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“Dimitris Tiliakos has interpreted in the past, with great success, songs that were written by the prementioned composers. Although he’s a very successful lyric artist with intense stage presence, he knows when to drop extravagance gestures, which opera favors, out of his expressive palette, and to adapt to the needs of the German classic song repertoire. It is not just a simple atmospheric change, but also a different use of means of expression. If in Opera, wide gestures are needed to make the characters and their feelings stand out, in the interpretation of a song, with the solely accompaniment of a piano, there is a need for much more detailed work with the shades of music that the text submits, as emotional transitions usually take place in a much shorter time.

The program included very famous works: The song cycle “An die ferne geliebte”, the song “Adelaide” by Beethoven, the songs “Der Wanderer”, “Wanderers Nachtlied” and “Der Doppelgänger” by Schubert, as well as the song cycle “Dichterliebe” by Schuman. With an excellent knowledge of the German language and by having total control of his voice and of his expressive means, Dimitris Tiliakos perfectly highlighted the poetic world of every miniature.”

Nikos Dontas 


Quant au grec Dimitris Tiliakos, non seulement il est parfaitement crédible en « père noble », mais il joue d’une autorité naturelle qui se marie fort bien avec une voix solide et bien menée.

”the Greek Dimitris Tiliakos, he is not only perfectly credible as a “noble father”, but he plays a natural authority that goes very well with a strong and well-conducted voice.”

Jean-Marcel Humbert


‘’Dimitris Tiliakos y consume ses derniers feux avec une conviction contagieuse. On sait le rôle de Macbeth écrasant, surtout avec cette arioso supplémentaire qui en fin d’opéra vient lester une partition déjà chargée. … On peut enfin apprécier les nuances et les intentions dont il habille un chant qui, n’était la longueur, pourrait sembler manquer de séduction. ..’’

”Dimitris Tiliakos consumes his last fires with a contagious conviction. We know the role of Macbeth crushing, especially with this extra arioso which in late opera comes to weight a partition already loaded. … One can finally appreciate the nuances and the intentions of which he dresses a song which, was the length, could seem to lack of seduction. .. ”

Christophe Rizoud


‘’le ténor et la soprano se révèlent pleinement dans Francesca, victimes du Malatesta superbe de haine et de souffrance de Dimitris Tiliakos.’’

“The tenor and the soprano are fully revealed in Francesca, victims of the superb Malatesta of hatred and suffering of Dimitris Tiliakos.“

Critic for Rachmaninov Francesca da Rimini at La Monnaie
Didier Van Moere


Dimitris Tiliakos a pour lui la vocalite, la juste adequation stylistique et le sens du legato qui lui permettent de donner a Germont pere toute sa force et son impact dramatique dans le fameux «Di Provenza il mar», et jusque dans la pιrilleuse cabalette «No, non udrai rimproveri».

Emmanuel Andrieu


‘’ le Simon de Dimitris Tiliakos (voix faite là-aussi pour les imprécations, les malédictions, large, puissante) restera un grand moment de la soirée. Le baryton grec chante avec goût, économie, sans effets inutiles pour camper une sorte de Hollandais volant à l’envers, lui qui n’espère plus rien de la politique et du pouvoir mais ne désespère pas des hommes… ‚’

” Dimitris Tiliakos’ Simon (voice made there also for imprecations, curses, wide, powerful) will remain a highlight of the evening. The Greek baritone sings with taste, economy, without unnecessary effects to camp a kind of Dutch flying backwards, he who no longer hopes for politics and power … ”

Christian Colombeau


‘’Le Macbeth de Dimitris Tiliakos est scéniquement magnifique. Élégance, humanité profonde, il ensorcelle,son chant fourmille de subtiles et infinitésimales nuances dont on se délecte à foison. Son « Sangue a me », en particulier, est sombre, velouté et terrifié tout à la fois.’’

” Dimitris Tiliakos’ Macbeth is scenically beautiful. Elegance, profound humanity, bewitched, his song teems with subtle and infinitesimal nuances of which we delight in abundance. Her “Sangue a me”, in particular, is dark, velvety and terrified all at once.

Catherine Jordy


‘’Dimitris Tiliakos est un Macbeth au chant minutieux et élégant, digne héritier de Renato Bruson et de Leo Nucci, possédé par ce rôle d’assassin terrorisé, influençable et autodestructeur. ‘’

“Dimitris Tiliakos is a meticulous and elegant Macbeth, worthy heir to Renato Bruson and Leo Nucci, possessed by this role of terrorized, influential and self-destructive murderer. ‚’

for the DVD of Macbeth


‘’I barytonen Dimitris Tiliakos har Currentzis också funnit en Don Giovanni med en ung och len stämma som inte bara kan uttrycka vitalitet utan även den sällsamma inåtvändhet som tidvis präglar rollen. En magnetiserande försjunkenhet, lik den som återfinns i flamencons cante jondo, som hörs i recitativet till duetten ”La ci darem la mano” med Zerlina och som här låter som att han drar henne med sig in i det mörka djupet i honom själv.’’

