up and out came Reboutsika, energized by the crowd and hopping to the beat of the drums while playing her crimson violin. The audience cheered and clapped along, and smiles could not be contained. Reboutsika was taking us on a journey.
“My favorite,” she told the audience after the song finished. “Each of these films came about at a very special time in my life.”
Pulling music from the Greek and Turkish productions of her filmography, romance, nostalgia, and hope were the themes of the night — a collaboration between and celebration of two peoples who were once interwoven, but torn apart by competing political agendas.
Part I
Reboutsika lost herself in the music, becoming one with the violin that rested on her shoulder. Her bow, an extension of her arm.
Constructing a boat through smooth legatos and glissatos, Reboutsika sailed off into the Aegean for one last summer escapade with songs like “Sea Breeze” and “Afternoon in Nios” from the 2004 documentary Voice of Aegean, which tells lived experiences of war and resilience on the Greek islands.
Looking west, Reboutsika’s flowing black dress and long blonde hair caught a soft wind as she played longingly to the crowd, sheet music rising off of the stand, but no matter. She knows these melodies by heart.
Then, in a tale of yearning, we hear “My First Love,” from Notias. A dramatic composition that chronicles a story of introspection and reflection on a life that parallels ancient mythology in unexpected ways.
We are then ushered into the world of Birleşen Gönüller with Reboutsika’s iconic “On the Train Platform”, narrating an amorous story of separation and reunion.
Bringing Part I to a close, we listen to a reinterpretation of her original song, “Summer Rain,” now characterized by fast-paced drums and a celebratory spirit. At last, our romantic odyssey has come to an end.
Part II
As if making brushstrokes on a canvas, the strums of Reboutsika’s bow during “Messenger” from the 2007 Turkish drama Ulak (The Messenger), painted a new story for the audience — an intimate historical delineation of nostalgia for a lost home and a longing to return. A story that many Greek and Turkish people know far too well.
Performing “My Family,” “Hard Times,” and “My Father and My Son” from the Turkish film Babam ve Oğlum, Reboutsika narrated the story, set on an Aegean farm, of a son, his estranged father, and the grandson who helps bridge the rift between them. But in a surprise exit, Reboutsika bid farewell to the stage in the middle of “We Will Meet Again,” leaving the crowd curious as to when exactly “again” is.
However, as the orchestra was met with applause during the introduction of “The Universe” from the iconic 2003 film A Touch of Spice, the composer came from around the stage to the front row. Engaging with the crowd in a way that is not possible from a podium-like stage, turning the archaeological enclosure into its own little universe — one that we were all equally part of.
Continuing her score from the award-winning film, the audience is not only reminded of the bittersweet story of Fanis and his grandfather, but also the true events it was based on: the deportation of tens of thousands of Anatolian Greeks to Greece, many of whom had never lived there prior.
As the show started to wrap up with “A Shine Over Bosporus,” applause grew loud, and Reboutsika made her way offstage; many started for the exit to beat the impending rush of crowds. But suddenly, smoke filled the amphitheater once more, and the drummers holding daoulis returned with a reprise of “The Wedding Dance”. This time, even faster. Then, out came Reboutsika, hopping once again to the audience’s synchronized clapping, and in a sharp, satisfying ending, the theater went dark. But when the lights glowed softly once again, a bowing Reboutsika was met by a standing ovation.
Last night, Reboutsika had the opportunity to showcase the history of contemporary Greece in a venue that dates back to the time when the culture began to take form. A tribute, not to her most significant works, but to the stories that inspired them. And as the Odeon of Herodes falls into its three-year “beauty rest”, “Soundtracks” was her gift to the audience. A reminder to honor the heritage that has guided us to where we are today.
