The world premiere of the opera Prometheus Bound (Prométhée) by Greek composer Panayiotis Karoussos, which was staged on June 16, 1994, at the renowned Théâtre Maisonneuve at Place des Arts in Montreal, represents a unique milestone in the history of the Greek diaspora and operatic art in Canada. It was the first Greek opera ever presented in the country. Yet behind the glittering lights of the premiere and the official letters of support—including one from the then Prime Minister of Canada, Jean Chrétien—lay an intense backstage story, an artistic conflict, and a decisive collaboration with a legend of world opera: Canadian bass Joseph Rouleau.
Joseph Rouleau: A Giant of World Opera
Joseph Rouleau (1929–2019) was one of Canada's greatest operatic artists, internationally recognized as an exceptional actor and musician. During a brilliant 20-year career at the Royal Opera House (Covent Garden) in London, he performed leading roles in more than 40 productions.
Among his historic collaborations was his partnership with Maria Callas in the celebrated production of Donizetti's Anna Bolena, as well as his close collaboration with renowned soprano Joan Sutherland in Bellini's La Sonnambula. Rouleau performed on the world's greatest stages, from the Paris Opera to the Metropolitan Opera in New York under the direction of James Levine. He was also honored with Canada's highest distinctions, including appointment as a Companion of the Order of Canada and the Governor General's Performing Arts Award for his lifetime contribution.
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Rehearsal of the opera Prometheus Bound at the home of composer Panayiotis Karoussos in Montreal: Panayiotis Karoussos, Maria Iskandar, and Joseph Rouleau with his wife.
The Vision of the “Greek Tetralogy” and the Production Behind the Scenes
The young Panayiotis Karoussos had conceived the idea of a grand “Greek Tetralogy” under the title “The Dawn of Civilization.” The distinguished professor and philhellene Jacques Bouchard embraced the idea with interest and even translated the libretto of Prometheus into French.
Preparations began under the best possible circumstances. The distinguished pianist of the Montreal Opera and professor at the Conservatoire, Claudette Denys, immediately believed in the work and undertook its musical preparation. Rehearsals began at her home, with an impressive team: conductor Raffi Armenian; Milan Scala mezzo-soprano Maria Popescu in the role of Violence; soprano Leïla Chalfoun as Io, who played a decisive role in helping the foreign artists with Greek pronunciation and, of course, the celebrated Joseph Rouleau in the roles of Kratos, Oceanus, and Zeus.
Rehearsal of the opera Prometheus Bound at pianist Claudette Denys's home: conductor Raffi Armenian, Maria Iskandar, pianist Claudette Denys, composer Panayiotis Karoussos, soprano Leïla Chalfoun, and tenor Dimitris Ilias.
The Artistic Conflict
Joseph Rouleau, recognizing the potential of the work, suggested that Karoussos lower the role of Prometheus so that it could be adapted to his own experienced bass voice. This would have given Rouleau the opportunity to launch the opera himself and introduce it into the international classical repertoire. However, Karoussos, driven by his youth, his confidence in his abilities, and his desire to prove himself as a singer, refused. He insisted on taking the leading role himself.
This decision led to a rupture. Conductor Raffi Armenian objected, believing that the composer was not yet vocally prepared, while there were also disagreements over the orchestration. As a result of these conflicts, both the conductor and the production's first financial backer, Maria, withdrew.
The Premiere: A Bittersweet Evening
Despite the difficulties, Karoussos found new financial support, took responsibility for selling the tickets himself, and continued rehearsals with Claudette Denys on piano. On June 16, 1994, Prometheus was finally presented in Greek, in concert form.
The performance, however, was marked by failure. Karoussos arrived on stage almost without a voice after the exhaustion of the preparations, while the orchestra musicians, although they had been paid, refused to perform because there was no conductor. The work was presented with piano accompaniment alone, leaving the composer with a substantial financial debt to the theater and facing ridicule from part of the Greek community.
The harsh critic of the newspaper La Presse, Claude Gingras, wrote a scathing review, making a pun on the French name of the work: “Prométhée (promettez)-nous de ne plus...” (“Promise us you won't do it again”). Regarding the production, he wrote that the only part he truly enjoyed was the choral sections of the opera. Karoussos, undeterred, responded publicly in the same newspaper with his own pun, referring to the critic as “Prométhée à Ingrat” (“Prometheus the Ungrateful”), declaring that he would continue his work.
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| Pianist Claudette Denys and composer Panayotis Karousos |
The Triumph on Téléthon and International Recognition
Despite the failure of the theatrical premiere, the same period brought Karoussos a major television success. He appeared on Montreal's largest television channel, CFCF12, on the celebrated Téléthon des étoiles, a charity program that had featured legendary names such as Michael Jackson and Celine Dion. Accompanied by Claudette Denys on piano, he sang “Makedonia Xakousti”, winning the admiration of millions of viewers throughout Canada.
The historical significance of the opera was eventually recognized by Place des Arts itself, where a laminated plaque featuring an engraving of Prometheus was installed, honoring it as the first Greek opera in Canada. The composer also sent the work to Buckingham Palace, receiving a letter of thanks from Queen Elizabeth II.
The Legacy and Artistic Maturity
Two years later, in 1996, the opera was presented again successfully in French at the same venue, Place des Arts.
In addition, all the performers delivered the work exceptionally well in Greek. They received guidance and assistance from Leïla Chalfoun, who performed the role of Io and knew Greek because her grandmother, Olympia, was of Greek origin.
Years later, when Panayiotis Karoussos began achieving major successes in American operatic circles, he looked back and regretted not having entrusted the leading role to Joseph Rouleau. He acknowledged that the Canadian bass's enormous experience, international reputation, and stature could have given Prometheus the ideal momentum and introduced it immediately into the world's classical repertoire.
Their collaboration, however, remains a fascinating chapter of courage, youthful passion, and the artistic encounter of leading creators.
Program Page with Message and Cast
Message from the Prime Minister
It is with great pleasure that I extend my warm greetings to everyone participating in the gala evening on the occasion of the world premiere of the opera Prometheus.
Featuring many talented artists, tonight's performance will surely delight the audience. It will also give them an opportunity to appreciate the work of Mr. Panayiotis Karoussos as well as the musical and cultural heritage of Greece.
I congratulate Karoussos Opera Productions for their efforts to ensure the success of this extraordinary evening, and I wish everyone a memorable performance.
Jean Chrétien
Ottawa
1994
Opera in Two Acts — Concert Version
The work will be sung in Greek.
Music and Libretto: Panayiotis Karoussos
Inspired by: Aeschylus's tragedy Prometheus Bound
Orchestra and Chorus
Musical direction at the piano: Claudette Denys
Cast
- Panayiotis Karoussos, composer, baritone — Prometheus
- Joseph Rouleau, bass — Kratos, Oceanus, Zeus
- Leïla Chalfoun, soprano — Io
- John Jay Hébert, tenor — Hephaestus, Hermes
- Maria Popescu, mezzo-soprano — Via
- Pénélope Dale, coloratura soprano — Coryphaeus
Choristers
Sopranos:
Andréanne De Repentigny, Solange Lessard, Louise Beaudry
Altos:
Françoise Tardif, Céline Chaput
Tenors:
Michael Weber, Pierre Latour
Basses:
Alain Major, Jimmy Miron
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