For the first time in its five-year history, the Opera Festival at Masada will include two fully staged works: Giacomo Puccini’s Tosca and Carl Orff’s Carmina Burana. The performance schedule, in the first two weeks of June, will enable audiences to attend performances of both works in a single weekend. An added attraction will be sunset tours on Masada before the performances. And the pre-performance reception area will be designed to look like the streets of Rome, complete with a fountain.
Tosca and Carmina Burana are among the most popular operatic works, according to Michael Ajzenstadt, the Israeli Opera’s artistic director. Set in Rome, “Tosca includes a murder, an execution, and a suicide,” Ajzenstadt said Tuesday at a launch of the festival at the Israeli Opera House in Tel Aviv.
“One of the heroes is a chief of police who wants sexual favors in exchange for changing a verdict,” he added, alluding to Israel’s police force, which has been wracked by recurrent sexual-harassment scandals. “Carmina Burana, written originally as a staged work, celebrates life, love, nature, and rebirth, and will be fully staged at Masada,” he said.
This work is actually not an opera, because it doesn’t have a story, director Michal Znaniecki said in a videotaped interview. His challenge as the director was to create a story that would tie together the discrete parts in which the lyrics are bawdy and irreverent medieval poems. The solution was a story of growing up, death, conflict, wars, “all of this in spectacular moments like in Spielberg movies”—including an underwater scene, Znaniecki said.
What he did not mention is that performances of Carmina Burana in Israel have had a whiff of controversy about them, because the work, composed in Germany by Carl Orff in 1935 and 1936, was embraced by the Nazis. Moreover, there are conflicting claims regarding Orff’s relationship with the Nazi regime.
Tosca will be conducted by Daniel Oren, and Carmina Burana by James Judd.
Producing one operatic work at Masada is a gargantuan undertaking that requires building a stage three times the size of a regular opera stage, trucking in dozens of tons of equipment, and constructing a backstage opera “city” to house the hundreds of performers and extras.
“This year it is even more complicated because of the alternating productions,” said Hanna Munitz, general director of the Israeli Opera and the prime mover behind the festival.
On the other hand, some things have become easier, she said, thanks to advances in technology. Masada is the backdrop to performances, and whereas for the performance of Aïda in 2011 expert rappellers had to be recruited to attach lights to the sheer face of the mountain, now the lighting effects can be projected onto the mountain face.
The opera festival will also have extensions in Jerusalem—Donizetti’s operatic comedy L’elisir d’amore (The elixir of love)—and in Acco.
Eshet Tours and Amiel Tours are handling packages for overseas tourists.
Photo courtesy of the Israeli Opera. Text copyright 2015 by Esther Hecht. No part of the text may be used without written permission of the author.