\u201cThey say Dylan Thomas used to tell his actors: love the words, Hanoch Levin doesn\u2019t have to tell us, we love the words,\u201d said Omri Nitzan, at a press conference introducing the Israeli Opera\u2019s production of \u201cThe Child Dreams\u201d based on the play by Hanoch Levin, directed by Nitzan with music composed by Gil Shohat and conducted by the Opera\u2019s Artistic Director, David Stern. The first of Levin\u2019s plays to be produced as an opera, those familiar with the minimalist, cynical ambiance of Levin\u2019s works may wonder at this translation into a mode known for its lush extravagance of sound, visual expression and drama, it is also important to remember the close connection to music and song throughout Levin\u2019s work. As Nitzan puts it, \u201cThe play is written as if it were meant to be sung.\u201d<\/p>\n
The world premiere of \u201cThe Child Dreams\u201d will take place on January 18, 2010, celebrating the Israeli Opera\u2019s 25th season. The Opera\u2019s General Director, Hannah Munitz expressed her affinity for Levin\u2019s writing saying, \u201cWe come from the same background, a generation born to people whose lives were cut disrupted, for whom survival became the greatest achievement, their most important work \u2013 us, the next generation. Our task was to create a new world.\u201d<\/p>\n
Born in 1943, this year marks the 10th anniversary of Hanoch Levin\u2019s death. Playwright, director and poet, he wrote plays, sketches, songs, short stories and poetry. His was a very personal dramatic language in which his poetic writing merged with the images he created through the actors, costume, lighting and set design, music and choreography for his works. Levin wrote 62 plays, cabarets and reviews, of which 41 have been produced.<\/p>\n
\u201cThe Child Dreams,\u201d premiered in 1993 as a co-production of Habima National Theatre, Haifa Theatre and the Israel Festival, directed by Levin. In the current adaptation to an opera, Nitzan and Shohat did not add a word to the libretto (which has been approved by Prof. Nurit Yaari) that is not in Levin\u2019s original text. The play describes an allegorical journey of refugees who are rejected from every shore, travelling in search of sanctuary. Levin was inspired by Stuart Rosenberg\u2019s 1976 film \u201cVoyage of the Damned.\u201d The film is based on the true story of the MS St. Louis, which carried Jews from Hamburg to Cuba in 1939. Refused entry to Cuba and the United States, the ship had no alternative but to return with its passengers to Europe.<\/p>\n
Says director Nitzan, \u201cThe entire play is a metaphor for our time: the events of the past century, and the journey of life itself. Levin\u2019s writing is very clear, original, devoid of illusions, sometimes cruel. Shohat is a contemporary composer who is not afraid of being melodic. Gil\u2019s music introduces emotional elements into Levin\u2019s clear vision.\u201d<\/p>\n
Composer Shohat said of the play, \u201cIt is a story of refugees, love hate murder, brutal sexuality \u2013 there are so many levels of meaning, and the music adds another multi-layer element. It is an ensemble opera. There is a Greek chorus of 9 voices, each different, creating a panorama of sound. I spent many hours alone at the piano writing the music, then turning four hours of music into a two hour opera. I write with a pen, I don\u2019t have a computer or keyboard, just a grand piano and a pen. This is the most exciting moment for a composer \u2013 seeing the musicians encounter the work and become partners in the realization of your dreams. I approached this work with humility with the image of Hanoch Levin before me. I met with him not long before his death and he gave his blessing to this undertaking. I feel privileged to present a play by Hanoch Levin at the Israeli Opera.\u201d<\/p>\n
The intended set and costume design promises to be visually exciting, created by Austrian artist Gottfried Hellenwein who explores social and political issues in his artwork through the image of wounded children. In a videotaped statement, Hellenwein said, \u201cThe role of the artist is not to allow people to forget.\u201d He recounted that in speaking to people about the Holocaust he found that \u201cviolence against children was not a problem for them, but an innocent image; a tiny watercolor would upset them. I see myself in the tradition of Goya painting \u201cThe Disasters of War\u201d \u2013 he knew people would forget.\u201d When Hellenwein was approached by the Israeli Opera to create the design for \u201cThe Child Dreams\u201d he felt that it was \u201cunbelievable how much Hanoch Levin described what I wanted to paint.\u201d<\/p>\n
Martin Weyl, Director of the Beracha Foundation which provided support for this production, introduced a different perspective, saying, \u201cI apologize for disrupting the poetic mood to talk about financial support. There is a question whether providing financial support to an artistic endeavor is helpful or not. I regard that as an open question for which I still have not found an answer. We wanted to see if we could encourage an original Israeli production by providing massive support.\u201d The foundation previously supported the Beit Lessin production of \u201cZur and Jerusalem.\u201d After the success of that project, the foundation sought help from Culture Authority Head Tzah Granit in finding an appropriate work to support, and Granit created the connection with Hannah Munitz.<\/p>\n
Nitzan shared an intimate moment with the audience, reading aloud from a fax he had received years ago from Levin, when both were about to begin rehearsing new plays: \u201cbefore beginning rehearsals a new and terrible fear creeps in \u2026you are my partner in this and the time to tremble has arrived.\u00a0 May we have a pleasant tremor.\u201d<\/p>\n
The Child Dreams
\nIsrael Opera \u2013 Tel Aviv Performing Arts Center (TAPAC)
\n19 Shaul HaMelech Blvd.<\/p>\n
Towards Opening
\nSaturday, January 16 at 11:00
\nA selection of songs from \u201cThe Child Dreams\u201d and discussion with some of the soloists and creators of the opera, presented by Michael Eisenstadt<\/p>\n
Before the Show \u2013 back stage tours an hour before the performance
\nJanuary 20, 23 and 25\u00a0 at 19:00<\/p>\n
Opera Talkback
\nPost-performance discussions with selected participants in the opera
\nJanuary 20, 22, 23 and 25<\/p>\n
Pre-Show Lecture
\nThere will be an introductory lecture one hour preceding each performance.<\/p>\n
Performances:
\nJanuary 18, 20, 23 and 25 at 20:00
\nJanuary 22 at 13:00<\/p>\n