Organization

Dyrygent

Omer Arieli

Reżyseria

Monica Waitzfelder

Scenografia

Anna Ziv

Kostiumy

Shira Weiss

Reżyseria światła

Adi Shimroni

Śpiewak

Tenor

Semjon Bulinsky

Tamino

Baryton

Samuel Berlad

Papageno

Sopran

Na'ama Shulman

Pamina

Viktoria Varga

Królowa Nocy

Denis Sedov

Sarastro

Ayelet Kagan

Papagena

Yuri Kissin

Mówca

Mima Millo

Pierwsza Dama

Noa Hope

Druga Dama

Kontralt

Anna Peshes

Trzecia Dama

Głos dziecięcy

Romi Zelig

Pierwszy chłopiec

Mika Erlich

Drugi chłopiec

Przygotowanie chóru

Oded Shomrony

Assistant Stage Director

Ari Teperberg

Wideo

Udi Alfasi

Jean-Christophe Born

Monostatos

Pierwszy kapłan

Steven Timoner

Drugi kapłan

Spoken

Ofri Gross

Trzeci kapłan

Trzeci chłopiec

Others

The Jerusalem Opera Choir

Orchestra

Ashdod Symphony Orchestra

The Jerusalem Opera

Die Zauberflöte -  (Czarodziejski flet)

Jerozolima

Izrael

Jerusalem Theater

Bass – First Priest (January 3, 2018) and Understudy for Sarastro Ofri Gross, Tenor – Second Priest Mika Erlich, Anna Peshes, Ayelet Kagan, Romi Zelig – Spirits The Jerusalem Opera: Adv. Fern Braniss, Chairman of the Executive Committee Omer Arieli, Musical Director and Member of the Executive Committee Manon Weizman, Producer and Member of the Executive Committee Efraim Chamiel, Member of the Executive Committee Shlomo Fox, Chairman of the Audit Committee Ruth Schiller, Member of the Audit Committee Producer and Member of the Executive Committee Dr. Efraim Chamiel, Member of the Executive Committee Shlomo Fox, Chairman of the Audit Committee Ruth Schiller, Member of the Audit Committee Producer and Member of the Executive Committee Dr. Efraim Chamiel, Member of the Executive Committee Shlomo Fox, Chairman of the Audit Committee Ruth Schiller, Member of the Audit Committee

Aszdod

Mishkan for the Performing Arts

Die Zauberflöte

Public

Czarodziejski flet

Approved

THE JERUSALEM OPERA PRESENTS

“The Magic Flute”

An opera in two acts by W. Amadeus Mozart. Libretto: E. Schikaneder (Vienna, 1791).


Musical Director and Conductor: Omer Arieli
Stage Director: Monica Waitzfelder 
Assistant Stage Director: Ari Teperberg
The Ashdod Symphony Orchestra  
Concertmeister: Bella Portnov
The Jerusalem Opera Choir and The Jerusalem Oratorio Chamber Choir
Chorus Master: Oded Shomrony
Assistant to the Chorus Master: Louis Sachs
Rehearsal Pianists: Michael Zartsekel and Irina Rozhneva
Stage Designer: Anna Ziv
Costume Designer: Shira Weiss 
Lighting Designer: Adi Shimroni
Producer: Adi Juliusberger
Artistic Advisor: Gabriele Ribis
Musical Advisor: Diana Tsaliovich 
Stage Manager: Lee Teperberg Kanai
Stagehands: Yitzhak Kanai, Elad Ziv, Elad Stuler
Lighting and Sound: Eli Paz, Artistic Lighting and Sound
Set Construction: The Theatre Workshop Ltd.
Makeup: Lilach Ofek Achai
Projections: Lustig Projections and Video
Public Relations: Anat Meromi Public Relations
Advertising and Marketing: Bimot
Video Production: Udi Alfasi, Tranquilo Productions
Stills Photography: Elad Zagman, Larry Brandt
Graphic Designer: Revital Toren
Public Relations Photos: Gaia Sa’adon
Surtitles: Daniel Lasry
Surtitle Projectionist: Hannah Harnest

Soloists:

