Marios Joannou Elia –
«The Magician of Sound».

 

Music as polymedia: from poly-aesthetic composition to cultural diplomacy bridging memory and society.

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Artistic
Oeuvre
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The Concept
of Polymediality
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Academic Career,
Research & Publications
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Leadership &
Governance in Culture
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Awards
& Honors
school
Education
info
Notable
Facts
Marios Joannou Elia: Autosymphonic
Marios Joannou Elia: Ελευθερία (Liberty)

Shaping contemporary music and culture.

This text is substantiated by documented references. Click on the numbered citations for further reading.

Marios Joannou Elia (born 19 June 1978) is a composer, academic and artistic director of major cultural institutions, active at the intersection of music, politics and culture. Internationally recognised for his innovative large-scale works, he has been portrayed by musicologists, critics and the media as «musical phenomenon»1, «the man of the monumental»2, 3, «a pioneer among the composers of his generation»4, «a musical innovator»5, «the magician of sound»6 and «the child prodigy of contemporary music»7, 8, 9, 10, 11, 12, 13, 14, 15.

Artistic
Oeuvre.

From experimental notations
to orchestras of cars
and city symphonies.

Elia is the creator of works with global scope and resonance.16 Symphonies, oratorios, operas, rhapsodies, choral works, festive compositions, among others, are distinguished for their originality, inventiveness, uniqueness and the fusion of heterogeneous musical genres.17 His compositional output comprises around 100 works.18, 19, 20, 21, 22, 23, 24, 25, 26

UP TO 2010

First Creative Phase

During his first creative period, up to 2010, Elia was particularly devoted to an experimental artistic approach, concentrating on the exploration of contemporary compositional techniques and extended forms of expression. In this phase, he also developed a personal style of handwritten notation, which came to distinguish the scores of his works. Each page was conceived as a visual-compositional whole—an autonomous notational space with its own structural coherence, internal logic, and temporal dynamics.27

A landmark work of this period is «Strophes» (Strophes) for eleven voices (choir), instrumental ensemble, loudspeaker system, and electronics — a polymedial creation conceived for Volkswagen’s Transparent Factory (Gläserne Manufaktur) in Dresden (2003/04).28 The structural and acoustic features of the building were organically incorporated into both the musical design and the choreographic dimension of the work, transforming the architectural environment into an active compositional element. In this composition, Elia integrates the automobile for the first time and, beyond its sonic role, employs it as a tool of synchronisation: the score envisages an assistant conductor, who coordinates performers by means of the car. The conception of the work provided the basis for his notion of Polymediality — the fundamental aesthetic principle that characterises his creative trajectory.29 For «Strophes», he received the BMW Prize of the Musica viva contemporary music series of Bavarian Radio in Munich (2005).

Within the same aesthetic trajectory lies «Staubzucker» (Powdered Sugar), for guitar quartet, in which the guitar is used in a thoroughly unorthodox, percussive manner (2007).30, 31 The work has been performed over one hundred times across Europe, South America, and the United States, including appearances at the Boston GuitarFest and the Wrocław Guitar Festival. Classical Guitar Magazine described a performance as «a performance which one is not likely to forget».32, 33

The album «Staubzucker» (2016),34, 35, 36, 37 which includes nine works for guitar (1999–2008), received three Gold Medals at the Global Music Awards in California (2016), in the categories Contemporary Classical Music, Album, and Creativity & Originality.38 According to Canadian critic Bradford Werner, «the album explores the sounds and inexhaustible possibilities of the guitar within chamber music, constituting a particularly significant contribution to the guitar repertoire».39

«Staubzucker», score, page 1 (manuscript), 2007.

In 2002, Elia was invited by the Cambridge University New Music Society for the premiere of his work «With a Pair of Scissors and a Thousand Threads», in which a guitarist performs simultaneously on two guitars with different tunings.40 At the same time, he activates percussion instruments placed around him. The work belongs to an extended performance approach, whereby the performer functions as a multi-instrumentalist, adopting a refined, functional, and virtuosic form of multi-performance.

