‘The Italian Girl in Algiers’ opera comes to Tel Aviv

Zorn, one of the most prominent Israeli conductors of his generation, enjoys an impressive international career and has collaborated with the Israeli Opera in the past,

Born 1976 in Jerusalem, Zorn is a graduate of the Jerusalem Academy of Music and Dance in piano and conducting, and an alumnus of the National Opera Studio in London. Starting as a pianist, he quite soon felt attracted to conducting.

“Or, better yet, it was the conducting that has attracted me,” he told The Jerusalem Post. “It just goes on to you, you know.” 

Zorn, who is particularly active in the fields of opera and contemporary music, went on to explain that there are two things that for him are of most interest in music: “narrative in musical forms. They are perfectly amalgamated in the operatic genre,” he said. “This has to do with the very essence of music – and this is what attracts me as a magnet. And also – a desire to bring people together, to organize big projects.”

Zorn confided that already from his youth he was “lucky and privileged to work under some of the greatest maestros of our time, and I tried to learn from them.” The versatile Antonio Pappano, who always was “the hardest working guy in the room and by his commitment carried away his collaborators, has impressed me with his ability to see the essence of music; Kirill Petrenko, a man of integrity and humility, who was dubbed ‘Buddha’ for his phenomenal ability to concentrate. In fact, concentration is working tool, which helps him make the orchestra sound as he really wants; and Ivan Fischer, a musician of wild imagination and creativity, who always seeks for a fresh rendition. All based on his vast knowledge.”

This is a purely Israeli production, sung almost entirely by an Israeli cast, conducted and staged by Israelis, with Israelis designing the stage, lighting and costumes.

The story is simple: A young Italian girl comes to Algiers, where she is kidnapped and is introduced to the local ruler. The ruler wants to abandon his wife and marry the beautiful Italian, which “brings about numerous comic situations.” 

Zorn explained that the story is not only about romance. 

“Rossini raises questions that are still relevant for us, such as differences between cultures, the encounter between East and West. In his twin opera, The Turk in Italy, Rossini again relates to the same identity issues: Who are the Italians?”

Yet Zorn accentuated that above all this is a very entertaining opera. 

“Rossini’s greatness is in his ability to write a funny music. Not only the situation is funny, the music itself is funny. And yes, he was a genius. He knew how to write funny music, to tell a funny story through hilarious music. Granted, his is a clearly recognizable musical language that was very much his own, but at the same time he was aware of music of his time and quoted it freely. He was sort of a musical juggler. At the rehearsals, we just die of laughter.”

Zorn said the Israeli Opera has a good reason to be proud of itself for being able to cast this “most demanding virtuoso opera almost fully with local talent. These young singers appear on important international stages, but they were all raised and nurtured here. It speaks volumes about the local operatic culture.”

Zorn had nothing but praises for “the fantastic stage director Ido Ricklin. For me,” he said, “this is a pleasure and honor to cooperate with a collaborator who is both entertaining and creative. We are going hand in hand through the production. Compatibility between what is going on stage and in the pit is most important.”