Barenboim: Whenever I return to Israel, I have problems with Politicians & Media!!!

🙂 Arab-Short > Music in Mideast & Asia > Music in Israel >
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The premiere of Milan’s La Scala opera takes place on July 14 at TAPAC. The performances run to Jul 24. Verdi’s “Requiem” at the Hayarkon Park is Thursday night on July 16.

Please check
🙂 From Arab-Short > Music in Mideast & Asia > Daniel Barenboim, Tania Nasir and ESNCM (also in Gaza…)
🙂 Has Daniel Barenboim really boycotted in Ramallah? Who are PSC or PACBI? (Jul 17, 2009)

🙂 From Arab-Short > Music in Mideast & Asia > Members of Bashkirova-Gang > Guy Braunstein
🙂 Dorit Beinisch, Elena Bashkirova, Guy Braunstein, and Rolandseck-Festival in Germany (Jul 17, 2009)

(Updated on JULY 21, 2009)
I can’t help suspecting. Rock Music after the Requiem Performance is not a normal happening. What’s more, Barenboim’s high blood pressure and its hot-temper, especially after the performance, is well known for Barenboim’s Israeli friends-or-enemies. It was before Jul 14 that Barenboim decided NOT to go to Ramallah and FOLKS knew that it will run through Jul 17.

It all started with this German article. Brillante Kammermusik beim Festival in Rolandseck. While a usual author showed typical reaction after receiving my Barenboim-message, this new one intentionally supported Elena Bashkiorva. Of course, he didn’t read any of my writings.

It was Labor’s Ehud Barak’s Botschafter Yoram Ben-Zeev, who has supported Dorit Beinisch, Elena Bashkirova, Guy Braunstein, and Rolandseck-Festival in Germany. Curiously, I also find that Tel Aviv Mayor Ron Huldai is a member of Ahraon Barak’s Labor Party or Jewish Branja. Already now, I find that Yoel Marcus wrote quite something about connection between Tel Aviv Mayor and Dorit Beinisch. I can’t help suspecting.

They spread rumors that Barenboim would conduct Ramallah performance, so he didn’t go. They knew that NO security would prevent him from visiting ANY Palestinian city. They knew that Barenboim would run to Ramallah after he was fuirous over Rock Music after his performance. They knew that Barenboim will quickly find a real happyniess during and after the Palestinian concert. They knew that Spanish, British, and German FOLKS will quickly join Mrs. Mariam Said. Israeli Intelligence Community is not a normal group. They are top of top. Especially after my report, they knew that Barenboim’s involvement in Rammalh Cultural Group will rather help Hamas. They knew EVERYTHING.

I can’t help suspecting. Whenever someone appears and ‘intentionally’ starts supporting Elena Bashkirova and praises this music, which sounds ‘stupid’ for the casual listeners, there is a specific reason. No matter how long it takes, I will figure out.

(Updated on JULY 20, 2009)
What lacks in all the reports is Reaction from the Audience, who had to ‘endure or enjoy’ hot weather during Verdi’s Requiem and then Rock Music from the speaker after performance. Least 60,000 people were at the same place and no information is found. Basically, this outdoor concert was scheduled to end with a massive fireworks display. (Haaretz on Jul 15)

Meanwhile, I can’t help suspecting if the Organizers worried Barenboim’s Wagner Performance as an Encore so much that they hurried to blare Rock Music in order to zip Barenboim’s planned(?) big mouth. I can’t help suspecting. *.*

My only problem here.
No matter what, no matter how long Tel Aviv Mayor’s address was and no matter how much this Jewish politician pissed Barenboim off, it is this time Barenboim himself, who got lost himself, and NO Israeli politicians are going to denounce Barenboim… unlike during the Wagner Scandal in Jerusalem.
I will remember NOTHING and NO NAME of Tel Aviv Mayor, while I will still honor Israeli 12th prime minister Ehud Olmert as the greatest Jerusalem Mayor in Israeli history. (Please check Dear Arab Readers: Second of All) I still remember his high-pitched furious voice cursing Barenboim. I will still remember Yossi Tal-Gan, general director of the Israel Festival, and his angry low voice during the interview and I will still insist that Barenboim owes his apology to this Jew. I just hope Daniel Barenboim to compare two incidents and understand what pissed him off and why, and what pissed them off and why. Instead of rushing to Ramallah and destroys all the planned future of The Edward Said National Conservatory of Music with this simple, joyful statement:

🙂 Has Daniel Barenboim really boycotted in Ramallah? Who are PSC or PACBI?
Barenboim: Here, I feel at home, there was not a sign of hostility.

