Take Vangelis out of the equation, and perhaps we could have had something here, as in the a cappella "Les Kolokotronei" - even if Papas' voice sounds a bit more actorly (well, duh) than what usually passes for musical, which can be fine if you own it (particularly when, to speak of cultural 'tragedies', what passes for musical is increasingly defined and standardized by stuff like singing contests), but I'm not entirely convinced that she does; that she is not trying to sound prettier than she should or could.
Whatever the case, Papas is not really the problem here, it's you know who. Even if his bombast is not in full flair, making this at least acceptable, it still sounds structurally wrong, and could hardly have been otherwise, given the naïveté with which it enacts its 'ancient meets modern' artistic program; handling a delicately chiseled repository of beauty, that managed to stand the test of time, with the blunt tools best known for their affinity with muzak (it's even a bit confounding, with all the money he surely won with and spent on it, how the very tones of his synth-gear could so often sound so 'cheap').
So, as it stands, this pseudo-modernization of traditional greek music inevitably misses the mark on all counts for me: it simply cannot grasp the cultural depth and beauty of ruins, nor is it able erect anything new; least of all, my aesthetic arousal.
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