Classical Review: JSO Operatic Mixed Bag

Jerusalem Theater, January 9.

January 19, 2013 22:18
1 minute read.
Jerusalem Symphony Orchestra

Jerusalem Symphony Orchestra. (photo credit: Sasson Tiram)


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 analysis 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


As a substitute for the advertised Donizetti opera Lucia di Lammermoor, American tenor Bryan Hymel, Romanian baritone Ionut Pascu and Israeli mezzosoprano Naama Goldman, in the Jerusalem Symphony Orchestra’s opera selection concert last week, were no cause for disappointment.

On the contrary.

Hymel is a lyric tenor par excellence. His voice sounds not only soft and caressing, but also intensely expressive and emotionally moving. He knows perfectly well how to savor a climactic high note, letting it swell gradually, and prolonging it almost imperceptibly to let its impression take effect before allowing it to descend again to the lower registers.

This combination of sheer vocal beauty, conscientious voice culture and awareness of the text’s significance made his Cavaradossi’s aria “E lucevan le stelle” from Puccini’s Tosca, Don Jose’s Flower Aria from Bizet’s Carmen, and his aria from Turandot, rare artistic experiences.

His rendition of Don Jose’s final duet with Carmen was the concert’s breathtaking highlight, conveying desperation without becoming melodramatic.

Pascu’s dark-timbered, immensely appealing baritone profoundly expressed Rigoletto’s grief in Verdi’s aria.

Goldman’s rather pale mezzo-soprano still sounds too weak for the strongwilled character of Carmen.

More melodramatic than dramatic, and more artificial than artistic, she appears to possess the potential to eventually grow into this demanding role.

Under Frederic Chaslin’s inspired direction the orchestra sounded energetic and enjoyably flexible, and abounding in instrumental soli that were polished with loving care.

Any resemblance of the printed program to the performed pieces was entirely coincidental.

Join Jerusalem Post Premium Plus now for just $5 and upgrade your experience with an ads-free website and exclusive content. Click here>>

Related Content

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