I also hope this naïve musician, Daniel Barenboim, to finally realize WHY he was NOT able to meet the normal Israeli public during the SOLD-OUT concerts of DORIT BEINISCH’S JERUSALEM FESTIVAL. SIC!

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La actuación de ”La Scala de Milan” terminó con acordes desafinados 17/07/2009‎, Radio Jai, Buenos Aires, Argentine
The performance of”La Scala in Milan ended with”Desafinado chords.
In the warm starry summer night and yesterday Thursday at the Park Ha’yarkon, thousands of Israelis attended for free and enjoyed what is probably the biggest musical event of the 2009 classic in Israel: The concert that the ensemble opera stable “La Scala in Milan, under the leadership of famed Argentine-Israeli Daniel Barenboim offered as commitment to the arts in Italy’s Centenary celebrations in Tel Aviv.

Pero eh aquí, que la interpretación final del funeral Réquiem de Verdi, inexplicablemente fue coronada con coloridos fuegos de artificio y pirotecnia que iluminaron la noche telavivense. Y los músicos y cantantes italianos no ocultaron su disgusto por lo que calificaron como “de muy mal gusto e incomprensible, como una música fúnebre se acompaña con pirotecnia”.
But hey here that the final interpretation of Verdi’s Requiem funeral inexplicably was crowned with colorful fireworks and fireworks that illuminated the night telavivense. And the Italian musicians and singers did not hide his displeasure with what they described as “very bad taste and incomprehensible, like a funeral music is accompanied by fireworks.”
Y por si este fuera poco, el propio Director Musical Daniel Barenboim abandonó ofuscado el anfiteatro del concierto, porque el locutor del concierto al pronunciar el agradecimiento al elenco estable de La Scala de Milán, nombró por sus nombres a los cuatro cantantes solistas, hecho que por lo visto no se admite o acostumbra en las reglas protocolares operísticas.
And if this were not enough, the Music Director Daniel Barenboim left obscured the amphitheater of the concert, because the announcer of the concert to say thanks to the cast of stable La Scala in Milan, named after their names to the four solo singers, a fact that obviously is not allowed in the rules or custom protocol opera. Tzvi Neumann Radio from Jerusalem to Jai

Concerto a Tel Aviv e viaggio a Ramallah L’ ira di Barenboim Jul 18, 2009 / By Corriere della Sera
Il caso Il celebre direttore accusa i politici locali
«Sempre problemi quando vengo qui»
Concert in Tel Aviv and travel to Ramallah L ‘wrath of Barenboim
The case accuses the famous local politicians
“Also problems when I come here”

