REVIEWS

AGELIOFOROS, 26 AUGUST 1997

Second in the world with enthusiastic reviews

The medals of Greece do not only come from the area of athletics and weight-lifting. The distinctions concern the field of culture as well. The choir having Mary Konstantinidou as maestro represented worthily our country conquering the second position in the category of female choirs and the third in the category of mixed in the international competition of Llangollen of Wales, which is considered the most important International Competition of Europe. The several-month efforts of the choir were transformed into a brilliant success within 15 minutes of rendition on stage. The participation of Greece obtained a bronze medal for the mixed choir and a silver for the female, as well as particularly encouraging reviews. Comments, such as 'excellent rendition' and 'musicality and passion' sealed the successful effort of the choir, which is placed among the great powers of the world choral music. […]


THESSALONIKI, 31 MARCH 2003

"ARTS"

The choir at a concert for its fifteen years. Young, but mature, by Antonis Konstatinidis

[…] From 1987 until today, the level of the choir has been steadily qualitatively progressing, something that is proved among others, by a number of distinctions in competitions and festivals in Greece, but also in Europe. […]


MAKEDONIA, 14 APRIL 2003

Madama Butterfly  -  Giacomo Puccini APRIL 2003 T.C.H.O. (THESSALONIKI CONCERT HALL ORGANISATION) PRODUCTION

[…] It would be an omission not to underline the recognizable by sound participation of the choir under the instruction of Mary Konstantinidou. The choir showed for one more time that it is in a position to meet with success the stage requirements of opera productions.


AGELIOFOROS, 20 APRIL 2003

[…] A big 'well done' to the choir under the instruction and direction of its maestro, Mary Konstantinidou, for in each of their appearances the progress, the gentle sound, the discipline of the ensemble and the perfect synchronization with the orchestra are obvious.


ELEFTHEROTYPIA, 23 APRIL 2003

[…] Of professional standard was the participation of the choir in the first act. […]


THESSALONIKI, 11 OCTOBER 2004

Lucia di Lammermoor  -  Gaetano Donizetti, OCTOBER 2004 T.C.H.O. PRODUCTION

By Antonis Konstantinidis

[…] The cast was completed by the members of the well-trained and lively choir who simulated their multiple roles with success. […]


NEA, 15 OCTOBER 2004

By Giorgos Sarigiannis

With the Thessaloniki State Symphony Orchestra under the direction of the young, but extremely competent as it seems Francesco Colombo and mainly the choir that Mary Konstantinidou had instructed rising to the occasion.


DAS OPERNGLAS, DECEMBER 2004

By S. Martens

[…] The choir, with impeccable programming, this night was extraordinary, homogeneous concerning the consonance of voices of different type. With extremely enthusiastic rendition, the gentlemen and the ladies of the choir conquered success.


THESSALONIKI, 18 APRIL 2005

IL TROVATORE  -  Giuseppe Verdi, APRIL 2005 T.C.H.O. PRODUCTION

By Antonis Konstantinidis

Important and in each case praiseworthy was the presence of the choir members, who beyond the consistency and the professionalism support the operatic productions of the Concert Hall with enviable performance.


AGELIOFOROS, 24 APRIL 2005

[…] The right guidance of maestro Mary Konstantinidou with the greatest being the 'Miserere' of the 4th act, offered us moving moments. […], by Sofia Theofanous

Strong was the presence of the choir in 'Il Trovatore'. The right guidance of maestro Mary Konstantinidou both in the epic (male) and in the monastery parts (female and mixed) with the greatest being the 'Miserere' of the 4th act, offered us moving moments and presented a flexible and disciplined ensemble. However, the maestro should not forget that the appreciation of the choral presence is defined in a more catalytic way by the quality of the voices rather than by the number of the choir members. Besides, the necessary number of many scenes could have been completed by extras.


Thinkfree.gr, 13 NOVEMBER 2011

ΤΗΙNK CULTURE, THINK&WRITE

Samson et Dalila  -  Camille Saint-Saëns, NOVEMBER 2011 T.C.H.O. PRODUCTION

Blind passion…, by Antonis Konstantinidis

[…] The Mixed Choir of Thessaloniki won the impressions for the interpretative and acting presence of its members, enhancing determinatively the positive impressions of the opera. The purity of the melodies and the liveliness of the colours was obvious from the static chorals of the first act, until the intoxicating bacchanal dances of the end. […]


AGELIOFOROS, 17 NOVEMBER 2011

PERI ONOU SKIAS (about trifles)

High standard professionalism, by Achilleas Psaltopoulos, director, actor, critic

[…] To the great assets, the multitudinous Mixed Choir of Thessaloniki, which under the music instruction of Mary Konstantinidou rendered delightfully, with volume and tone colour the numerous choral parts. […]


SUNDAY AGELIOFOROS, 20 NOVEMBER 2011

Perfect production, by G. S.

[…] Interesting performances with the Mixed Choir of Thessaloniki (under the music instruction of Mary Konstantinidou) winning the impressions. […]


MAKEDONIA, WEDNESDAY 14 NOVEMBER 2012

Celebration at the Concert Hall

Chorus Life - The life of a choir, by Kostas Marinos

It was a fine night the night that those who were at the Concert Hall lived, in order to watch Chorus Life, title not of a simple, even celebratory concert for the 25 years of the Mixed Choir of Thessaloniki, which Mary Konstantinidou has founded and directs.

Chorus Life was a celebration in which the members of the choir, each one individually, but also all together, welcomed the audience in a feast that was not limited to the rendition of some less or more known pieces from the large repertoire of the choir.

Multitalented all of them, they conveyed in the hall their joy for all their achievements and these are many. They moved with ease on stage, proving for one more time that they have the qualifications to really render music and not just to sing it. But this has been known by the many participations of the choir in opera performances.

The surprises began when members appeared as soloists, as they did even this, in order to interpret scenes from known operas. From Mozart and Verdi to the exceptional scenes from Carmen by Bizet they showed, overcoming the absolutely excused awkwardness of certain moments, how much they respect music.

This was shown even by the members of the choir who left the stage to ascend the podium and direct sometimes with elegance and sometimes with power certain works, with Mary Konstantinidou watching them certainly proud of the potential of the choir. But the part where they charmed the audience, who certainly must have been surprised if they hadn’t attended previous appearances of the choir with relevant programmes, was when they rushed on the stage to sing and dance parts from known musicals or rock music.

They knew what they were doing and this was a great asset, since they were convincing in that they weren’t imitating, but they had studied what they were doing.

Of course, the choir should thank in many respects Giannis Margaronis who taught the choreography and Sakis Kolalas who having few means created so many images as stage-designer and not just.

There was also Mary Konstantinidou. With her tailcoat, tireless controlling the choir with few movements and the musicians who accompanied them on the piano and the electone. She certainly must have been moved by the reactions of the audience in the hall as well as backstage after the end of the performance. Besides, this applause and the bravos were the least gift in return that the audience could offer for their participation in this so beautiful celebration. There is also a slight feeling of sadness. I wonder, how and where and in what way will the talent and the creative mood of all those young people be exploited?