Le nozze di Figaro
בר ניווט לשוניות
|Set Designer||Leslie Travers|
|Costumr Dsigner||Ula Shevtsov|
|Lighting Designer||Keren Granek|
|Count Almaviva||Theo Hoffman|
|Countes Almaviva||Alla Vasilevitsky|
|Don Basilio||Eitan Drori|
|Antonio||Pnini Leon Grubner|
Back Stage Secrets
Back Stage Secrets at the Opera
Many Opportunities to Widen your Opera Experience
Do you want to know more about the opera you are about to attend? Do you want to find out some back stage secrets? Do you want to meet the artists after the performance? The Israeli Opera enables you to widen your opera experience with a variety of pre performance and post-performance events.
On Saturday morning before the premiere, the creators of the production and several of the soloists gather to discuss the opera, the production, their own career and today’s opera world. This is a unique opportunity to learn as much as possible about the production and meet the director, conductor, designers and some of the participating soloists. Musical excerpts from the opera illustrate the discussion. Towards Opening takes place before some of each season’s productions.
Pre Performance Lecture
One hour before each opera performance there is a 30-minute introductory lecture in the auditorium (in Hebrew). Opera staffers present the opera and the production and enable the audience to get some extra information a short time before attending the performances. Admission is free for ticket holders.
Pre Performance Back Stage Tours
What happens backstage before the audience even thinks of getting dressed for the performance? What do the singers do? The conductor? The Technical teams? How does everyone prepare for the performance? A unique opportunity to taste a little bit of the back stage excitement before the curtain ascends/ A concerted half hour tour in places that are not usually open to the general public. Tours begin 90 minute before the performance begins and last 30 minutes. Tickets are 25NIS and can be booked in advance (tickets for each tour are limited). Tours take place on several evenings in each production. Details can be found at the Israeli opera’s website. Tours from groups both in Hebrew and in English can be booked in advance ( email@example.com )
The curtain has just descended on the final scene of the opera. The hour is late. Nut the experience was riveting. This is the time to meet several of the performers. Come to listen and to speak. Ask questions. Meet the artists. A once in a lifetime opportunity to meet the artists who have just excited you on the stage. Opera Talkbacks takes place on the second level of the Opera House foyer and last around 30 minutes. Admission free. Opera Talkback takes place on several evenings in each production. Details can be found at the Israeli opera’s website.
Before every show
An hour before every show
16:30 / 18:30
March 29, 31, April 4, 6
After the show
On the day of his wedding Figaro measures the room, which Count Almaviva has given him, while Susanna, the Countess’ maid tries her wedding veil. To Figaro’s surprise, Susanna refuses to live in their new room, explaining that its proximity to the Count’s apartment will encourage his desires to seduce her. Marcellina, Dr. Bartolo’s former housekeeper, once lent Figaro a sum of money in exchange for a promise of marriage and she has now decided to demand her repayment. Susanna and Marcellina mockingly exchange polite greetings and then the young Cherubino rushes in to announce to Susanna that the Count has banished him from the castle after having caught him with Barbarina, the gardener’s daughter. Suddenly the Count arrives. Cherubino hides as the Count starts to make love to Susanna but when Don Basilio arrives, the Count hides as well. But the Count springs out in a fury when Don Basilio alludes Cherubino’s infatuation to the Countess. The Count recollects how he caught Cherubino with Barbarina the previous night. While reenacting the episode, he discovers the boy yet again! His ensuing fit of anger is interrupted by the arrival of his servants, led by Figaro. The Count agrees to celebrate the marriage of Figaro and Susanna, but cunningly insists on a brief delay. In order to be rid of Cherubino he gives him a commission in his regiment.
Alone, the Countess sadly reflects on her husband’s infidelity. Susanna tells her of the Count’s attempts at seducing her and then Figaro arrives to tell them both of the trap he has invented to punish the Count: he has sent him a letter that tells of a supposed rendezvous between the Countess and her lover. At the same time Susanna is to pretend to agree to a secret meeting with the Count that evening in the garden. However, it will be Cherubino who will go in her place dressed in women’s clothes. Cherubino arrives and Susanna tells him to sing the song that he has written for the Countess, and then the two women lock the door and dress the young boy up as a girl. When Susanna leaves the room, the Count is heard knocking on the door. In panic, the Countess quickly locks Cherubino in a closet. As the Count demands an explanation to the anonymous letter, he suddenly hears a noise in the closet. The Countess assures him that it is only Susanna. Susanna in fact has just returned and quickly hides. The Count insists that his wife will accompany him while he goes in search of tools to force open the closet. Cherubino comes out of hiding and jumps out of the window as Susanna takes his place in the closet. The Count returns, opens the closet and discovers Susanna! Utterly astonished he begs the Countess to forgive him. Figaro arrives to prepare for his marriage. The Count tries to clarify the affair of the letter. Suddenly Antonio arrives, furious because someone has jumped from the Countess’ bedroom window damaging the flowers below. Figaro admits that he was the one who jumped. Marcellina, Bartolo, and her chief witness Don Basilio arrive; since Figaro has not been able to repay his debt, he is to be forced by trial to marry Marcellina.
The Count is determined to make Figaro marry Marcellina. Susanna arrives pretending to respond to the Count’s advances and agrees to meet him in the garden later that evening. Barbarina suggests to Cherubino that he should dress up as a young girl and join the maidservants who are about to present flowers to the Countess. The Countess is worried about Figaro’s plot, recalls her husband’s former love and resolves to win it back again. Don Curzio, a judge, declares that Figaro must either pay Marcellina or marry her. The valet declares that he is unable to do so without the consent of his “noble parents”, from whom he was stolen when he was a child. When Figaro shows everyone the birthmark on his right arm, Marcellina and Bartolo recognize him as their long-lost son! Seeing Figaro in Marcellina’s arms, Susanna believes he has betrayed her. The misunderstanding is quickly cleared up. The Countess dictates a letter to Susanna that will give the Count instructions for his secret rendezvous later that night. She seals the letter with a pin, which the Count is to return to Susanna as a sign that he will keep the assignation. Figaro returns and calls for the wedding to begin. As the Count places Susanna’s wedding veil on her head, she manages to slip him the letter of assignation. To Figaro’s great amusement, the Count pricks himself with the pin.
Barbarina has lost the pin that the Count has given her to return to Susanna. Figaro arrives with Marcellina, questions Barbarina, and learns about Susanna’s assignation. The Countess and Susanna have now switched clothes. Believing himself alone with Susanna, the Count flirts with the Countess. Figaro mistakes the disguised Susanna for the Countess and tells her that the Count has succeeded in seducing his wife. However, when he recognizes Susanna’s voice he decides to punish her by pretending to seduce the “Countess”. Furious, Susanna starts hitting him before they are finally reconciled in each other’s arms. Seeing the Count arrive, Figaro throws himself at the feet of the “Countess” and declares his love. Outraged at this proof of his wife’s infidelity, the Count shouts for help. Susanna, still in disguise, pleads for the Count’s pardon. He violently refuses when suddenly the real Countess appears. Once again, the Count is dumbfounded. He implores his wife’s forgiveness, which she grants.