[INVIATO[/INVIATOTEL AVIV – È un Daniel Barenboim furibondo quello che lascia il parco Ganey Yehoshua di Tel Aviv subito dopo aver diretto un’ eccellente esecuzione della «Messa da Requiem» di Verdi. «Con la gente normale non c’ è alcun problema – sbotta – ma ogni volta che torno in Israele c’ è qualcosa che non funziona coi politici e i media». Ce l’ ha anzitutto con il municipio per l’ organizzazione del concerto.
[SENT [/ INVIATOTEL AVIV – Daniel Barenboim is a furious one that leaves Ganey Yehoshua Park in Tel Aviv shortly after directing an ‘excellent performance of “Messa da Requiem” by Verdi. “In normal people there ‘is no problem – sbotta – but each time I return to Israel’ s something that does not work with politicians and the media.” Ce l ‘ha first of all with the council for’ organizing the concert.
La Scala richiama centomila persone «reali» nel parco cittadino. È una folla da rockstar e la logistica è quella che ne consegue: enorme palcoscenico illuminato a giorno, amplificazione da stadio, megaschermi ai lati per osservare il volto di artisti altrimenti visibili solo come figurine, controlli di sicurezza ogni due passi. E nonostante le difficoltà di interpretare Verdi dove potrebbero suonare gli U2, l’ esecuzione è veramente ben rifinita, coro e orchestra sono in gran spolvero, l’ idioma verdiano è nitido, i solisti Gubanova, Filianoti e Pape cantano benissimo (non al meglio invece il soprano Damato). È dunque un’ esecuzione di cui andar fieri, di fronte a un pubblico (5000 seduti, gli altri su una montagnetta tenuta come un prato all’ inglese) che segue con una compostezza e un’ attenzione palpabili.
The Scala attracts hundred thousand people ‘real’ in the city park. It’s a crowd to rock and Logistics is the one that goes with it: a huge stage lit daily by amplification stage megaschermi the sides to observe the face of artists otherwise visible only as a figurine, security checks every two steps. And despite the difficulties of interpreting where the Verdi could play U2 ‘s performance is very well finished, choir and orchestra are largely dusting, l’ tongue is sharp Verdi, soloists Gubanova, Filianoti Pape and sing well (not the best hand Damato soprano). It is therefore a ‘performance to be proud of, in front of an audience (5,000 seated, the other on a Montagnetta kept as a meadow all’ English), which follows with a composure and a ‘palpable attention.
Ma ciò che adombra lo stato d’ animo del maestro e che, pur dato per certo il contrario, lo induce a non presentarsi all’ elegante ricevimento allestito in onore della Scala pochi passi dal palco è un crescendo di dettagli stonati, in primis il discorso lungo e un pò autocelebrativo del sindaco della Città Bianca, comprensivo di un’ improbabile ricostruzione di cent’ anni di musica occidentale in Israele, da Toscanini a Barenboim appunto.
But it suggested that the state ‘s spirit of the master and that, although some data for the opposite, it leads not to look all’ elegant reception organized in honor of La Scala a few steps from the stage is a crescendo of details of tune, especially the speech long and a bit of self-mayor of White City, including a ‘unlikely reconstruction cent of’ years of western music in Israel, from Toscanini to precisely Barenboim.
Ma peggio ancora è quanto accade durante gli applausi a fine «Requiem», quando uno speaker tipo bellimbusto televisivo inizia a chiamare uno a uno i protagonisti del concerto, come si fa allo stadio quando si leggono le formazioni delle squadre; intanto, le casse passano a diffondere rock locale e nel cielo brillano i fuochi d’ artificio: dopo il «Libera me», coi suoi angosciosi dubbi sulla vita e sulla morte, anziché il silenzio, o comunque il raccoglimento, è la rappresentazione di uno show surreale.
But even worse is what happens during the applause at the end of “Requiem,” when a speaker type bellimbusto television starts to call one by one the players in the concert, as it is at the stage when we read the training of the teams, meanwhile, the boxes pass to disseminate local rock and shine in the sky fireworks d ‘artifice: after the’ Libera me ‘, with his anguished doubts about life and death, rather than silence, or at the recollection, is the representation of a surreal show.
C’ è insomma quanto basta per dolersene ma Barenboim è stizzito ancora di più coi media locali, rei di diffondere notizie false che poi rimbalzano ovunque. Hanno detto che doveva dirigere a Ramallah e non è vero, hanno detto che la sicurezza gli ha impedito di recarsi nella città palestinese e non è vero (ci è andato l’ altra mattina a visitare la scuola di musica da lui stesso fondata e ci è tornato ieri sera per assistere a un delizioso spettacolo di musica occidentale suonato e cantato in arabo degli studenti della medesima).
C ‘is short enough to dolersene but Barenboim is anger even more with the local media, guilty of spreading false rumors that then bouncing everywhere. They said that would lead to Ramallah and is not true, they said that security prevented him from visiting the Palestinian city and it is not true (there was the ‘other morning to visit the music school founded by himself and there is returned yesterday evening to watch a delightful performance of western music played and sung in Arabic for students of the same).
Sassolini nelle scarpe si dirà, ma che diventano pietre nel contesto politico-culturale attuale, quello che costringe il maestro ad attraversare la «sua» città (non c’ è nato ma vi s’ era trasferito decenne) con le guardie del corpo e a non pubblicizzare granché le sue sortite nei territori palestinesi. Difficoltà che non gli impediscono però di continuare a seguire in prima persona iniziative come l’ orchestra del Divano e la scuola di Ramallah. Gocce di bellezza, cultura e ragionevolezza politica nel mare d’ odio che alimenta l’ eterno conflitto israelo-palestinese.
Pebbles in the shoes they will say, but that become stones in the political and cultural current, one that forces the teacher to cross “his” city (not c ‘is born but there s’ was passed over ten years) with the bodyguards and not advertise much its sorties in the Palestinian territories. Difficulties which can not prevent, however, continue to follow first-person action as the ‘orchestra of the Divano and the school in Ramallah. Drops of beauty, culture and reasonable policy in the ocean ‘s hatred that fuels the’ eternal Israel-Palestine conflict.
Enrico Girardi
Musicisti Maestro Nato nel 1942 a Buenos Aires da genitori russi di origini ebraiche, Barenboim ha anche la nazionalità israeliana. Gli estremisti di destra l’ hanno spesso preso di mira (a Gerusalemme gira con la scorta) Orchestra L’ ha fondata nel ‘ 99 con l’ intellettuale palestinese Edward Said: «l’ Orchestra del Divano Occidentale Orientale» prende il nome da un’ opera di Goethe e si compone di musicisti da tutto il Medio Oriente
Master Musicians Born in 1942 in Buenos Aires to parents of Russian Jewish origin, Barenboim has Israeli nationality. The right-wing extremists’ s often have in their sights (Jerusalem runs with spare) Orchestra L ‘was founded in’ 99 with ‘Palestinian intellectual Edward Said:’ l ‘Orchestra of the Eastern Western Divano “gets its name from a’ work of Goethe and is composed of musicians from all over the Middle East

