Stefano Poda conquers direction, choreography, set, lighting and costume design when translating his operatic interpretations to the stage. The Italian virtuoso has already mastered Wagner, Puccini, and Verdi worldwide, and now, he's finally pairing up with the Israeli Opera for a special coproduction of Goethe's Faust. We went backstage with the man behind the magic to find out more about the dramatic performance on stage this month.
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From Andrea Chenierin Seoul to Othello in Budapest, you're quite well-traveled. Do you have a favorite place in which you have directed?
Not at all. It’s like being a mother. Your last child is always your favorite. In Opera, your very last creature is the one you love the most.
Have you directed in Israel before?
This is my first time here and I already feel a beautiful energy.
Do you play any instruments?
I'm not a musician, but have listened to music my whole life. The Magic Flute was my lullaby. I believe that music is the soul of a person. There can be no body without a soul, so my relationship with the conductor is vital.
And how was working with conductor Dan Ettinger?
Incredible. Our chemistry was good from the moment we met. I am uniquely responsible for taking five individual aspects (direction, choreography, aesthetics, lighting & costume design) and creating a synthesis in the final product. Dan immediately understood this cohesion and translated it to his music.
It's brave to take on so much of the production. Can you speak more to that?
For the contract, I am in charge of everything save the music. It sounds like a lot to take on, but when I close my eyes and open my ears, I picture the Opera in its entirety.
Is any single element most essential for you?
It's very difficult to concretely say what takes priority. Like life, they're all important. If I had to choose, I'd say that what corresponds most to the opera's soul is the lighting because light alone can follow the musical line. But, like I said, the music is the summation of these experiences.
During this process, do you ever have times – for instance during rehearsal – where your vision changes?
Listen, when I first shut my eyes and experience the music, I see a film. The reality will always be somewhat different, but what remains stable is my first idea, it's always my best. When I face obstacles, I remind myself that intuition is fundamental. I return to this first idea again and again...this actually ties into the themes of Faust.
How so?
Strictly speaking, Faust is the story of a man who's constantly running. The faster he runs, the quicker he returns full circle, almost like a hamster wheel – which was actually my first idea for this opera.
And how does this image tie into the set design?
Through the circular set piece taking up most of the stage. People ask me, "Why the ring?" Of course, it's the pact between the devil and Faust, but it means so much more. It signifies this repetitive hamster wheel life we lead, our constant running after vanity, which is why the cast interacts constantly with the ring as it transforms from Marguerite's garden to the church to a prison. Goethe ends his work on the sentence: "I spend all my life running", forcing us to question if everything in life is useless.
Describe the costume design process?
Honestly, I could write a book. The process is a journey. In terms of appearance, the costumes may look contemporary, but they bring with them history from the epoch of the pieces. It’s a travel in material, fabric, design to discover what history you need to preserve in the costume and what is expendable.
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How do the costumes differ from your other Faust productions?
Much like every aspect of this third production, the costumes adhere to the idea of refinement. We took French, Italian, European, Persian influences from the past and applied a clean, refined philosophy to them. We go from labels like Dolce & Gabbana and Prada and simplify until there is nothing but white fabric.
Why the bold red fabrics? Especially in contrast to these simple white shades?
Red is the color of vanity. Not the intention to be beautiful, rather what is vain, useless, empty. This production is full of vanity, right down to the women of act II obsessed with collecting red shoes. This vanity is cast into the ring, so for me, the bold red costumes are a symbol of this nothingness.
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Which fabrics are you using in Faust?
A lot. From velvet to faille de soie – a symbol of the 18th/19th century. The faille is very expensive, but necessary due to its peculiarity. Today, we no longer use it, so it really ties the two epochs together: past and present.
Where are your costumes made?
In Italy, always. I need my costume makers. I have my preference for fabrics and they are the best. For instance, they'll track down precious fabrics coming from ancient umbrellas from Persia when I ask, which is important for me because these small pieces bring power to the stage even if only in small patches.
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What other creative spins have you taken?
This is our third time producing this Opera. This third one is cleaner, more refined. As I'm sure the fourth will be, and fifth, sixth...each is a new start. And the positive energy from Israel is opening up my mind for the future.
What is your greatest challenge?
To seduce the public. Faust is well known. My challenge is to approach a common story and exploit it in a way that forces them to discover something new. I want the audience to leave their rationalities behind and open up their spirits to the experience. The stone ring, the Persian umbrellas, the finale lighting, these are all just vibrations of energy that contribute to what's really vital.
Any final words for our readers?
When you come to Faust, I hope you can become more than just a spectator of the Opera, but an (intro)spectator of yourselves. I want the stage to be a mirror to the soul. With less focus on religion in the contemporary world, my goal is to open up the theater to the spiritual realm; a place to confront our anxieties face on and carry what we've learnt into our everyday lives.
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Faust runs through the month of March with English and Hebrew subtitles.
The Israeli Opera, 19 Shaul Hamelech St, Tel Aviv (03-6927777/ israel-opera.co.il)