Hedda Gabler is unprepared to “suffer” the life she herself has imposed upon herself by agreeing to marry the academician Jörgen Tesman. Just a few hours after their return from their honeymoon, Hedda has the chance to dispel her boredom, by playing games with the fate of those close to her. However, walls are closing in on her too, when she is brought face to face with her greatest fears. The tragic ending appears to be the only choice…
Figment of imagination, monster, paranoid, individualist, ruthless, jealous, visionary, feminist, idealist, a victim of circumstance, are only few of the names used by critics to describe Ibsen's heroine. From its first-ever presentation in 1891 to this day, the work has drawn disapproval and appraisal, as well as repulsion and admiration, without ever leaving room for easy answers.
The work aims at making us reflect and awaken us to the standards and the quality of our modern-day social relationships, in the age of globalisation and technological evolution. At the same time, it is a topical psychogram of woman's nature, human relationships and their problems. The multiple aspects of our social relationships and the imaginative habits of our daily life are put under the microscope in a direct, realistic and humorous way.
The music of this opera is marked by the personal musical identity of Giorgos Dousis, with a direct, unadorned and clear melodic writing.