For about three hours, i.e. from the beginning till the end of the show, you don't get the least chance to look at your watch. On the contrary, you keep asking for more at the end of the show ...
Shall we call it "internal energy"? Or, shall we say it is due to a "maturity in performance" and a deep feeling that overflows the hall? No, this is not obvious when discussing a live show. Moreover, you usually get the sense that too much time has been spent and that there has been too much thinking on designing the lights and decoration, and that this is where the whole "innovative air" of the show. Eleftheria, who appears at "Gyalino Mousiko Theatro" (i.e. Glass Music Theatre) in Athens, was the only ...luminous element on stage- Eleftheria and her band, to be perfectly honest:
Yannis Anninos (bass), Manos Achalinotopoulos (clarinet, flute), Kiriakos Gouventas (violin), Spiros Goumas (bouzouki, tzouras), Yiorgos Zahariou (piano, keyboards), Michalis Kapilidis (drums), Vangelis Karipis (percussions) and Dimitris Barbagalas (electric and acoustic guitar).
This is exactly where there is a difference between her past and her present stage appearance. At "Gyalino" we watched Eleftheria being part of a group of musicians who, by playing, gave the impression that they were together in this. They were a team that played for themselves first, and, at the same time, for the lady who, being seated for the most part of the program, managed to keep our minds and thoughts focused on her voice's travels. This different approach on the relationship of the band and the performer, as well as this game with the improvisations of the musicians on the songs - that were all "altered" by the arrangement of Yiorgos Zachariou - refreshed Eleftheria's old time classic songs - which now sound brand new - and led Eleftheria reach an optimal level of perfomance.