Mozart’s Marriage of Figaro was celebrated not at the Opera House, but in the courtyard of Acre’s medieval fortress.
After Masada, this location continued the Israeli Opera’s current obsessive trend of performing at monumental historical sites. The grandiose edifice did not dwarf the performance, though, simply thanks to the night’s darkness that mercifully hid it from view.
Itai Tiran’s direction and Tal Shaham’s sets were a veritable stroke of genius. Abstract modular elements that could be shifted around according to need served as triggers, suggestively leaving much to the imagination. However, shadows projected on the backstage screen were effective mainly to divert the audience’s attention from the main action.