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OPINION FROM PROFESSIONAL (NO-MUSICIAN) – It is before the performance and has NOTHING to do with SCANDAL… *.*

‘Requiem’ in the park – and in Theresienstadt ‎Jul 13, 2009‎ / By Jerusalem Post, Ervin Birnbaum
The writer, author of Politics of Compromise, In the Shadow of the Struggle, and The Islamic State of Pakistan, is the Founder and Director of Shearim Netanya, Israel’s first Russian Outreach Program.
Talkbacks for this article 4
1. Moving: A very moving, thought provoking article! / Motic – GB (07/14/2009 10:42)
2. Visualizing Theresienstadt – A comment on this excellent article: There is a prison at Theresienstadt, called “krepost” (the Fortress). This is not what is meant in connection with imprisonment of Jews, which took place in the town proper, in a series of multi-storey apartment blocks. These were constructed as apartments for employees of a local factory — this was originally a company town. Jews, of course, were crammed into the flats far more densely than the original occupants, and their conditions were only marginally better than those in any konzlager.. But one mustn’t visualize a “camp” as the author writes, There was no “camp” in Theresienstadt. / nehama purta – Israel (07/14/2009 11:09)
3. Concert: This is truly a magnificent gift on the part of Milan. The only problem is the conductor. Why is Daniel Barenboim even permitted in Israel, let alone performing, when he is totally antui-Israel in all his speech and actions? / Shalom Wasserman – USA (07/14/2009 16:09)
4. Re-visualizing Terezin: The commenter is partly correct — most of Terezin’s Jews were housed in the town’s apartment blocks. But others lived in dormitories in the nearby fortress. as is evident on the Terezin guided tour. Also, Terezin wasn’t built as a factory town. It came into being as a military outpost (a garrison town and adjacent fort) by Austrian Empress Maria Teresia (thus the nameTerezin) to guard against a nascent German military threat. The so-called apartments for factory hands were in fact soldiers’ barracks. Ironically, a bulwark against Germany later became a German holocaust facility. / John Pastier – USA (07/18/2009 08:10)

The gift Milan is offering Tel Aviv on its 100th anniversary, a free presentation of Verdi’s Requiem, is of truly breathtaking dimensions, and not only because a monumental masterpiece produced by perhaps the greatest opera house of all times, La Scala of Milan, will be performed under the baton of one of the greatest conductors of our time, Daniel Barenboim. This in itself is noteworthy.

But there is a profound Jewish angle to this production, and it is not at all certain that the creators of the unusual evening in Tel Aviv are acquainted with it, so the gift gains a special poignancy.

Verdi’s Requiem was the greatest musical production of the Holocaust era. It emerged as a form of resistance – no less impressive than any undertaken in the face of the Nazi beast – in the concentration camp of Terezin. Hoping to fool the world with the creation of a “model ghetto,” the Nazis deported the cream of Jewish intelligentsia to Terezin (Theresienstadt), 35 miles from Prague. The sad fact is that, for those who did not die of starvation, dysentery and torture in the camp, it became a one-way funnel to the death factories of Auschwitz and Birkenau. In the course of three and a half years nearly 150,000 Jews passed through this ghetto. Of these, 98,700 later perished in gas chambers; 35,500 died of hunger and disease, 520 fell under Gestapo torture. In all, only 14,000 out of 150,000 inmates survived the war.