During the 2004/05 season, staged concerts of his works were presented in three different cultural venues in Salzburg: at the Mozarteum Foundation (Wiener Saal),41 at the experimental Toihaus Theatre,42 and in the Central-Kino Hall of the State Theatre.43

Archetypal Patterns, Poetic Memory
and Music-Theatrical Inventiveness

The work «Antidoron» (Holy Bread), for amplified string quartet, in which the violin functions as the solo instrument against three strings, constitutes a tribute to the poet Kostas Montis and was completed immediately after his death in 2004.44 In the same year, the work received the First Prize at the prestigious International Witold Lutosławski Composition Competition in Warsaw, out of 169 participants, and premiered at the Warsaw Philharmonic (Philharmonia Narodowa).45, 46

«Blackwhite», for baritone and instrumental ensemble, is based on Montis’s poem Turkish Invasion (2005),47 while «Erdbeeren und Trauben» (Strawberries and Grapes, 2004), Elia’s String Trio No. 2, culminates with the poet’s characteristic phrase: «Tell me honestly, am I smiling?», capturing a moment of existential introspection and subtle irony.48

The music-theatrical work «Aquanauten», first staged in 2007 in the gardens of the Mirabell Palace in Salzburg, is distinguished by its humorous character. Drawing thematically on the Odyssey, with references to episodes such as Scylla and Charybdis, it reinterprets them with playful inventiveness and distanced theatricality. The five protagonists perform in front of a bathtub filled with water, which they employ simultaneously as a sonic medium, integrating the liquid element as a fundamental expressive device.49

Shifting the focus to the digital world, «Telenauten» — presented, among other venues, in 2017 inside a cabin of the Vienna Giant Ferris Wheel in the Prater50 — engages with contemporary technology and the notion of communication, incorporating technological devices (hardware), and keyboards into its performative language. The work also integrates an excerpt from a philosophical text by Wolfgang Welsch.51, 52

In these creations, Elia shapes a personal imaginative language oriented towards his sonic expression. The performances are grounded in a hybridisation of singers and actors, moving between the musical and theatrical field, thereby transcending the boundaries between the two arts. A similar technique is employed in the opera «Die Jagd», where the protagonists are represented in dual form — by both singers and actors — with the identity of each role explicitly marked in the score, thus reflecting the dramaturgical and sonic stratification of the composition. This aspect points to his profound interest in ancient Greek drama, including tragedy, comedy, and satyr play, in which rhythmic and melodic speech, choral function, and multi-layered performance presence coexist.53

The Vehicle Cycle

The «Vehicle Cycle» is a thematic series of works by Marios Joannou Elia, in which motor vehicles – or their components – are employed as sonic and scenic agents, actively contributing to the musical structure and dramaturgical narrative.54 Within this framework, vehicles are not merely treated as objects but function as «performers» with an operative role in the sonic-theatrical field of the composition.55

The opera «Die Jagd» (The Hunt, 2008),56, 57, 58 commissioned by the Stuttgart State Opera in co-production with Theater Rampe Stuttgart, is scored for six cars integrated as audio-visual presences – including an Aston Martin DB9 Volante and a Ford Shelby Mustang. The opera, in sixteen scenes, explores the duality of real and imaginary worlds, alluding to Shakespeare’s A Midsummer Night’s Dream. It combines four singers, three actors, children’s ensemble, two speaking choruses, twenty pre-recorded voices, instrumental ensembles, automobiles, and electronic sounds.59 Its six sold-out performances were covered by the main news broadcast of ARD.60

In «En Plo» (At Sea, 2007), for double bass, contrabass clarinet, electronic sounds, and loudspeaker orchestra, the focus is on two historical maritime events: the sinking of the ancient ship of Kyrenia, and the destruction of the Greek cruiser Elli at Tinos. The work integrates scenic and sonic objects such as parts of a sailing ship, fans, and chairs, which are mobilized during the performance to create a multi-sensory experience. Additionally, five types of electro-acoustic transducers disperse sound across space, projecting a spectral blend.61

The polymedia opera «Die Reise des G. Mastorna» (The Journey of G. Mastorna, 2006), based on Federico Fellini’s texts, was staged at Salzburg Airport (Terminal Amadeus) during the Year of Mozart. Its aviation-inspired aesthetic incorporated audience arrangement resembling an aircraft cabin, and juxtaposed artistic events with real-time flight operations, producing a hybrid experience where stage art and lived reality coexisted without merging.62

«Tempus tantum nostrum est» (Only Time Belongs to Us, 2005), inspired by the motorcyclists’ demonstration at Deryneia in 1996, is written for four voices (or choir) and two Harley-Davidson motorcycles.63 Its text derives from Seneca’s Epistulae morales ad Lucilium I.

