Opera Review: The Magic Flute

Opera House, Tel Aviv, May 16

May 23, 2011 22:22
1 minute read.
The Magic Flute

Magic Flute 311. (photo credit: Yossi Zveker)


Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analyses from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user experience almost completely free of ads
  • Access to our Premium Section
  • Content from the award-winning Jerusalem Report and our monthly magazine to learn Hebrew - Ivrit
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief

UPGRADE YOUR JPOST EXPERIENCE FOR 5$ PER MONTH Show me later Don't show it again

There was nothing magical about Mozart’s The Magic Flute, performed by the Israeli Opera.

Totally violating Mozart’s concept of an enchanting fairy-tale opera, Jean-Louis Grinda and Rudy Sabounghi’s pretentious, sophisticated direction and set, obsessed with modernity, created an irritating experience.

Be the first to know - Join our Facebook page.

Too many superfluous minor actors and dancers incessantly floated around with the sole purpose of diverting attention from an important aria or ensemble singing. The snake threatening Tamino was substituted by an array of menacing females.

Papageno’s naive wishful dreaming of a little wife was absurdly concretized by a parade of fashion models. And, most repelling of all, Sarastro’s sacred domain and the area of the lovers’ trial were represented by a contraption reminiscent of a Fukushima atomic reactor more than a Mozart-like charming fantasy.

Among the singers, Hila Fahima’s Papagena the Second was the most outstanding.

Her bright, genuinely love-inspired soprano made one understand Papageno’s infatuation with her. Hila Baggio, on the other hand, misused her usually lovely soprano by a too assertive, hard rendition of Pamina’s gentle, soft, friendly character.

As Queen of the Night, soprano Ekaterina Lekhina’s Coloraturas were competent but too theatrical for being convincingly frightening. In the role of Sarastro, Oren Gardus lacked the dark, majestic bass required for this role.

The clumsy and artificial, deliberate humor of tenor Guy Mannheim, as Papageno, was a far cry from the easygoing nonchalance of this role’s Viennese performers.

Conductor David Stern, leading the Rishon Lezion Symphonoy Orchestra , seemed preoccupied with the orchestra itself more than with its function regarding the singers.

Related Content

Sarah Silverman
August 26, 2014
Jewish women take home gold at 2014 Emmys