Singing – and dancing

Yoram Karmi choreographs the Israeli Opera’s new production.

December 28, 2017 19:16
3 minute read.

Preview of The Israeli Opera's A Midsummer Night’s Dream by Benjamin Britten (YouTube/IsraeliOpera)

Preview of The Israeli Opera's A Midsummer Night’s Dream by Benjamin Britten (YouTube/IsraeliOpera)


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


When we talk about triple threats, meaning performers who can sing, act and dance, we usually are referring to individuals who work in the field of musical theater. However, opera performers also fit this description. They sing, they act, and often they dance. However, all these actions must be done with an added limitation – the necessity to face front and keep a clear line of vision with the conductor at all times. For this reason, when choreographer Yoram Karmi walks into a rehearsal studio with opera performers, he knows that a certain amount of finesse is required in order to convince his cast to bend the opera rules here and there.

“The actual singing really limits them,” explains Karmi in the kitchen of his troupe Fresco Dance Group’s studio. “The performers need to see the conductor at all times, and they need to sound good. They can’t sing with their back to the audience. My job is to free up people who don’t usually dance to dance. Getting them to jump, go to the floor, hug, lie down or spin all while singing requires a lot of trust.”

Set back from the hubbub of its environs, Tel Aviv’s central bus station, Fresco Dance Company’s home has three studios, a treatment room and offices. As we sat, the largest of the three studios was being outfitted with lights, which will allow Karmi to host not only rehearsals but also performances in his space. The company is in mid-season, performing several productions around Israel and maintaining a full-time rehearsal schedule. All the while, Karmi is in the throes of rehearsals leading up to the premiere of A Midsummer Night’s Dream at the Israeli Opera.

“I’m working 14-hour days,” he says. “It’s a lot, but I really can’t complain.”

This is Karmi’s fourth opera production with the Israeli Opera.

Two years ago, he choreographed The Israelis, a two-part production consisting of works written by Israeli authors.

“It was very successful. Following that, they invited back the same crew, which was myself, director Ido Ricklin, lighting designer Bambi (Avi Yona Bueno) and costume designer Oren Dar,” he says.

A Midsummer Night’s Dream is exponentially larger than The Israelis in both cast and complexity.

“We had four singers in The Israelis; now we have 25 soloists, a children’s choir and an orchestra,” he explains.

Karmi sees his role in this opera as a “movement designer,” although the credits list him as “choreographer.”

“What I’m doing is stylizing the movement; less choreography in its traditional sense,” he says.

The production is designed to look like a 1930s Hollywood set, with moving lights, cameras and stage set.

“The singers are very much involved in moving the set pieces. The challenge, for me, was to take the style and translate it into movement so that along with the look, makeup and costume, the movement would also be fitted to the era,” he says.

To bring the well-known Shakespearean tale into a different time frame, Ricklin called on his theater background to bring some much-needed credibility to the drama.

“Ido’s approach is that every element needs to be handled with as much specificity and attention as the partitive. It’s really incredible to see him work, and it adds so much to the scope of the opera,” he marvels.

Karmi’s experience of Ricklin is that he is not just a director but a choreographer as well.

“Ido and I are neighbors. I run into him while walking my dog, and there’s no chance we won’t get into a conversation about the opera and what we’re thinking about it. So, although the process is five weeks, it has been going on for a lot longer than that informally. Ido sees things in relation to space. He comes in with ideas about how each scene should flow and travel through the space. It’s very unique and means that I don’t have to start from scratch when devising the movement,” he says.

The opera will premiere during the first week of January. Karmi plans to make it to the bows.

“It just so happens that the premiere coincides with a performance of my company of Golden Ratio at the Suzanne Dellal Center. I’ll have to rush over to the opera for the last seconds,” Karmi laughs.

‘A Midsummer Night’s Dream’ will run from January 4 through January 17 at the Opera House in Tel Aviv. For more information, visit

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

June 25, 2019
Nikki Haley immortalized in graffiti at Jerusalem's Mahane Yehuda Market


Cookie Settings