Other works of the cycle include «Der Wegweiser» (The Signpost, 2005), a bicycle-based composition premiered at the Berlin Philharmonie,64 as well as «Strophes», «Autosymphonic», and «Autotrio» – for three cars, fourteen percussionists, and electronics.65, 66, 67 This piece incorporated three iconic vehicles: the Mercedes-Benz SLS AMG (2010), the retro Aero 6218R (1934), and a replica of Karl Benz’s 1886 patented tricycle, the world’s first car. Its premiere in 2011 was held at the Mozart Hall, Rosengarten Congress Centre, Mannheim, during the official New Year’s reception of the City of Mannheim.

During his first creative period, Elia’s work received support from major European cultural institutions, including the Austrian Federal Ministry of Art, Culture, Public Service, and Sport, the Municipality and State of Salzburg, the Berlin Academy of Arts (Junge Akademie der Künste),68 Hellerau – European Centre for the Arts (Dresden), the Allianz Cultural Foundation (Munich), the Akademie Schloss Solitude (Stuttgart), the Baden-Württemberg Art Foundation,69 the Hanne Darboven Foundation (Hamburg), the German Harmonica Association (Trossingen), the Stiftung Kulturfonds Berlin, and the Hinrichsen Foundation (London).70

FROM 2011 ONWARDS

Second Creative Phase

From 2011 onwards, with the premiere of «Autosymphonic» in Mannheim as its point of departure,71 Elia inaugurated his second creative phase. This period encompasses large-scale works, often of commemorative character, which combine high artistic standards with broad social impact and public visibility.

«Autosymphonic» - «The Work of the Century»

In a review published immediately after the premiere of the opera «Die Jagd»72 on December 28, 2008, in Welt am Sonntag, Elia expressed his personal vision:73

«My dream is a whole symphony orchestra made of cars.»

Mein Traum ist ein ganzes Sinfonieorchester aus Autos.

The critic’s comment followed:

«The composer Marios Joannou Elia has established himself thanks to his idiosyncratic sound worlds.»

Der Komponist Marios Joannou Elia hat sich mit eigenwilligen Klangwelten einen Namen gemacht.

The multimedia «Autosymphonic» (2011)74 was created for the festive finale marking the 125th anniversary of the invention of the automobile and cost €2.7 million. It was commissioned by the City of Mannheim and the federal state of Baden-Württemberg in Germany. The premiere took place in the city’s central Friedrichsplatz square, across an area of 65,000 square meters, with the participation of 300 musicians — including a symphony orchestra, 120 percussionists75, 76, choir, children’s choir, pop band, percussion octet, electronic sounds, and a 360-degree sound system with 296 loudspeakers — as well as 500 technicians.77 For the execution of the music, a total of seventeen conductors were required: one central, two principal, and fourteen assistants.78, 79, 80

Particular sensation was caused by the inclusion of a unique «orchestra of 81 cars»81, among them Rolls-Royce, Ferrari, Porsche, and Mercedes-Benz, producing approximately 800 sounds.82 As the Salzburger Nachrichten headlined in an interview with the composer: «Ferrari as violin, tractor as tuba» (Ferrari als Geige, Traktor als Tuba),83 while the title of his radio interview on Deutschlandfunk was also telling: «Engines as melodies, horns as trumpets» (Motoren als Melodien, Hupen als Trompeten).84 In this way, Elia created the world’s first car orchestra, following a ten-month selection process in 2010.85, 86

The premiere was attended by 20,000 spectators at the event site, while the television broadcast reached an audience of 55 million. According to the German media, the work was described as «the work of the century»87, 88 and as the «Symphony of Superlatives» (Sinfonie der Superlative),89 due to its scale, complexity, and impressive conception. A study conducted by a local university in Baden-Württemberg estimated that the work’s publicity in the international media reached approximately two billion total impressions.90, 91

«Ulmer Oratorium» – Anniversary Work
for the World’s Highest Church Tower

The «Ulmer Oratorium»92 (Ulmer Oratorium93) is a commemorative composition by Marios Joannou Elia,94 commissioned by the City of Ulm to celebrate the 125th anniversary of the completion of the world’s tallest church spire, the Ulm Minster.95 Composed between 2013 and 2014, it was written for 400 performers, including ten soloists, seven choirs, two orchestras, and three main stages.96

The orchestration included coloratura soprano, lyric soprano, mezzo-soprano, tenor, bass, pop/jazz voice, violin, church organ, trumpet (with rhythmic recitation), electric bass, symphony orchestra, wind band, adult choir, children’s choir, bell orchestra, ensemble of Münsterbauhütte tools, percussion ensembles, and electronic media.97