Living under constant threat of deportation “to the east” (Auschwitz), surrounded by the stench of death, trampled upon, humiliated and tortured, conductor Raphael Schachter and a group of inmates undertook to prepare a presentation of Verdi’s Requiem, an enormous undertaking under the best of conditions. Barenboim is bringing 180 seasoned performers from La Scala. At Terezin the group that assembled nightly in the basement of one of the barracks after back-breaking work numbered about 150.

Their numbers were continually uncertain because some were snatched without notice for transport “to the east.” Schachter had a single score in hand, and one legless piano. The group had to learn the Latin text of the 90-minute performance by heart. Eventually, by a near miracle, they came on a hoard of musical instruments.

BUT THE technical difficulties were only part of the obstacles. Qualms developed in the camp as to whether this was the right composition to perform under the circumstances. Here they were, Jews exposed to inhuman treatment, doomed to suffering, with the end never far from sight, singing a Catholic hymn to the dead, in Latin, written by an Italian! There seemed to be a bitter irony to it, something bordering on blasphemy. Eventually, however, most of the objectors were made to understand that this Catholic ode to the dead, sung in the voices of Terezin inmates, would become a triumphant paean of Jewish defiance.

When the performance began, with the declaration “Dies Irae – Day of Wrath,” it was understood as a reference to the wrath that would befall the wicked then exercising the power over life and death, rather than the wrath suffered by those whom they put to death. And when the performance ended with the powerful “Libera Me – Free me, Lord, from eternal death, when You come to judge the world by fire,” it was a splendid statement of Jewish faith that no matter what our foes do, we endure in the radiance of our God.

Verdi’s Requiem in Terezin turned out to be, in the words of Murry Sidlin (dean of the Catholic University’s School of Music) “the triumph of the prisoners… the best of mankind conquering the worst of mankind.”

Victor Ullman reveals his personal conviction when he states that “the condemned sang the Requiem for those who condemned them, and their damned Third Reich” (Belated Glosses to Verdi’s Requiem).

The inmates gave 16 performances, some to Gestapo personnel and Wehrmacht officers. A number of the Germans were knowledgeable in music and found it entertaining that the Jews were singing an ode to death when they literally stood on the threshold of eternity. It is reported that Adolph Eichmann roared with laughter when he attended the performance, bellowing: “Jews are tolling their own death knell in a Christian performance!”

It is reported that the concluding verse, the “Libera Me,” which is meant to be sung pianissimo twice, was sung the first time fortissimo, and after a perceptible whistle presumably signaling a deportation train, continued in the expected pianissimo. It is further noted that at one point Schachter slightly changed the score, turning a musical phrase into three staccato and one longer note (perhaps comparable to the opening of Beethoven’s Fifth, ta-ta-ta-taaa), which in Morse code stands for the letter “V,” indicating victory.

The singers and musicians are reported to have looked the Germans defiantly in the eyes without a flicker of fear. Verdi’s Requiem performed in Terezin thus became a triumphant declaration of Jewish immortality in spite of the fires of hell.

It is fitting and proper that the first all-Jewish city in modern times – a symbol of revitalized Israel in its own homeland – continues in the same spirit. Surrounded by enemies, the city of Tel Aviv and the State of Israel shall not flinch.

The writer, author of Politics of Compromise, In the Shadow of the Struggle, and The Islamic State of Pakistan, is the Founder and Director of Shearim Netanya, Israel’s first Russian Outreach Program.

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La Scala comes to Tel Aviv Jun. 9, 2009 / By Jerusalem Post, Maxim Reider
More than 400 artists from La Scala, Milan, will come to Tel Aviv for six performances of Verdi’s Aida in Zeffirelli’s classical production, under chief conductor Daniel Barenboim. The special tour of La Scala, which rarely leaves Italy, is dedicated to Tel Aviv’s 100th anniversary celebrations; it is being made possible by the support of the Italian Embassy as well of that of companies and private donors. The visiting artists will also perform Verdi’s Requiem in an open-air concert at Ganei Yehoshua, followed by a reception. The list of soloists features many of the world’s leading voices, who usually perform with La Scala.
About 900 guests will join the musicians. The delegation includes members of the Israeli Opera Friends Associations from Rome, Milan and London, as well as Milan’s Mayor Letizia Moratti, Ministers Sandro Bondi and Mara Carfagna and La Scala CEO Stephane Lissner. The premiere takes place July 14 at TAPAC in the presence of the President Shimon Peres. The performances run from July 14 to 24, with Barenboim’s young Israeli assistant Omer Wellber leading part of the performances. The concert in Ganei Yehoshua is July 16. For more details and reservations: (03) 692-7777 or .

