Ahead of their performance on July 18, 2024 as part of the FANEROMENI24 Arts Festival, what follows is an interview with Kristia Michael, founder and artistic director of Sibil·la Ensemble, which combines sacred and secular music from Western medieval rituals and traditions.
1. Dear Kristia, as the founder of Sibil•la Ensemble and a Cypriot yourself, could you share what inspired you to create a performance that intertwines the ancient, medieval and traditional music of Cyprus? How does the ensemble’s connection to the historical Sibyls influence your musical interpretations and selections?
As an ensemble, we find the history of Cyprus fascinating, as since ancient times, the island has uniquely combined Eastern Mediterranean and Western cultures. Artefacts from the Bronze Age indicate imports into Cyprus from various major cultures, such as the Minoans, the Mycenaeans, and the ancient Egyptians. There is evidence of trade with Sardinia, the Baltic, India and Afghanistan. Later, the island was influenced by the Romans, Arabs, Byzantines, French, Venetians and Ottomans. Cyprus is home to ancient Greek cities and temples, Western medieval Gothic churches, and Ottoman mosques. All these civilisations have influenced the island where we were born, and this rich history is the main source of inspiration for our performance.
The Sibyls (from the Greek word Σῐ́βυλλᾰ) were respected and praised female prophetesses who mastered the divinatory art (μαντεία) from antiquity to the Renaissance. Initially mentioned by Heraclitus (ca. 500 BC), they practiced rituals in temples, foretelling the future, much like the Pythia in Delphi. The tradition of oracles was known across the Mediterranean region, including Egypt, Persia, the Greek islands and, of course, Cyprus. Ancient Cyprus was dotted with sanctuaries dedicated to oracles, where the priestesses would enter a trance, allowing spirits or gods to speak through them. We are very excited to bring this historical concept back to the island and express these inspiring spiritual elements through Cypriot music.
2. The performance spans a broad timeline from ancient rituals to medieval songs and traditional Cypriot music. Could you elaborate on how you selected the specific pieces for this performance? What criteria did you use to ensure a cohesive flow that respects and reflects the historical context of each period?
The history of the island has inspired and initiated a musical research that showcases Cyprus’ rich past from the beginning of notated music to the oral traditions of Cypriot culture. Following a historical timeline, we perform Cypriot music that describes ancient pagan rituals related to divinatory art. The ‘Τραγούδι του Κλήδωνα’ is about the unique ritual of Klidonas (μαντική) that took place every beginning of May among unmarried girls in villages across Cyprus, to determine whether their fate would be marriage or death.
Connecting the concert with Western culture, we perform pieces from the earliest notated music related to the island. The Codex of Cyprus (Turing Codex J.II.9) is a manuscript that includes two masses dedicated to Saint Hylarion and Saint Anne, as well as complicated polyphonic secular music, composed on the island during the reign of the Lusignan dynasty. French musicians arrived in Cyprus with Charlotte de Bourbon, the future queen and wife of King Janus de Lusignan, who was a patron of arts with a special devotion to music, according to Leontios Macheras. These musicians worked, composed and performed at the Lusignan court and in Gothic churches, such as Saint Anne in occupied Nicosia, and the medieval Castle of Saint Hylarion in Pentadaktylos. The Codex ended up in the French city Chambéry as a wedding gift to Anne of Lusignan, Princess of Cyprus, to Louis of Savoy. The concert starts with the Gregorian chant ‘Ego autem’ from the liturgy of St. Hylarion and includes the polyphonic pieces ‘Se brief retour’ and ‘Tout vray solas feray’.
The Renaissance piece ‘Ὁ Πόθος εἰς δυὸ χείλη κουρελλένα’ (1554) is the first composition in the history of Western music written in Greek text, specifically in the Cypriot dialect. The madrigal, originally composed for four voices, was written by Giandomenico Martoretta, and published in a collection called ‘Terzo libro di madrigali,’ dedicated to the Cypriot knight Petros Sygklitikos. We have the opportunity to perform this piece in Cyprus for the first time.
Lastly, we dedicate a big part of the programme to traditional songs and dances of Cyprus, which have likely survived from ancient and medieval times the present day through oral tradition. These include the Byzantine secular song ‘Παρακαλώ την Παναγιά’, ‘Το γιασεμί’ and the dances Μάντρα, Ζεϊμπέκικο Κοφτό and Συρτός Μαυρομμάτης.
3. The ensemble features a range of historical instruments like the renaissance lute, recorders and clavichord, alongside more traditional ones like the lyre and percussion. Can you discuss the challenges and rewards of blending these diverse sounds in a live performance setting? How do these instruments contribute to the authenticity and atmosphere of the musical journey?
Each instrument is so unique that it creates an entirely new world around it. The traditional instruments have their roots in Medieval and ancient times, while the replicas of Renaissance instruments (recorders, lute, clavichord) allow us to imagine and experience the soundscapes of early Western music. Combining these instruments in a live music setting was a common historical practice during Medieval and Renaissance times. With these special instruments, we have the opportunity to experience this blend within the Cypriot tradition and create fresh approaches to historical music, featuring amazing musicians and specialists.
4. This performance is a vivid portrayal of Cyprus’ rich cultural tapestry. In which ways do you hope your audience will connect with or be transformed by this journey through Cyprus’ musical history? What do you believe modern audiences can learn from the ancient and Medieval melodies and rhythms?
The performance represents a musical journey through the time and history of Cyprus, a rare experience in the island’s cultural activities. This project allows contemporary audiences to understand the importance of Cyprus in the world of arts and culture, and to appreciate the multifaceted influences and history of music on the island. We hope that audiences will be open to learning more about their birthplace, and will be inspired, as we are, by researching and performing this music.