The sound palette was expanded by tools from the cathedral’s restoration workshop (Münsterbauhütte), which — although not conventional instruments — were employed as sound-producing devices. In total, 46 objects such as hammers, grinders, and construction tools were used.98 In addition, a bell orchestra was conceived, incorporating both the Minster’s bells and other bell-like sound sources from the surrounding Münsterplatz.99

Elia approached the sacred space of the oratorio from a transcendent and cosmological perspective, embedding a symbolic reference to Mendelssohn’s oratorio «Elijah», which had been performed at the celebration of the tower’s completion 125 years earlier.100

The premiere, with a budget of €500,000, was scheduled for 29–30 May 2015 as an open-air event at Münsterplatz, before an audience of 4,500 spectators each evening. However, it did not take place. As revealed by Ulm’s mayor in his final council meeting, the project could not be realized because certain participants were unable to meet its artistic and technical challenges.101

This was not the first time that Elia’s works had faced non-realization due to their ambitious and innovative character. Already in his first creative phase (2006), two lyrical projects had not advanced to production: one for the Margravial Opera House in Bayreuth («Der Flötenzauberflöte», libretto by Goethe/Elia), and another at the Mozarteum’s renovated main stage in Salzburg («Oromumpaq», libretto by Simon Werle). In both cases, the pioneering and demanding nature of Elia’s vision was the decisive factor.

Nevertheless, his innovative stance received international recognition the same year. The German composer, musicologist, opera director, and conductor Udo Zimmermann, in a public tribute at Munich’s Herkulessaal to Elia’s work «Strophes», emphasized:

«It requires not only exceptional orchestration, but also a highly imaginative and unusual scenic environment. The composition demands the courage to use such means.»

During the same period, Elia’s music also reached a global audience: at the International Festival of Contemporary Music of the Korean Society of 21st Century Music in Seoul, he was awarded the Audience Prize for his work «Versteckspiel» (Hide and Seek).

The «Sound of» Series – Musicalisation of Cities

The «Sound of» series is a multi-site composition that merges musical creation, in-situ field recordings, cinema, and cultural narration. Each project seeks to musicalise a city, creating an audiovisual portrait that captures its identity through sound and image — weaving together traditions, people, architecture, and contemporary rhythms into a unified form of orchestral, vocal, electronic, and multimedia expression.103, 104

As the academic Elena Mouzala notes:

«Elia’s entire undertaking is the musification of the earth through emblematic geographic locations.»105

  • «Sound of Vladivostok» (2017),106 107 108 realized on the initiative of the ZARYA Center for Contemporary Art and the ZARYA Foundation, with support from Beluga Group, the Municipality of Vladivostok, and the Government of Primorsky Krai.109 More than 20 institutions and 350 musicians participated in the production. Russian media described it as the city’s «new anthem».110 111 112
  • «Sound of Kyoto» (2018–19), subtitled «City in a Symphony»,113 114 115 116 created on the initiative of the Agency for Cultural Affairs of the Government of Japan, with the support of the Kyoto Municipality, and the Kyoto Art Center. The production involved 43 cultural institutions, 18 ensembles, and a total of 560 musicians.117 118

    «Composer Marios Joannou Elia orchestrates a masterpiece of sound dedicated to Kyoto.»119

  • «Sound of Shanghai» (2024–25), subtitled «Opera of a Cosmopolis»,120 realized with the support of the Swatch Group121 and 29 partner organizations, including the Municipal Administration of Culture and the Department of Intangible Cultural Heritage of the City of Shanghai. A total of 250 musicians participated. Of the five central parts, each is composed for a different ensemble: one for a large Chinese traditional orchestra; one for a guzheng orchestra with women’s choir, and sheng; one for a Kun-operatic soprano and a ruan ensemble; and one for a jazz trio.

Across these projects, Elia assumes overall artistic direction and visual–scenographic conception. Production has been supported by international companies including Mosfilm,122, 123 Sony,124 De Sisti Lighting,125 Dolby, and Roland Corporation.

Light, Friendship and Earth:
Music as Global Consciousness

«Gaia – The Earth’s Song», a symphonic rhapsody with its thematic focus on the environment and climate change, was commissioned within the framework of the German National Garden Exhibition BUGA23 in Mannheim.126 It received its world premiere at the Schwetzingen Palace, and was subsequently performed at Mannheim’s Spinelli Park in 2023. The text of the rhapsody is derived from the Homeric Hymn «To Earth, Mother of All».

