top of page



“I was dazzled by ORFEAS2021’s theme and plot, the opera’s strongest point to my opinion, which was beautifully embraced by inspired music, as well as fitting cinematography, costumes, make up and scenography”
Dana Papachristou, musicologist, und.Athens

“An ambitious and multi-layered venture, signed by a groundbreaking group of talented young people”

Natalie Hadjiantoniou, journalist, Ef Syn


“In Orfeas21, Ieropoulos has composed a visually arresting symphony of images ... working with Andriana Minou and Alexandros Drosos to provide new passages that expand Monteverdi’s score in surprising and effective ways, using everything from nationalistic marches and traditional Greek bouzouki music to a lyrical post-tonalism evoking Thomas Adès.” 
Anne E. Johnson, journalist, Classical Voice North America

athinorama ekswfyllo.jpg

“Unclassifiable, ridiculous, extravagant, touching, irresistible, bloody, squalid, filthy, round, a film that smells, finally” 
Eva Stefani, filmmaker and artist

“Greece’s first queer opera pays homage to deceased LGTBQ activist” 
Sarah Hucal, journalist, Deutsche Welle

“extremely moving”

Kiki Vassalou, journalist, OW

“a provocative, timely adaption of the ancient myth, but also a powerful commentary on contemporary Greek society… a visually exciting smorgasbord of imagination” 

Rick Perdian, journalist, Seen & Heard International

“FYTA’s ORFEAS2021 is an overwhelming thrill to watch. The music is beautifully performed, the visuals sublimely trashy, and the story ingeniously reworked to be both an emotional slap and a powerful piece of political polemic. As soon as it finished I wanted to watch it again.”
Anouchka Grose, psychoanalyst and writer


“a unique and provocative take on its mythological source”

The Recs UK editorial team (September 2022 selection)


“Diamanti Krtitsotaki is extraordinarily moving... Lito Messini is riveting”

Christopher Ballantine, Opera Magazine

“Provocative and unorthodox in its direction, sassy and revolutionary, pop and classic, stylised and free, this cinematic endeavour manages to tell the story it wants with cinematic disobedience, fitting in all those identities that even the most post-modern art would normally leave out.”

Christos Tzifas, journalist, Avgi


“A process-work that poses questions on gender, art and greekness; the relationship between form and politics; and the binary opposition between reformism and radicalism. A difficult balance, which is continuously and successfully lost, between a sense of tragic and a wild postmodern aesthetic.
Rea Wallden, semiotician, film theorist and filmmaker

“we were impressed with the conception, creation, lyric delivery and excellent performers”
Ch. Laktaridis, film critic, DOCTV


“It seems that Orpheus causes uncomfortable situations if we scratch a little the myths and stories that accompany him. And when “uncomfortable” in concerned, enter FYTA. FYTA specialise in denaturalisations, debunkings, a type of camp performance that scratches personal and communal traumas of greek heteropatriarchy.”

Nikos Vourdoulas, musicologist,

Notes on the GNO official programme

bottom of page