Right upon my arrival, I am alerted that the concert will not begin on time. It seems that it is always like that in Greece. However, the evening of the concert, they start to admit people one hour before. But even minutes before the time the concert was supposed to begin, there were still many audience members missing. During this time, I admire the theatre and I observe the spectators. The marble enclosure is impressive and condensed: not very large in surface but in height. The marked slope has an advantage; it allows for a good view from everywhere. I knew that the cushions were numbered, but I did not expect that it be so narrow. I notice the presence of five cameras (one on the stage, one rolling in front of the stage and three in the steps). Contrary to 1984, there are no stairs from the stage. On each side, there are two giant screens.

It is 9 pm. The Prime Minister Karamanlís arrives escorted by photographers. He takes his seat in the front row, beside several great personalities and Nana’s friends. People nevertheless were rather punctual because the amphitheatre is almost filled. In less than ten minutes, begins the projection of a video montage on the screens. Nana’s journey unfolds before our eyes, since the Conservatory of Athens to Berlin where she obtained her first golden record, to New York where she recorded her first album and to London for her participation at the Eurovision Song Contest and the animation of her TV series. Several dates come to point some concerts that marked her career. And there are images of her collaboration with UNICEF and the European Parliament. During these seven intense minutes, we can feel all the respect and the pride that Greek people have for their best ambassadress for a half-century.

The video is ending with the image of the Parthenon with the mention "Athens 2008". The great moment has arrived. The applause breaks out from everywhere and strident cries cross the hall. They announce that the evening will be moving, that an acme will undoubtedly be reached. In parallel, the orchestral music takes over delicately. A red silhouette walks from the bottom of the stage. The applause gains in intensity. The spectators get up to welcome her. Nana greets and thanks the 5,000 Athenians and tourists who came to see her. She chooses to open the evening with "Athina" in homage to the city and its citizens. After the second song, Nana underlines the presence of the Greek Prime Minister and several political personalities. There are the mayors of the towns of Athens, Nicosia, Berlin, Luxembourg and of Paris as well as a dozen ambassadors. All of them went to the town hall that morning to see Nana being decorated with an honor medal. Let us notice that several artists are also present: Lara Fabian, Sakis Rouvas, Mario Frangoulis, Agnes Baltsa, Maria Farantouri, Peggy Zina and Georges Perris. We can imagine the emotion she feels and how it must be impressive to sing in her city, in front of all these personalities and to be filmed. But the fervour of the audience does not weaken. They clap hands to compliment the rhythm in "Ela pare mou ti lipi" and "Tora pou pas stin xenitia"  which deserve cordial applause to her.

Little by little, she lets herself carry by the rhythm of the folklore "Aïde to malono", shows her womanly sensitivity through the loving lament "Amapola", launches out into works which require more interpretation like "Mia fora ki enan kairo" or more dynamism like "Koris filin", or vibrations like "Enas mythos" which did not fail to give me goosebumps. I also let myself be taken by her song "To pedi me to tambourlo", worthy of a tragedienne. I am enraptured. When Nana speaks, I do not always understand. Fortunately, the usherette by my side speaks an impeccable French. She knows that I write a report and she nicely translates the essential for me. I am fulfilled. The presentation is classical, the repertory almost exclusively Greek and the setting exceptional. During the first part, Nana is dressed with a red tunic and in the second part with a white tunic. As in the concerts of the last years, she remains a long moment sitting on a stool with her guitarist by her side and she sings her great hits. All the evening, the musicians are dressed in black (trousers and jacket) and in white (shirt and bow). Luciano sits on her right. He plays classical piano and synthetizer. Behind, Philippe plays various instruments and Pili, bass. On her left, Yannick plays guitar and bouzouki, Lucien, the newest, guitar, and behind, Christophe, drums.

I had the opportunity to talk with Greek people during the interval to know what Nana Mouskouri represents for them and that holds in two words: SENTIMENTAL UNION. She is the first singer who represented Greece of easy listening music after Callas and Mercouri. This union, I felt it throughout the show, especially when the crowd sang with her the songs of her debuts. But it is necessary to wait to the very end to witness the most intense moment. When Nana starts singing "Hartino to fengaraki", several spectators are still standing up. In order not to break the meditation which reigns, they remain still, as if time had stopped. This song is the work of Manos Hadjidakis, musician who reinvented Greek music and of Nikos Gatsos, poet and philosopher. It says that in life, all is a matter of faith. Even when it seems impossible, we only need to believe in it so that it becomes reality. It is the first song that they proposed to her and that taught her to dream while singing. It had to be the one that ends the evening, if ever it was the last time. Nana, moved, cries some tears. She is grateful towards her two mentors who inculcated this credo to her and knows that she has reached her dream. She waves to her public which continues to applaud her longer. Little by little, she moves away, turns back again to wave again, then she disappears into the wings of the amphitheatre.

GRIECHENLAND ZEITUNG
(July 23, 2008)

GRIECHENLAND ZEITUNG
(July 23, 2008)

ATHENS NEWS
(July 24, 2008)

ATHENS NEWS
(July 24, 2008)

ATHENS NEWS
(July 25, 2008)

LE DEVOIR
(July 25, 2008)

RHEINISCHE POST
(July 25, 2008)

RUHR NACHRICHTEN
(July 25, 2008)

THE GLOBE AND MAIL
(July 25, 2008)

TELEKILA
(July 26, 2008)

(July 2008)

THE ADVERTISER
(July 28, 2008)

FREIZEIT REVUE
(July 30, 2008)