SATURDAY’S concert by the Cyprus Symphony Orchestra, part of the festivities for Europe Day, was by all accounts a resounding success, with art supplanting politics.
Earlier gripes over the inclusion of six Turkish musicians did not spill over into the show, as musicians set their personal feelings aside and focused on the task at hand.
The Mail had reported that some quarters within the CSO had disagreed with the participation of the Turkish nationals, two of whom are well-respected soloists, tenor Senol Talinli and soprano Seryal Turkoglu.
Some members of the CSO had taken exception to the nationality of these specific musicians, even though overseas artists are regularly invited as guests by the orchestra, which itself is comprised of many different nationalities. There were also complaints that some Cypriot extras, freelancers who are usually invited to CSO concerts, were left out and their place was taken by extras from abroad, who cost twice as much.
The dissenters, which the Mail understands were a small group within the CSO, questioned the soundness of inviting people from Turkey, given the ongoing political situation on the island.
Yet in the Strovolos Municipal Theatre on Saturday evening, any ill-feeling prior to the show must have melted away in the melodies sweeping the packed hall.
“All of the musicians, including the Turks and Greeks, embraced and shook hands when the audience broke out in a standing ovation, as well as off-stage. There was no trouble at all,” said Giorgos Moleskis, executive consultant for the CSO.
“The collaboration between all the musicians was excellent,” he added.
Moleskis brushed aside the notion that the event was marred in any way, saying that the reaction to the Turkish musicians was “extremely limited.”
The sentiment was shared by Nicolas Papageorgiou, head of the association of CSO musicians.
“Whatever the feeling, everyone was extremely professional, as always,” he said.
Asked to comment on the reaction by some members, Papageorgiou said his association could not take a position on political matters.
“At any rate, at no point were we asked for our feedback on the concert arrangements. That of course is the prerogative of the administration. Some orchestras appreciate input from the musicians, others do not.”
But the Mail understands that it was the handling of the affair by CSO administration that riled some folks within the orchestra. Apparently some members did not appreciate the fact they had been kept in the dark about the concert arrangements – especially concerning the Turkish musicians – only learning about this when the news was “craftily” leaked to them just a short time before the concerts.
This treatment of the musicians was perceived as being “somewhat heavy handed,” said a source who preferred not to be named. The news that people from Turkey were participating seems to have been the straw that broke the camel’s back.
Nevertheless, a few people were genuinely opposed to the idea of inviting Turkish musicians to play alongside them.
“I wonder, how would Greek Cypriot taxpayers, especially refugees, feel about paying out of their own pockets so that people from Turkey can be brought here?” asked Nikolas Ioannou, a double bass player.
Ioannou said also that those objecting to the Turkish element had approached people in various “centre-right parties” trying to drum up support. Apparently, none of the politicians contacted were willing to take up the cause.
At least the organisers were careful to ensure they did not inflame passions further. The Mail is told the Turkish musicians flew to Cyprus “legally,” that is, via Athens.
In addition to the Turkish nationals, the two CSO concerts featured Syrian, Lebanese, Israeli, Palestinian and Egyptian artists, some of whom are members of the Barenboim Orchestra, famously consisting of musicians from Israel and Arab countries.
It’s been suggested that the Cypriot organisers were trying to emulate Daniel Barenboim’s exploits of reconciliation through music. Depending on whom you ask, the gambit worked like a charm.