«Ode to Friendship», a concerto for soprano and large orchestra, was commissioned by the European Youth Orchestra under the auspices of the European Parliament, on the occasion of the European elections, and the bicentenary of Beethoven’s Ninth Symphony in 2024.127 Its multilingual text reflects the vision of unity through linguistic diversity and intercultural dialogue.128

«Trumpet of God», a large-scale symphony composed between 2018 and 2023, and commissioned by the Pannonia Philharmonic in Pécs, Hungary, draws inspiration from the Book of Revelation of St. John (chapters 8–12), with particular emphasis on the section «The Seven Trumpets».129 The composition merges the genres of symphony, oratorio and trumpet concerto, creating a hybrid sound world imbued with eschatological intensity and prophetic drama.130

«Ode to Light», also titled Ode til Lyset, premiered in 2025 as the hymn of the city of Næstved in Denmark. It was commissioned by Næstved as European Capital of Culture 2032. It is a work for alto, mixed choir, and chamber ensemble, accompanied by a specifically designed lighting and visual installation integrated into the harbor landscape.131

Music as Memory and Identity
in the Context of Greece and Cyprus

A segment of Elia’s oeuvre is dedicated to musical reflection on the historical trajectory, the trials, and the fundamental values of Hellenism, with a particular focus on Greece and Cyprus. In these compositions, music functions as an act of collective memory, cultural empathy, and existential reconstruction of national identity.132

In a recent speech titled «Memory as Creation – Universal Meanings from Displacement to Resurrection», Elia stated:

«My own history was not founded on roots, but on an uprooting.»133

«If memory is Crucifixion, creation is its Resurrection.»134

In this context, the ERT journalist Giorgos Dovolos described him as «ambassador of the musical culture of modern Hellenism».135

The commemorative symphonic work «Liberty» (Eleftheria),136 dedicated to the bicentenary of the Greek Revolution of 1821 and presented under the auspices of the President of the Hellenic Republic, was premiered at the Roman Agora in Athens, beneath the Acropolis, in 2021.137 138 Similarly, the oratorio «Weeping Madonnas»,139 140 conceived as a musical requiem for the mothers of the missing of 1974 and commissioned by the Presidency of the Republic of Cyprus, received its premiere at the Presidential Palace in Nicosia in 2022.

The oratorio «The Bells Will Ring Again»,141 commissioned by the Archbishop of Cyprus and the Holy Archdiocese of Cyprus, is an anniversary composition marking fifty years since the Coup d’État and Turkish Invasion of 1974. Structured in seven parts, it parallels the key events of Holy Week: Holy Wednesday and Thursday (Betrayal and Crucifixion), Good Friday (Burial and Lamentation), and Holy Saturday (Resurrection and Redemption). Conceived as an ode-testimony to Cyprus,142 it is imbued with lyricism and ritual intensity, conveying timeless messages of freedom, justice, and humanism. It was premiered at the Municipal Garden Theatre of Limassol143 and subsequently at the Herod Atticus Odeon in Athens in 2024.144 145 146 147

The symphonic composition «AIMA» (Blood), written for large orchestra, was performed by the Vienna Radio Symphony Orchestra (ORF) at the Golden Hall of the Musikverein during the Wien Modern Festival in 2024.148 It is structured around a distich from Vassilis Michaelides’ poem «The 9th of July 1821»: «The ploughshare while ploughing the earth …» (Το ’νιν αντάν να τρώ’ την γην…). Blood, as an archetypal symbol of human suffering, permeates the work as a cry of pain and resistance. The music acts as a voice of suffocation and redemption, weaving a universal sonic narrative of inner and historical catharsis.149

These works exemplify a creative trajectory firmly anchored in fundamental values such as democracy, freedom, ethics, human dignity, and universal human rights.150

In the oratorios «The Bells Will Ring Again» and «Weeping Madonnas», Elia adopts a hybrid musical idiom that intertwines Western European and Byzantine elements. This synthesis is articulated through the simultaneous use of a chanter and a lyric singer, a Byzantine and a mixed choir, as well as traditional and symphonic instruments. Moreover, performative elements with high symbolic resonance are interwoven, such as the firing of blank cartridges by a rifle platoon; in «Liberty», this extends to the participation of an Evzones Guard unit, with the distinctive sound of tsarouchia, and the use of cannons.151

Displacement as a Compositional Methodology

Marios Joannou Elia’s approach to composition and artistic thought is profoundly influenced by the Turkish invasion and occupation of Cyprus in 1974. Although he did not experience it personally, his parents originated from Kyrenia and were displaced, a fact that bequeathed to him an inner sensitivity toward loss, uprooting and memory.

