Savina YannatouWith a stunning and unique approach to traditional songs from around the Mediterranean and beyond, Savina Yannatou has built a fantastic reputation as one of the most interesting artists on the planet.
Female First got the chance to put some questions to Savina about her career to-date, what to expect from her upcoming London live show and much more.
At what point did you realise music was the path you wanted to go down?
It was quite a while, several years from the starting point, until I made up my mind that finally music is my profession and that I have the right to feel I was a musician or singer. Since my childhood I used to admire beautiful and refined voices, and the virtuoso musicians so much, that I couldn’t imagine myself following that path. I was always fascinated by music which, for me, was an unreachable field. Music was by far higher than anything I ever anticipated following. I am always very happy to be in this field of work and to be able to express myself through music.
When you first got into the music business what was your aim, and how has that changed if at all in the present day?
My aim was to serve the compositions I loved and appreciated. It was to sing the music and songs that I think offer something important or something new. This is a completely subjective perspective, as you can understand. Through the years, though, my own perception in respect to what’s new and important, has diversified.
What has also changed since then, is the importance that I began to give to the interpretation of a song. A possibly insignificant, trivial song can acquire a changed 'meaning' through a particular interpretation, and a significant composition can be ruined by an irrelevant or poor or indifferent interpretation. This perspective made me less tense - not completely - in relation to the choice of songs I made.
What I have seen so far, is that I enjoy singing so much, that I decide to move between various music genres as long as I continue singing.
What is it about music that resonates with you?
It is a sound that resembles the sound that is produced when you pass your finger over the rim of a crystal glass. It is the idealized sound, or better, it is the 'musicalisation' (the musical representation) of the concept of idealization. That is where my personal musical 'resonance' lies; in 'idealization'.
How best would you describe the sort of music that you bring life to?
I do not know how to answer that. It varies – different types at different times. What we play with 'Primavera en Salonico' are traditional songs with elements of free improvisation. This is a much more personal approach.
This is what I do with all genres. I somehow 'individualise' them in a way.
How would you say you've evolved as an artist and musician throughout your time in the industry?
The way I listen to music has evolved a great deal. Now, everything can become music in my ears. And this I enjoy very much. That is to say I enjoy the instant compositions that I create within my imagination, depending on what the environment offers me. Thus, everyday-life becomes interesting in a completely different way. I am not saying something new of course. This feature has been offered to us for some time by contemporary art in general. We can listen to everything as if it were a musical composition, and watch everything as if watching a choreography.
Also my voice has evolved a lot since 1979. I was unfamiliar to traditional folk songs, and also to the vocals resulting from free improvisation. Nothing of the above existed for me before I was professionally involved with singing. And along with the various techniques, over the years I also had to develop an expressiveness which I did not suspect I had in me, and which, in fact, in the beginning, I virtually sabotaged with all possible means. I was then in favour of distance and the concealment of emotions, something that prohibited my evolution in my job. I can say that I developed as a personality and as a singer at the same time.
What should fans coming to your show at JW3 expect on May 18?
Savina YannatouIn this concert, together with 'Primavera en Salonico', the group with which I have been cooperating for 20 years, we will play only Sephardic songs (Judeo-Spanish), several of which were sung in Thessaloniki and other Greek cities. These songs talk about special areas and events in the city, but there are also love songs, marriage songs, lullabies that were sung in the countries of the Ottoman Empire, in the Mediterranean area, in all those countries inhabited by Sephardic Jews.
What would you say are some of your favourite moments in your career to-date?
Special moments were certainly my first recording days for the radio, with the songs of composer Lena Platonos, when I was 20 years old. It was a very creative and vibrant environment full of young people who invested seriously in their art.
Another important time was when I first played in a Greek modern opera, a composition by Nikos Mamangakis, based on the traditions of Creta. It was an experience that evolved me too, as I learned what 'playing a role' means.
Very important also was my acquaintance and collaboration with the bassist Peter Kowald. The entire information structure pertaining to the codes and the language of free jazz that I use was based on that collaboration. These moments and the meetings with the musicians invited by Peter in the 'Ort' (his venue in Wuppertal), is something that I miss a lot nowadays.
Where do you hope to be and what do you hope to be doing this time next year?
I hope to continue doing what I am already doing. If, however, I am allowed to hope, furthermore, I would like to have the opportunity to improvise more in free jazz gigs; to be more free. At times it feels almost prohibited to change from one genre to another. The audience gets confused and dissatisfied - people find themselves listening to something different from what they were expecting. The producers are displeased and you constantly feel you are to blame. Some (creators rather than performers, as far as I know) use pseudonyms to escape from this mess. I have the author John Banville in mind, who signs himself also as Benjamin Black. This seems very effective, since you always know what awaits you when buying a book, depending on the name he chooses. I took too long to realise these things.
Are there any other projects in the pipeline that you can share some details about?
We have just finished recording an album for ECM with 'Primavera en Salonico'. It is to be released in the fall. These are songs arranged by Kostas Vomvolos concerning the city of Thessaloniki in the late 19th and early 20th century. In the autumn also I will be collaborating for a concert on a new project with Barry Guy, along with 12 outstanding musicians. This is also something I look forward to.
Savina Yannatou and Primavera En Salonico will be performing at JW3 in London on 18th May
Venue: JW3, 341-351 Finchley Road, London, NW3 6ET Date: 18th May at 7.30pm
Tickets: £20 (Standard) / £10 (Concession) More info and booking: https://www.jw3.org.uk/event/savina-yannatou-and-primavera-en-salonico