La Scala de Milán conducida por Daniel Barenboim Jul 9, 2009 / By Aurora (Suscripción), Israel/Spain
“ Aida in Mishka and “ Requiem at the Park Hayarkon
La Scala Milan Conducted by Daniel Barenboim
Author: By Chiquita Levov

During the festivities of the opening of the next twenty-fifth season of the Israeli Opera and the highly festive centennial of Tel Aviv, the municipality, together with the school musical, invited La Scala Milan, the opera world’s most prestigious , which arrives on the scene for only six functions of the work “ Aida”at the Center for the Performing Arts”“ Mishka, home of the Opera.
Also be presented in a huge concert at Park Hayarkon Ganei Iehoshúa in which he interpreted the “ Requiem” by Verdi, 16.7.
Both the prestigious leadership of maestro Daniel Barenboim, which is also a great party music. Both pieces will involve 400 artists: soloists, musicians, singers and dancers accompanied by tons of equipment, costumes and scenery.
The July 16 date will be one to remember as part of the centennial of Tel Aviv, the municipality invites all music lovers in the country to participate in this great festival with Verdi’s “ Requiem”in a gigantic arena located in Hayarkon Park, where a stage will be built identical to the original La Scala in Milan. At the same will be 300 artists, led by soloists Adriana D’Amato, Sonia Genassi, Giuseppe Filinoti and Rene Pope.
Importantly, there is no entrance fee to sit on the grass, but it must be borne in mind that you can buy tickets at different prices ranging from NIS 500 to 1500 to ensure a good vision. There are about 6,000 places to sit. The tickets are more expensive to sit on comfortable upholstered seats and other seats are in but the VIP platform that is very close to the stage.
It is important to note that this is a unique musical experience for lovers of good classical music is not a luxury of living nearby.
Another is to offer tickets priced expensive (high) also includes a reception and dinner before the presentation and a meeting with Daniel Barenboim.
With regard to “ Aida”at La Scala makes scene in Israeli operations, the functions are carried out between 14 and 22 July and will be attended, in addition to the 400 artists on stage, in a group of 900 other celebrity guests, including ministers and mayors, led by the head of Italian Culture Sandro Bondi, minister of Women’s Affairs and the Mayor Mara Garfenia of Milan Leticia Morati.
Will also hundreds of members of the Association of Friends of the Opera of Rome, London and Milan. They will be received and accompanied by President Shimon Peres. This tour will be followed by several activities, including some charities as the performance of Italian artists in the pediatric services and Ijilov Shiba Hospital in Tel Hashomer.

La Scala in Milan is undoubtedly an important world-renowned opera and has a tradition hundreds of years that the festival served to present the most exciting performances of all time and the most important composers. Founded in 1776 under the auspices of the Empress Maria Theresa of Austria and served in that opera was beginning “ Europe”of Salieri in the year 1778.
The building was built by the neoclassical architect Giuseppe Piermarini, and received the name because there was prior of Santa Maria della Scala.
In 1812 it premiered an opera by Rossini, which determined that the program would always be of “ serious”operas of Italian origin. That was until 1920, when the artistic director Arturo Toscanini was that included in the schedule of symphonic concerts and opera composers from other countries.
In the second part of the twentieth century became the home of the greatest singers in the world: Maria Callas, Renata Tebaldi, Mario del Monaco, Luciano Pavarotti, Plácido Domingo and many more.
In 1968 he was musical director Claudio Abado, followed Ricardo Mutti and currently Stephen Lisner, the first non-Italian director of La Scala. In recent years also is on the agenda at premiers holidays Barenboim conducting the opera “ Tristan and Isolde”and very likely that this work was close to the Opera at the Argentine-Israeli conductor.
La Scala Opera puts on stage in Tel Aviv a huge and historic version of “ Aida”created in 1963 by Franco Zeffirelli, who is also responsible for the scenery. The designer is Lila de Nobili and choreographer Vladimir Vasiliev. With the participation of soloists Violeta Urmana in alternating Aída María José Siri and Manon Feubel; Radamés Salvatore Licitra is alternating with Stuart Nelly; Marco and Carlo Spotti Cigni are the king Amneris is interpreted by Luciana D’Intino and Anna Smirnova and Amonasro Jean Pons. Other outstanding soloists are Sae Kyung Rim, Giorgio Presti, Antonello Ceron and Hyng Ki Kim.