These experiences are integrated into his art through structures that function as journeys – sonic odysseys seeking a homeland beyond geographical definition. This historical rupture reinforced his drive to create connections between cultures, eras, media of expression, people, and sonic worlds, combining tonal music with experimental techniques, natural and anthropogenic sounds, as well as electronic soundscapes.

In this framework, sound operates as a medium of return — not to a specific place, but to a spiritual homeland, where memory, identity, and culture can be reactivated as living forces of cultural continuity. From this perspective, his creative output transcends the individual and the national, inscribing itself within the universality of human experience.152 153 154 155 156

SPANNING BOTH PHASES

Illustrative Works

Elia’s compositional trajectory is characterized by polystylism, an expansion of expressive means and the exploration of heterogeneous stylistic domains. Works that reflect this artistic and technical multidimensionality include:157 158

  • «Humanoid» (2019), for humanoid, semi-loudspeakers, electronic sounds and symphony orchestra, commissioned by the Symphony Orchestra of Osaka University, in collaboration with the Intelligent Robotics Laboratory and Professor Hiroshi Ishiguro.159
  • «Abschied» (Farewell, 2016), for soprano, tenor, choir, two cellos, solo guitar and guitar orchestra, commissioned by the University Mozarteum Salzburg.160
  • «Naval Symphony: Varyag» (2016–17), for soprano, tenor, symphony orchestra, choir and children’s choir, commissioned by the Primorsky Philharmonic for the Eastern Economic Forum.161 162 163 164
  • The opera «Nichts. Als Wiederholung» (Nothing. But Repetition, 2008–09), in ten scenes, for seven soloists, choir, percussion quartet and ensemble (unpublished).165
  • «Cursed» (2008), for classical and electric guitar (also with a solo organ version), a monophonic work of conceptual minimalism based exclusively on the note E, repeated across all possible fretboard positions. Despite the apparent simplicity of its material, the piece presents significant complexity and is characterized by high performance difficulty, requiring absolute precision, timbral control and sensitivity to micro-differences. Through its ascetic stripping down of musical material, the work functions as both tonal deconstruction and a virtuosic study of monophony, variability, and the acoustic identity of a single sound within its seeming homogeneity.166 167
  • «Thalatta, thalatta!» (2007), for mandolin and ensemble, commissioned by the Klangspuren Schwaz Festival in Tyrol.168
  • «Spiegel:Eye» (2006), for ensemble, eleven loudspeakers and live electronics, titled with a wordplay combining German (Spiegel, «mirror») and English (Eye, «eye»), while phonetically evoking Spiegelei («fried egg»). Premiered at the Dresdner Tage der zeitgenössischen Musik, commissioned by the Europäisches Zentrum der Künste Hellerau.169
  • «C Story» (2006), for mixed Western and non-Western ensemble, premiered at Muziekgebouw aan ’t IJ, as part of the Gaudeamus Festival in Amsterdam.170
  • «Drei Löffel Zucker im Meer» (Three Spoonfuls of Sugar in the Sea, 2005), for seven voices, premiered at the Toihaus Theater Salzburg, featuring actor Max Simonischek.171 172
  • «As Time Goes By» (2005), a chamber opera for five singers and eleven instruments, commissioned by the State Opera of Hanover and Deutsche Bank, premiered at the Ministry of Science and Culture of Lower Saxony during Einstein Year 2005.173 174
  • «Tessera» (2004), for flute duet and contrabass trio, premiered at the Darmstadt Ferienkurse (Orangerie).175
  • «hydor ~ chronos» (2002/04), subtitled antique, for electroacoustic music and video, based on Elia’s text Chronogram. Commissioned by the Cultural Funds of Salzburg, premiered in 2004 at the Haus der Mozarteum Orchester, and later presented in spatial format at the Osterfestspiele Salzburg (2006).176
  • Hymn of The Cyprus Institute (2024), bearing the motto «Know the right moment and, knowing it, act» (καιρὸν γνῶθι και γνοὺς πρᾶττε), official institutional hymn with accompanying ceremonial procession music for the graduation ceremony of The Cyprus Institute.186
  • International Performances and Collaborations

