Operas tend to comprise a heady mix of unabashedly sensitizing elements designed to get our juices well and truly going, and draw us in to the onstage action. But, as Mikhail Segelman notes, Rimsky-Korsakov’s The Tsar’s Bride has an extra contrary – possibly oxymoronic – element that is more than likely to up the interest of the audience at the Israel Opera House in Tel Aviv between May 8-19.
Segelman holds the post of literary manager of the Kolobov Novaya Opera Theatre of Moscow, which will present its reading of the Rimsky-Korsakov work here for the first time. Segelman actually has quite a few feathers in his professional hat, including music historian, critic, pianist, educator and concert manager. As such, he is ideally placed to proffer his take on the opera’s subtext.