Silent Night: inspired and user friendly from Seen and Heard International

November 4, 2014

Wexford commissioned a new production by Israeli director Tomer Zvulun, whose work is excellent. He narrates the story well, starting with the presentation of the characters in the prologue. The trenches are offered vertically in three heights which convey perfectly the difficulty of living in that small space... The stage direction is meticulous in every detail, reflecting Mr. Zvulun’s great knowledge of opera. Strong emotion is present throughout the opera, and the stage direction was an excellent vehicle for it.


A powerful and attractive new production defined by moments of shimmery, cinematic fantasy. from Atlanta Journal Constitution

November 11, 2014

A powerful and attractive new production defined by moments of shimmery, cinematic fantasy mixed with genuine pathos that are pure Puccini all the way through.
In the hands of the fine cast and under the direction of the company’s new General and Artistic Director Tomer Zvulun, this is opera that’s easy to love.

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New Orleans Opera's 'Dead Man Walking' a provocative tragedy from The Times Picayune NOLA

March 5, 2016

The current production, directed by Tomer Zvulun, proves why Heggie's work is considered a 21st century masterpiece.


Soldier Songs offers powerful meaningful message about war from ArtsATL

November 13, 2015

This southeastern premiere of Soldier Songs — again, in a brand new production — proved a powerful statement, especially and not coincidentally performed as it was on Veterans Day. 


Wexford Opera Silent Night: Zvulun achieved a semblance of spontaneity rare in opera from OPERA NEWS

November 2, 2014

Wexford’s prestige offering of the season was the European premiere of Kevin Puts and Mark Campbell’s Silent Night....With Erhard Rom’s striking three-tier set design, Zvulun achieved a semblance of spontaneity rare in opera


A double bill of amorous and avaricious lust at Juilliard. from New York Times

April 28, 2011

The director Tomer Zvulun filtered the action of Puccini’s comedy through a Felliniesque lens that evoked the quirky and tempestuous families of films like “Amarcord,” updating the setting of “Gianni Schicchi” from the late 1200s to the 1970s with colorful period outfits by Vita Tzykun. The witty, fast-paced staging opened with the greedy relatives of the elderly Buoso Donati gathered around a football game on television. The comic timing of the cast members was commendable as they accentuated the amusingly grotesque flaws of their characters without resorting to mere caricature.

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At Seattle Opera, a must-see ‘La Bohème’ from The Seattle Times

February 25, 2013

“La Bohème” is one of the major triumphs in Speight Jenkins’ three-decade tenure as general director of Seattle Opera. it is rich in fine acting and singing, perceptive directing and zestful orchestration, writes reviewer Bernard Jacobson.

The production opened on Saturday, directed by Tomer Zvulun and conducted by Carlo Montanaro with flair and perceptivity in equal measure, persuaded me that the work is not merely immensely popular but a much greater opera than I have previously thought.
From the dramatic point of view, Zvulun’s deployment of his two casts threw new light on the humanity of the piece.


Seattle Times Review for Lucia from Seattle Times

October 18, 2012

Israeli stage director Tomer Zvulun's debut production for the company was a practically unalloyed triumph...

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Seattle Opera’s ‘La Boheme’ Has It All from Oregon Music News

February 25, 2013

This unforced and guileless interpretation of one of opera's most beloved classics gave, for want of a better phrase, everything one could want from this opera. ... The sets were presented with such attention to detail, and the subtlety and thoughtfulness that went into lighting techniques were such that they almost seemed a character of their own.  Director Tomer Zvulun's rendering of Puccini's poignant masterpiece, as well as the exquisite work done by Carlo Montanaro and the orchestra, are a reminder of how fresh and invigorating this work can still be.


Opera News' Atlanta Opera Lucia di Lammermoor from Opera News

November 12, 2011

Stage director Tomer Zvulun brought his signature cinematic vision to Atlanta Opera's 2011–12 season opener, Lucia di Lammermoor (seen Nov. 12), working in a style reminiscent of his 2009 AO production of Der Fliegende Holländer. Lighting designer Robert Wierzel and projection designer Ruppert Bohle gave us spooky, oversized shadows, craggy trees and a foreboding ambiance from the start, abetted by imposing stone walls and tombstones, designed by Erhard Rom.


Mozart’s ‘The Magic Flute’ from Indiana Public Media

November 16, 2009

The IU Opera theatre's production of Mozart’s “The Magic Flute,” Die Zauberflote is a wonderfully colorful evening of cleverness, wit and whimsy that doesn’t sacrifice a note of the music, the weighty messages that the Masonic Mozart include, or the humanity of his characters. The new sets and costumes from David Higgins vary from the spectacular to the simple with lots of clever little variations. His costumes use a variety of color palettes, styles and textures to separate the characters and the groups clearly just as Mozart varied music does. Throughout “The Magic Flute” stage director Tomer Zvulun has worked to see that the characters aren’t just stick figures who sing. There were nice little personal touches. The prince feels challenged and has his doubts. The bird catcher is a comic, but one with all too human concerns. The Queen of the Night is perhaps a misguided villainess, but she’s also a caring mother. There was plenty of action throughout. At the same time, Zvulun didn’t hesitate to stage a quintet with all five of the singers lined right up across the stage in a formal array. One of the highlights of this production is the bird and animal puppets created by Lisa Sturz. They are wonderful whimsical creations and some of the best acting in the show comes from the feathered folk. They fly about, comment on the action, bill, coo, scrap and even eat out of the bird catcher’s hand. Later the menagerie is expanded with a giraffe, a kinkajou and just the cutest little porcupine that you can imagine. Parents or grand parents who’re looking for a first opera for a child might want to think about the first act of “The Magic Flute” as a wonderful introduction. The singing is in German, but the dialog and most of the humor is in English, it’s very active and the puppets are great. Adults will want to stay for the second act.


"Opera Cleveland presents a winning new Lucia di Lammermoor" from The Plain Dealer

May 21, 2010

REVIEW Opera Cleveland To open its 2010-2011 season, the company has created a "Lucia" that is smart, compelling and stylish both in musical and theatrical terms. The action has been moved from the 18th century to the 1930s. Lucia's family is part of a crime syndicate that seeks survival by marrying the girl off to a member of another underworld group. Fiddling with matters of time and locale can wreak havoc on operatic coherence, but stage director Tomer Zvulun has come up with a through-line that adds emotional resonance without distracting from the musical focus. The gang motif adds layers of dread to a tale already oozing with violence. Projections of ominous clouds, silvery trees, newspaper clippings and story texts rub shoulders with the ghost of a bride who emerges to give Lucia the willies. It's a vividly atmospheric production played out on Erhard Rom's towering unit set of stone walls and doors and lighted by Robert Wierzel for maximum psychological effect. Next up for Opera Cleveland in September is Bizet's "The Pearl Fishers," a work that needs extra-special handling to reveal its best attributes. On the basis of the company's winning "Lucia," Bizet should thrive.

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Seattle Opera puts on lovely, heartbreaking "La Boheme" from The Herald

February 25, 2013

Seattle Opera Puts On Lovely, Heartbreaking La Bohème
Suited for new audiences, The second act brings late 19th-century Paris to life in a street scene that includes a juggler, a parade, and a terrific chorus. Act three's 25-minute showfall makes us wish, along with Mimì, that winter would never end. ... The cast, along with conductor Carlo Montanaro and stage director Tomer Zvulun, were received in one of the most rousing ovations I've seen.