Semjon Bulinsky, tenor – Tamino
Samuel Berlad, baritone – Papageno
Na’ama Shulman, soprano – Pamina
Viktoria Varga, soprano – Queen of the Night
Denis Sedov, bass – Sarastro
Mima Millo, soprano – First Lady
Noa Hope, mezzo-soprano – Second Lady
Anna Peshes, mezzo-soprano – Third Lady
Jean-Christophe Born, tenor – Monostatos
Yuri Kissin, bass – First Priest (December 28 and 30, 2017)
Ayelet Kagan, soprano – Papagena
Steven Timoner, bass – First Priest (January 3, 2018) and understudy for Sarastro
Ofri Gross, tenor – Second Priest
Mika Erlich, Anna Peshes, Ayelet Kagan, Romi Zelig – Spirits


The Jerusalem Opera:
Adv. Fern Braniss, Chairman of the Executive Committee
Omer Arieli, Musical Director and Member of the Executive Committee
Manon Weizman, Producer and Member of the Executive Committee 
Dr. Ephraim Chamiel, Member of the Executive Committee
Shlomo Fox, Chairman of the Audit Committee
Ruth Schiller, Member of the Audit Committee
Liora Nachmani

THE JERUSALEM OPERA PRESENTS “The Magic Flute”

Opera in two acts by W. Amadeus Mozart (libretto: Emanuel Schikaneder)
Prince Tamino has been sent to fight the forces of evil and save Princess Pamina who has been kidnapped from her mother (The Queen of the Night) by the wicked Sarastro. However, it turns out that the opposite is true: the kind and gentle Sarastro is actually protecting the Princess from her sinister and revengeful mother. Tamino the hero, learns during the course of his adventures to look upon the secrets of life from a different perspective and overcome the various obstacles put in his way – monsters and fears – with the help of the magic of music which soothes the soul and restores peace to the world.

The magical, comic and wondrous combinations and the many different musical styles woven together in Mozart’s masterpiece are sure to please. The Magic Flute is the ultimate example of European culture at its finest, incorporating Mozart’s symbolism’s and ideals – brotherhood and the unity of mankind.

What more can be asked from an opera which is forever fresh, merging musical surprises, an entertaining fable and the message of wisdom and humanity?

"...The Magic Flute” presented the opera’s marvellous music and fairy tale world in a most delightful manner... There was a line-up of excellent singers with the Ashdod Orchestra offering fine musical support..."
Pamela Hickman’s blog

Director notes
The idea of this production of Mozart’s “The Magic Flute” under my stage direction, is growth. How to grow up but not lose contact with the magic of life, with the poetry of life, with the magic and poetry of nature, with our very selves and with others. All of this interacts together and naturally affects the growth of the spiritual and intellectual parts of each of us, with all the difficulties that this entails at every moment in our lives. This is intricately connected to our very humanity. The part of us that is afraid, that can be cowardly when we should not be, the part of us that is lazy and so on. The character of Papageno in the opera exemplifies this very well (and that's one of the reasons why we like him so much). He is somehow all of the parts of us that we don't dare to confess even to ourselves, but that are so indicative and common in each of us. This dichotomy can be seen also in the conflict between our masculine and feminine parts. Feminine, even if one is a man, or masculine even if one is a woman .Or masculine even if one is a man….. That's what a young pre-adolescent or adolescent must face in order to become a young man or a young woman. How to fit together the sum of all the parts? But the problem exists not only for youth, as it is what we all have to face in our lives, every day. The same applies to nature. Sometimes we are full of courage and determination to face things and other times we are not, sometimes we are too stubborn to realize just what is needed, sometimes we believe in ourselves and other times not, some days we are just lazy ….. Seeing our limitations and being capable of understanding them, overcoming them. Or not. That's our every day challenge. And the idea is to try and find in that a little bit of magic and poetry. Every day ....

English

Czarodziejski flet by Mozart, od (2017/2018), W reżyserii Monica Waitzfelder,, Dyrygent Omer Arieli, Jerusalem Theater, Jerozolima, Izrael

Udział w spektaklu (Obsada & realizacja )

Obsada

Załoga

Ensemble

Program, informacje i streszczenie

Filmy

Zdjęcia

Dalsza lektura

Daty i miejsca występów

Miejsca