Una furtiva lagrima

The case of Donizetti appropriated by Loizos:

…as well as the case of Mozart appropriated by Hatzidakis:

…show that for Greeks in the 70s, their pop tears appeared to be classical tears. Which is maybe a case for music without boundaries. Or a case for postmodernism. Or a case for plagiarism. Or a case for cultural transfer.

There are many ways you can understand a Greek’s passion to expropriate or to appropriate. In the Odyssey, Autolykos, Odysseus’ grandfather, is praised (praised!) to be the best of mankind in stealing. I suppose that there are issues of nationality there.

Arguably though, passion simpliciter has no nationality.

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