    Elia’s compositions have been performed internationally by distinguished orchestras, choirs and ensembles, including the Symphony Orchestra and Choir of the Southwest German Radio (SWR), the Gewandhaus Orchestra Sinfonietta in Leipzig, the Stuttgart State Orchestra, and the German Radio Philharmonic Saarbrücken–Kaiserslautern.177 In Asia, the National Chinese Orchestra, the Kyoto and Osaka Youth Symphony Orchestras and Choirs, as well as the Jinqi Ruan Ensemble and the Guzheng Orchestra of the Shanghai Conservatory of Music, are among the interpreters of his works. In Greece and Cyprus, contributions have come from the Symphony Orchestra and Choir of the Hellenic Broadcasting Corporation (ERT), the Choir of the Municipality of Athens, and the Cyprus Symphony Orchestra. Specialized ensembles have also taken part in his performances, such as the Children’s Choir of the Stuttgart State Opera, the Schleswig-Holstein State Youth Choir, the Accordion Orchestra of the Netherlands, the Mandolin Orchestra of Kyoto, and the Japanese matryomin ensemble «Mable and Da». A particular place is held by Byzantine choirs, including those of the Holy Archbishopric of Cyprus, the Holy Monastery of Kykkos, the «Maïstores of the Psaltic Art», the «Psaltai of Ilissia», and the chant ensemble «Enichima».

    His operas have been staged by the State Operas of Stuttgart178 and Hanover. In other works, soloists from the Mariinsky Theatre, the Berlin Philharmonic and Bavarian Symphony Orchestra, the Warsaw Philharmonic, and the Hungarian State Opera in Budapest have participated. His performance repertoire also includes collaborations with the German soul and R&B singer Xavier Naidoo,179 the group Söhne Mannheims, as well as with ensembles specializing in contemporary music such as Ensemble Modern (Frankfurt), Ensemble Recherche (Freiburg), Ensemble Phoenix (Basel), Ensemble KNM Berlin, Ensemble SurPlus (Freiburg),180 Ensemble Ascolta and SWR Vokalensemble (Stuttgart),181 Austrian Ensemble for Contemporary Music (Salzburg), the Rubinstein Quartet (Łódź), the Doelen Kwartet (Rotterdam), the Danish Chamber Players (Ensemble Storstrøm), and the Moscow Contemporary Music Ensemble.

    Elia’s works have been presented in some of the world’s most prestigious venues, including the Berlin Philharmonie and Warsaw Philharmonic, the Festspielhaus Hellerau in Dresden, Queen’s Hall in Edinburgh, Muziekgebouw aan ’t IJ in Amsterdam, Millenáris Theatrum in Budapest, Ars Electronica and the State Theatre of Linz, the Gasteig in Munich, the main stage of the National Opera and Ballet of North Macedonia in Skopje, the Centro Nacional de la Música in Buenos Aires, the Palacio de Bellas Artes in Mexico City, and the Rotunda of Steinway Hall in New York. He has also composed works specifically for Salzburg Airport (Amadeus Terminal 2, «Mozart Year 2006»), the historic Mirabell Garden (Mirabell Palace), and the Georgios Karaiskakis Stadium, on the occasion of Olympiacos Piraeus’ 45th football championship victory.182 183

    Elia has represented Cyprus in a series of international cultural events,184 including: the closing ceremony of the «Cultural Year of the Ten» in Berlin, marking the accession of ten new member states to the European Union (2005); the «Cultural Days» of the European Central Bank in Frankfurt (2008); the project «Art–Peace – Challenging Walls» in Berlin, with the participation of artists from cities divided by separation walls (2008); the 14th Biennale of Skopje (2009);185 and the events «Louise, Destination Europe» and the exhibition «Very European People» in Brussels, within the framework of the Belgian Presidency of the Council of the European Union (2012).

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    141. Theofanous, Konstantinos. «Tonight the moving oratorio The Bells Will Ring Again in its first grand performance in Limassol». Church of Cyprus, July 22, 2024. Accessed April 19, 2025.
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    143. Alogoskoufi, Cassandra. «The award-winning oratorio of Marios Joannou Elia The Bells Will Ring Again is presented for the first time in Greece». Hellenic Media Group, September 17, 2024. Accessed April 19, 2025.
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    Ceramic Bottles Mockup

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    Diseño de Moda

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    Fitness Lifestyle Mobile App

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    Slider: Asymmetric

    A global brand entrusted us with a unique challenge: crafting an internal tool to share its brand story with every employee, from sales to product development.…

    Slider: Fullscreen

    A global brand entrusted us with a unique challenge: crafting an internal tool to share its brand story with every employee, from sales to product development.…

    Quality fonts
    at your fingertips.