” In the voice of Dimitris Tiliakos, Currentzis has also found a Don Giovanni with a young and late voice that can not only express vitality, but also the rare inwardness that occasionally characterizes the role. A magnetizing apostasy, similar to that found in the flamenco’s, which is heard in the the duet “La ci darem la mano” with Zerlina, which sounds like he draws her into the dark depths of himself. ”

Martin Nyström


‘’Beim Don Giovanni von Dimitris Tiliakos vibriert einerseits, mit Zerlina in „Là ci darem“, die Luft vor feinsinniger Erotik. Wenn er Leporello gefügig machen muss, nimmt seine Stimme aber auch mal einen hässlich-metallischen Klang an’’

Ralf Döring


‘’Don Giovanni (Dimitris Tiliakos), ist hier keineswegs ein eiskalter Anmacher: Selten hat man den in dieser Oper verhinderten Frauenhelden so lyrisch und hingebungsvoll, so verführerisch und schmelzend in der Baritonlage gehört – mit Ausnahme der „Champagner-Arie“, aber selbst die verrät einen Hauch Genießertum. Dieser Giovanni ist geradezu ergriffen von seiner unwiderstehlichen Verführungskunst beim „Laci darem la mano“ und kein getriebener Psychopath der das Böse in seiner Seele nicht wegschließt, sondern auslebt.’’

”Rarely Don Giovanni has been heard so lyrical and devoted, so seductive and melting from the baritone voice – with the exception of the “Champagne Aria”, but even which betrays a touch of enjoyment. This Giovanni is almost overwhelmed by his irresistible seduction in the “Laci darem la mano” and not a driven psychopath who does not shut the evil in his soul but lives it out. ”

Hans – Juergen Fink


‘’Acclaimed for his work in Verdi repertory, particularly the title rôle in Macbeth and Giorgio Germont, Greek baritone Dimitris Tiliakos is the ideal protagonist for Currentzis’s pragmatic Don Giovanni. Suave, sensual, and sonorously masculine, Tiliakos’s Giovanni dominates this performance despite the very strong work by his colleagues. Tussling with the Commendatore after being discovered in the act of assailing Donna Anna’s honor, Tiliakos sings like a man possessed, his voice flashing in the dark soundscape like lightning. The contrast with ‘Là ci darem la mano’ could not be greater. Here, the baritone’s vocalism is like the whisper of a summer breeze: Zerlina can hardly be blamed for following where it leads. Tiliakos voices ‘La povera ragazza è pazza, amici miei’ in the quartet with deceptive concern, and he follows this with a volatile reading of ‘Fin ch’han dal vino calda la testa,’ one which combines musical virtuosity with dramatic acuity. The pace of the Act One finale is set by Tiliakos’s animated singing of ‘Su, svegliatevi, da bravi!’ and ‘Ecco il birbo che t’ha offesa.’ Opening Act Two with the duet with Leporello, this Giovanni brandishes ‘Eh via, buffone, non mi seccar’ like a slap to Leporello’s face. Then, in the trio with Elvira and Leporello, he intones ‘Discendi, o gioia bella’ alluringly. Tiliakos sings one of the most beautiful and erotic accounts of the canzonetta ‘Deh, vieni alla finestra, o mio tesoro’ on disc, his hypnotic mezza voce and idiomatic diction captivating. The aria ‘Metà di voi qua vadano’ benefits from Tiliakos’s assertive swagger, and his insistent manner infuses ‘Finiscila, o nel petto ti metto questo acciar’ in the duet with Leporello with excitement. Defiant to the end, Tiliakos’s Giovanni mercilessly teases and torments Leporello at the banquet in the opera’s penultimate scene, and the baritone sings ‘Già la mensa è preparata’ with insouciance. The interpolated top A with which Tiliakos expresses his ultimate truculence aptly summarizes his interpretation of the rôle: his Giovanni is his own man, answering only to himself and recognizing no moral authority of this or any other world. There are more smoothly-sung Giovannis on disc, but Tiliakos blends Pinza’s vivacity, Siepi’s joviality, Gobbi’s urbanity, and Taddei’s panache in a brilliantly-executed, compellingly-vocalized depiction of one of opera’s most chameleonic characters.’’

Joseph Newsome


‘’When the Busch Quartet played the music of Beethoven, one listened not for particular notes or phrases but for whispered messages from the composer. Schubert’s Winterreise deserves this same level of commitment from those who perform it—and from those who hear it. The performance by Dimitris Tiliakos allows the listener to genuinely experience Winterreise. If the sonnets of Shakespeare, the canvases of El Greco, and the novels of Zora Neale Hurston could be condensed into seventy minutes of song, this Winterreise might be the result, but this Winterreise is a compelling work of art all on its own, a vision of humanity shared by three artists—Franz Schubert, Dimitris Tiliakos (baritone), and Vassilis Varvaresos (pianist)—courageous enough to look beyond the façades of pretty fusions of music and text.’’

