THE ISRAELI OPERA Two World Premieres Tel Aviv Opera House, July 6

Starting apparently as a comic opera, it leads up to a sad, tragic portrayal of reality, with much Levin-like social criticism on the way.

July 8, 2015 21:19
1 minute read.
HAIM PERMONT’S ‘The Lady and the Peddler.’

HAIM PERMONT’S ‘The Lady and the Peddler.’. (photo credit: YOSSI ZWECKER)


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

The double bill presented recently at the Israeli Opera was not Pagliacci and Cavalleria Rusticana but, for a change, the world premiere of two new Israel operas – Haim Permont’s The Lady and the Peddler, based on a story by S. J. Agnon, and Yoni Rechter’s Schitz, based on a play by Hanoch Levin.

In Agnon’s story, the main element is mysticism. What is happening between the two characters is intellectually inexplicable, and appeals to the audience’s imagination that cannot find a clear-cut meaning to the events or the personages’ actions. The mystery is personified by the Lady (Idit Zamir), whose soprano is rather too clear, shrill and assertive on the high notes, and too overtly menacing to leave room for the imagination. The confused and naive victim of the Lady, the harmless Peddler, is convincingly represented by Guy Mannheim’s sonorous, dark-timbred tenor. When all is said and sung, the relationship of the two characters remains ambiguous to the end.

Be the first to know - Join our Facebook page.

Permont’s music reflects the mysticism by melodic, tonally undefinable intervals, mostly in parlando style. The orchestra functions mainly in irregular, asymmetric rhythms and by uncommon instrumental sonorities.

Schitz provides, misleadingly, the comic relief. Starting apparently as a comic opera, it leads up to a sad, tragic portrayal of reality, with much Levin-like social criticism on the way.

Rechter’s music is melodic, easily digestible and close to the pop style of which he is a celebrity. The singers – Noah Briger, Ira Bertman, Yael Levita, Oded Reich – did their very best to portray their characters lively and convincingly.

Related Content

August 15, 2018
Murdered soldier’s family slams IDF court for refusing death penalty