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Barenboim dirigirá a La Scala de Milan en Tel Aviv Jul 17, 2009 / By El Universal (México) ‎
La Scala brings Verdi’s Requiem to Tel Aviv – for free Jul 15, 2009 / By Ha’aretz ‎
spectacular Aida comes to Israel Jul 14, 2009 / By Ynetnews – Lloyd Masel ‎

Verdi to be played in the park Jun. 4, 2009 / By Jerusalem Post
Daniel Barenboim will conduct the La Scala di Milano opera orchestra, soloists and choir in a performance of Verdi’s great Requiem at Hayarkon Park in Tel Aviv at 9 p.m. on July 16. The event is part of Tel Aviv’s centennial birthday bash and should be a zinger. The stage will be configured like that of La Scala and capped by an acoustic shell. The soloists are soprano Adriana Damato, mezzo-soprano Sonia Ganassi, tenor Guiseppe Fillianoti – all Italian – and German bass Rene Papé. VIPs get to sit in a special area, nibble on pre- and post-concert edibles and will pay NIS 1,500 for the pleasure. Other tickets are NIS 520 and NIS 660. Sitting on the grass is free. You won’t see a thing, but you’ll hear gloriously.

Tel Aviv prepares for night at the opera Jul 15, 2009 / By Ha’aretz – Haggai Hitron, Noah Kosharek ‎
(…) While lawn admittance is free, there will be paid seating available. A few thousand seats have already been sold, including a number of so-called VIP chairs near the stage at NIS 1,500 each. (…) The concert will be held on a huge open-air stage, with a backdrop replicating La Scala’s famous Milan opera house, and will end with a massive fireworks display. La Scala musicians and singers appeared yesterday afternoon in front of dozens of patients and staff at the Ichilov Hospital in Tel Aviv. The hour-long “light classical” concert included a song in Hebrew. La Scala performed the opera Aida on Tuesday at the Tel Aviv Performing Arts Center, its first show ever in Israel, and the first time it has performed Verdi’s Aida outside of Italy.

A grand exception ‎Jul 13, 2009‎ / By Jerusalem Post, Maxim Reider
La Scala, one of the world’s leading opera companies, is coming to Tel Aviv to present its larger than life version of Verdi’s Aida, staged by Franco Zeffirelli and conducted by La Scala’s chief conductor, Daniel Barenboim. Barenboim will also conduct Verdi’s Requiem in a special open-air concert at Ganei Yehoshua in Tel Aviv.
“It took about four years to bring this project to realization,” said the artistic administrator of the Israeli Opera, Michael Ajzenstadt. “Ambassadors from both sides, as well as the head of the Italian Culture Institute in Tel Aviv – Simonetta della Seta – contributed to it a lot.”
For several reasons, the theater, which only rarely crosses the Italian border, agreed to undertake this tour: “Partly because of special relationship between the two cities, and partly because of the fact that La Scala’s chief conductor is Israeli,” explained Ajzenstadt.
He added that the project was not only expensive, but also extremely challenging in other ways. “This is a very demanding production, and in addition to 400 visiting artists, about 150 Israelis will participate in the show just to make it go smoothly.”
La Scala never travels alone, Ajzenstadt pointed out; it always takes its friends along – those who are not involved in the production. This time, about 900 guests will land in Tel Aviv, in addition to 400 artists.
“Recently, with the help of Prof. Amira Meir, the wife of the Israeli ambassador in Italy, we have inaugurated an Association of Friends of the Israeli Opera in Rome, which will arrive in Tel Aviv, as well as our friends from London and the US.”
Young Israeli maestro Omer Wellber will conduct three of the six performances of Aida.
“This was not planned,” said Ajzenstadt, “but this is what happened. This year, Omer Wellber started working with Barenboim as his assistant in a very intensive way. There is a huge difference between being an assistant and conducting La Scala productions.
“Wellber recently conducted La Gioconda in Padua to great acclaim, and he just received a special prize in Italy as a young and promising conductor for this year. This success has opened many doors for Omer, and since it was obvious that Barenboim would not conduct all the performances of Aida in Tel Aviv, both the Italians and Barenboim himself were happy that it would be Wellber who would conduct the rest of the shows. He runs all the rehearsals and preparations of Aida in Milan anyway.”
Ajzenstadt added: “We hosted many companies in the past, but the current combination of La Scala, Zeffirelli, Barenboim, Aida and Requiem makes the event special. The Italians see this tour as almost an official visit on the state level, with at least one minister and mayor of Milan among the guests. President Shimon Peres will also be present on the opening night.
“Meanwhile, we in the Israeli Opera did not get the proportions of the event – we just hear a lot of Italian instead of Russian in our building; but very soon, when the entire team arrives, we will turn into a branch of La Scala for 10 days – and it is really wonderful.”

