OPERA REVIEW

By URI EPSTEIN
March 29, 2006 02:30
1 minute read.

 
X

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

  • A user uxperience almost completely free of ads
  • Access to our Premium Section and our monthly magazine to learn Hebrew, Ivrit
  • Content from the award-winning Jerusalem Repor
  • 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 Don't show it again

Richard Strauss' Der Rosenkavalier at the Israel Opera was a critic's despair. Happily, there was nothing to criticize. On the face of it, Der Rosenkavalier is a comic opera, but on a more profound level, it portrays the story of an inevitable human tragedy. Presented by director Maximilian Schell with sensitivity and clarity, the comic scenes and characters were hilarious, witty, satiric, and sometimes bordered on slapstick. But in the context of the aging Marschallin, who desperately seeks consolation with a young lover before renouncing him in favor of a younger rival, this comedy emphasizes both the serious and tragic aspects of her longing. The cast of is superb. Nancy Weissbach was dignified and emotionally intense as Marschallin - inspiring respect and compassion. Octavian, of youthful ardour and naivete, was represented by mezzo-soprano Stephanie Houtzell. In the role of Baron Ochs, Kurt Rydl was a no less than perfect basso buffo. Chen Reiss's clear and enchanting soprano created a Sophie to fall in love with, and Faninal was presented by baritone Michael Kraus. Gottfried Heinwein's sets were inventive, functional, and in refined taste. The Symphony Orchestra Rishon Lezion, conducted by Asher Fisch, did full justice to the demanding score. Apart from two very long intermissions, the performance was riveting enough to make the four-hour-long production fly by.


Related Content

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

By JTA