Chaos, Comedy and Michael Jordan of the Divas: Mozart was proud of this Israeli production
When it first aired in Austria, the opera "Marriage of Figaro" was more subversive and sexy than "Bridgerton" today.
Today, against the backdrop of a great war, a global epidemic and political madness - it is becoming an island of sanity.
Between the great drama, the heavenly music and the cheeky comedy, a great Israeli soloist stands out from life
Living Room Fellow
06/04/2022
Wednesday, 06 April 2022, 15:26 Updated: 15:48
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Mozart would have liked that.
Figaro marriage at the Israeli Opera (Photo: Yossi Tzabker)
Prior to the previous production of the Israeli Opera - Leoncavelo's Pliacchi - the Ukrainian flag was projected on a large screen behind the stage with the caption: "The Israeli Opera embraces the people of Ukraine in these difficult days."
It was a beautiful and modest gesture.
The war has continued ever since, and although in the current production the visual gesture has been waived, the talk of the day has continued to be around the situation in Eastern Europe.
Just a moment before the screen came on one of the most colorful productions that have taken to the stage of the Tabernacle in recent years, viewers in the stands looked at horrific images of mass graves unveiled in the city of Bocha.
It is hard not to appreciate that the one who would have enjoyed this situation was actually Wolfgang Amadeus Mozart, the composer of "Figaro Marriage" who recently returned to the Tel Aviv Opera stage.
Mozart, who himself was buried in a mass grave outside Vienna, was not only one of the greatest composers ever (if not the greatest of them all) but endowed with an extraordinary dramatic sense.
This is reflected in his great operas, as well as in his exciting and ostentatious life.
Wars were the soundtrack of his short life, and they influenced his work quite a bit.
In this sense, "Figaro" is no different of course.
"The Marriage of Figaro" was originally a subversive political work.
Not just the drama within.
Not only the sex that flows in her plot, which may seem natural today, but in Austria of 1786 this story that includes a forbidden relationship between servants and masters, and vice versa was a real scandal.
But long before "Downton Abbey" or "Bridgerton," Mozart already loved to play with this drama.
Much of the drama was censored by the Austrian emperor.
Mozart,
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Her best role in the opera.
Daniel Skorka as Susanna in "The Marriage of Figaro" (Photo: Yossi Tzabker)
When we want to talk about Mozart's genius, when it comes to operas, "Figaro" gives us a clear example.
Listen to the sextet of the "trial".
Six figures.
Each one sings a different piece, and they all blend together into one musical experience.
No duet, no trio and no quartet.
Six different sections, together, without it sounding cluttered, forced or insane.
Even for the hundredth time experiencing the "Figaro Marriage," no matter if it's in the 18th or 21st century, it's hard not to get swept up in the dramatic madness of this super-temporal music.
To add to the great drama on stage, you need great soloists from life.
American Cody Quetelbaum, stepping into Figaro's shoes, looks like a character from "Game of Thrones."
Someone who is supposed to be the king of the Dothraki, and not a simple servant.
His poetry is a bit technical and unexciting.
He also fails to convey the humor that is in the role.
To the delight of this reviewer, he is the only one who did not receive the memorandum that this is a fun production.
The production, directed by David Fountain, pays a lot of respect to the music, and incorporates the great drama into it - as well as the comedy.
Conductor Mikla Gamba returned to the Israeli Opera, was found positive for Corona, went into isolation and disrupted all the plans of the production.
It's hard not to assume that Mozart would have enjoyed this chaos as well.
And thanks to the costume department for the perfect wigs.
Figaro marriage (Photo: Yossi Tzabker)
Oded Reich, whose talent is as brilliant as adjusting the wigs he receives (over and over again!) Lightly steps into the shoes of Count Almiviva.
It's not a simple role that includes both comic moments, and a difficult rape scene.
Reich's voice is clear, blunt and looks like he was born for the role.
Anat Charney in the role of Carobino's pants is as good as usual (it will also be interesting to see the production with Tal Ganor in the role, after performing Carobino's famous lion in a sexy jazz version during the corona break).
Shaked Stroll as Marcellina and especially Eitan Drori as Basilio add a lot of humor to the production, and mention why this opera, with its three and a half hours, has maintained its popularity for centuries.
Daniela Skorka as Susanna gives her best role in the Israeli Opera.
Her voice is as steady and rich as ever, but it seems that more than ever something in her has just been released.
Her quarrel duet with Stroll is one of the most spectacular in this production.
But above them all, as usual probably, is currently Ella and Silvitsky.
Kind of like Michael Jordan's opera right now.
The one that shines in every role, and seems to be able to put drama and musical richness into a mute section as well.
And Silvitsky enters the character of the Countess and turns her into a great diva from life.
Mozart was proud.
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