Cultura Italiana nel mondo – Israele – La Scala a Tel Aviv: Successo di una collaborazione culturale all’insegna della “Fratellanza” Framillano e Tel Aviv Jul 15, 2009 / By ItaliaLavoroTv ‎
In the middle and ‘AIDA on the tour, which began yesterday with the first to Tele Aviv del Teatro La Scala in Milan, for the centenary of the Foundation of the Israeli city, but the initiative goes far beyond the representation of siapur beautiful masterpiece Verdi conducted by Maestro Daniel Baremboim first (14, 17, July 18) and then Welleber Omer (20, 21, July 22).
The tour was born in Israel after the Mayor of Tel Aviv, Ron Huldai, to propose some shows on the occasion of celebrations marking the 100th anniversary of the city, twinned with Milan since 1997, has the clear objective of developing the cooperation in the field cultural relations of brotherhood between the two cities.
L ‘progress of the six performances of Aida is the historic 1963 and directed by Franco Zeffirelli, sets and costumes by Lila de Nobili.
The first performance of Aida, as part of the social policies of the Municipality of Tel Aviv, was also broadcast live on the big screen in the square dedicated to Yitzhak Rabin, thus allowing the widest possible participation of citizens in the event.
To complete the offer of a full repertoire of Verdi is scheduled for a July 16 performance of the Messa da Requiem, composition historically performed in more complex tours by Scaliger.
The Requiem will be performed outdoors, all’Hayarkon Park in Tel Aviv, there are approximately 10,000 seats, but is expected to participate in at least 60,000 people.
This is the third occasion on which the complex of the Teatro alla Scala will perform in Israel. In 1984 proposals were in Jerusalem three performances of the works of Gioachino Rossini’s La pietra del comparison. In 1999, again in Jerusalem, the complex of La Scala conducted by Riccardo Muti executed the Verdi Messa da Requiem. (15/07/2009-ITL/ITNET)

Cultura Italiana nel mondo – Israele – La Scala a Tel Aviv: Successo di una collaborazione culturale all’insegna della “Fratellanza” Framillano e Tel Aviv Jul 9, 2009 / By Jerusalem Post, Daniella Feldman
La Scala is staging six performances of Verdi’s Aida at the Tel Aviv opera house and one open-air concert of Verdi’s Requiem at Ganei Yehoshua. Three of the Aida performances will be conducted by the up-and-coming Israeli conductor Omer Wellber with the other three performances conducted by famed, Israeli conductor Daniel Barenboim.
Israeli Opera Director Hanna Munitz said that there has been a very good working relationship with La Scala for about 12 years, complete with co-productions and teamwork on various ideas. The upcoming performances have been in the works for the past four years, when the two opera houses decided they wanted to celebrate Tel Aviv and perform for the city’s 100 year anniversary.
The mayors of both Tel Aviv and Milan met to discuss the project, Munitz said. She expressed great excitement for the performances and is expecting many famous faces at the shows, calling it the biggest event the Israeli Opera has ever hosted.
There are almost 400 performers coming from Milan, including Violeta Urmana and Maria Jose Siri who will be starring as Aida.
The Requiem performance, which will be held on July 16 at 9 p.m., will be especially unique, Munitz said.
“We wanted to do this as a gift to the city of Tel Aviv and enable people from all over the country to attend,” she said. Only a small number of the tickets were for sale, but the rest are given out to residents for free. Many buses are coming from around the country just to this special performance.
Not only are the performances a celebration of Tel Aviv, but the July 22 performance will also be honoring National Egypt Day and marking the first performance of Aida in Cairo in 1871.
La Scala performs in Israel between July 14-22. For more information visit or call (03) 692-7777.

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