    Choose from 1.7K+ Google Fonts, 4.3K+ Adobe Fonts and unlimited number of self-hosted available fonts to be uploaded.

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    Responsive and retina
    ready images.

    Deliver a perfect website experience with high-resolution images and graphics.

    Reliable and
    regular updates.

    Get a life-time consistent and dependable updates featuring innovative new functionalities, performance enhancements, and resolved issues.
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    Consistent
    & sleek design

    Top-notch design to bring your site to the next level.
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    Estimated reading time based on the length of the post.
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    Flexible archive
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    the world.

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    With exquisitely designed and thoughtfully crafted portfolio templates and collections.
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    Flexible archive
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    Build adaptable portfolio layouts to suit your needs.
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    Quickview
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    Simple way to check a project with a lightbox preview.
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    Portfolio widget
    and template

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    support

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    project navigation

    Boost conversions with a simple, eye-catching solution.
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    Translate
    and RTL ready

    RTL languages support and multilingual ready.

    Portfolio templates.

    Choose and mix up templates and components with no coding skills.
    WPBakery + Elementor

    Build effortlessly
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    Build eye-catching and high-performing websites quickly and easily using intuitive drag-and-drop WPBakery and Elementor page builders.
    UI Components

    Endless design options with 320+ standard and custom widgets.

    Essential UI components (shortcodes and widgets) that streamline the website creation process.
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    Responsive Design

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    AI Building Assistant

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    190+ Components

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    Headers

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    552+ Reviews

    Our customers love us,
    find out why below.

    With a 4.86 out of 5 average rating on Envato Market.
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    Years of Experience

    on Envato Market

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    Power Elite Author

    Time-tested author

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    Happy Customers

    And more to become

    Used a lot of themes, this one so far so best - options, design, everything. Only downside is very simple documentation, basically a never found solution to my problem in documentation.
    Still 5/5 for me. Good job.

    @kodkodak

    for Design Quality

    I've been searched for a long time for a suitable framework because that's what you can call this Theme, and my choice fell on the above that one. I'm 100% satisfied after a month of implementation, on top of that VERY helpful support.
    As something between us only, but I would pay and 10x for so much in the package. Very well spent every $ dollar.

    @iTomek

    for Other

    Awesome theme and absolutely top-notch support! One of the best I have experienced!

    @chalkfacepros

    for Customer Support

    I am using this theme on two different websites already and aside from the great design, which can be easily customized, it just works great with pretty much no issues. And if there is a problem, the team is always helpful when asking questions via comments or support.

    @KodiakBaer

    for Code Quality

    Definitely buying again. The theme and support are excellent.

    @aironj25

    for Customer Support

    The template itself is well-designed and user-friendly. What stands out even more is the excellent customer support they provide. They have been responsive and helpful whenever I have had questions or needed assistance. It's been a great experience overall!

    @ccw17

    for Customer Support

    I have purchased many other themes that claim 90+ page speed, but after I have designed the website, and added all possible optimizations, very few actually achieve similar speed. Ohio theme is one of those that achieved 90+ speed after all needed changes. Easy customization, many good options and features, highly recommended.

    @atmomin2003

    for Code Quality

    Fine and modern theme.
Also I'm giving a five star rating for the excellent customer support. They're always there for you.

    @lsoto8

    for Design Quality

    Quite apart from the fact that the theme is mega great, I would also like to thank the support. Everything is answered very quickly and the help is technically flawless. Thanks!

    @michak

    for Other

    There are many things that are very positive about this template. Quality, Design, Customization, Code Quality and so on... Abolutely fantastic.

    @troller

    for Design Quality

    ★★★★★

    4.86 based on 552 reviews

    Get more, spend less.
    Start creating your
    website now.

    Join 19.000+ customers who already use Ohio.
    Easy to Use. No Coding. Life-Time Purchase.

    Ohio theme is bundled with WPBakery Page Builder and Slider Revolution plugins that help you to save
    up to $165 in total.

    • checkWPBakery Page Builder | Included
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    Life-time license, free updates
    and 6 months of free support.