Joseph Newsome


‘’In this latest release, the Greek baritone Dimitris Tiliakos, steps up to the mark admirably and doesn’t disappoint. Here is Schubert at his most tragic, and Tiliakos conveys the full spectrum of moods, from bitter resignation and deep felt regret to an unbearable sense of loss. ‘’

Stephen Greenbank


‘’Dimitris Tiliakos, ressent intimement la nature de Rigoletto. Le personnage suscite de l’empathie grace a la pertinence et a la rigueur de l’incarnation du baryton, qui exploite judicieusement un timbre de qualitι superieur, controle la nettete de l’ιmission, mesure la puissance de sa voix, ajuste le phrase’’

Dimitris Tiliakos, intimately feels the nature of Rigoletto. The character evokes empathy thanks to the relevance and rigor of the incarnation of his voice, who judiciously uses a high quality timbre, controls the cleanness of the emission, measures the power of his voice, adjusts the sentence


Rigolet to La Monnaie
Sιbastien Foucart


‘’Dimitri Tiliakos’ debut in the title role was a fitting tribute to his teacher,Kostas Paskalis.It takes a mature artist to portray this character, who has been referred to as Verdi’s alter ego in terms of elusive fatherhood, and Tiliakos has undoubtedly reached this point in his career. Although hard put to remain dignified in his Hell’s Angels to buffoon-like attire, his was an imposing rendition of one of the composer’s most in depth and nuanced character portraits – of a devoted father and peace-loving politician – conveyed by Tiliakos fluid baritone, complete with an exciting high register and a velvety low range.’’

for Simon Boccanegra
at Athens Megaron
Bettina Mara


‘’Dimitris Tiliakos singt seinen Giovanni als starken, von keinem Selbstzweifel angekränkelten Schlaumeier, der weiß, was er für einer ist, dass ihn keiner so recht liebt, und er darum auch gleich die ganze Schöpfung hasst. Ein ekstatischer Aufschrei wird dann Giovannis bekannte “Champagner-Arie”, in der sich seine Chuzpe mit dem wilden Orchester-Ausbruch vermählen: rasende Sinnlichkeit an der Grenze zur Brutalität.’’

Don Giovanni
Werner Theurich


‘’Don Giovanni (Dimitris Tiliakos) est un chanteur-diseur à la capacité de caractérisation remarquable’’

Sylvain Fort


‘’This is a bleak, stark existential journey, with Dimitris Tiliakos clean, slightly dry timbre complemented by the bare, sometimes aptly desiccated textures…
The steadiness and control of Tiliakos’s soft singing are heard to particularly touching effect in ‘Wasserflut’ (sung in a bleached, traumatised tone), ‘Irrlicht’, with its haunting mezza voce ending, and an oppressive, rhythmically implacable ‘Rast’. His diction is invariably clear; and throughout he avoids the slightest hint of sentimentality.’’

critic for Winterreise
Richard Wigmore


‘’On avait déjà pu applaudir le baryton Dimitris Tiliakos à Paris, dans le rôle-titre de Macbeth. Ici, il se révèle l’acteur sensible de son personnage, voyageur hibernal avec la mort pour destination, faisant un sort à chaque nuance, de la note susurrée à l’ardeur emportée, de l’expression conjuguée à l’intensité immanente, dans une présence quasi opératique. Et avec une exemplaire élocution allemande. ‘’

for the Lieder abend of Winterreise in Paris
Pierre-René Serna


‘’his technique, able to encompass a soulfully shaded “Pietà, rispetto, amore” sung trouserless on tabletop in fetal position…’’

for Macbeth dvd
Patrick Dillon


“Il protagonismo di Dimitris Tiliakos è anzi formidabile: se oggi i baritoni usano spesso modi da vilain anche in parti da grand seigneur, egli realizza invece un Rigoletto incisivo ma mai sopra le righe, protervo dove serve ma forbito nel canto, con timbro ed emissione nobilitati da solida tecnica; sa modulare piano ogni volta che ciò sia possibile e accampa in tal modo frastaglio retorico e fraseggi da utopia.“

“The protagonism of Dimitris Tiliakos is indeed formidable: if today the baritones often use vilain ways also in parts of grand seigneur, he instead realizes an incisive Rigoletto but never over the lines, protervo where needed but forbidden in the song, with stamp and emission ennobled by solid technique, it can modulate every time this is possible and thus accamp rhetorical phrasing and phrases from utopia. „

Critic for Rigoletto at La Monnaie
Il corriere della Musica


La representación de esta obra maestra de la “polifonía psíquica” (un término del propio Richard Strauss) ganó en interés con la aparición del Orestes de Dimitris Tiliakos, que llenó de credibilidad y tensión el momento crucial de la anagnórisis con Electra

The representation of this masterpiece of “psychic polyphony” (a term of Richard Strauss’s own) gained in interest with the appearance of Orestes by Dimitris Tiliakos, which filled the critical moment of anagnorisis with Electra with credibility and tension.

Critic for ELEKTRA in Athens