1. WHEN CHAIRS REVOLT
Ronen Sharabani turns digital imagery right into a visceral spatial expertise, remodeling the Tel Aviv Museum of Artwork’s grand entrance right into a shifting architectural panorama. In his new site-specific work Connections, Sharabani invitations guests to make use of their cellular gadgets to “throw” digital threads onto an enormous display, making an attempt to stabilize chairs, a recurring motif in his work, and an emblem of human presence and fragility.
As participation intensifies, 5 AI-powered robots be a part of the motion, first aiding, then regularly competing for dominance and narrative management. What begins as collaboration slips into disruption, blurring the boundary between person company and machine autonomy.
A part of the Entrance Display venture, the set up probes the uneasy second when know-how shifts from a useful software into an unbiased pressure with its personal urge for food for energy.
Ongoing till April 25. Tel Aviv Museum of Artwork, Paul and Herta Amir Constructing. www.tamuseum.org.il
2. BLINDNESS, BY CHOICE
The Israeli Opera presents a brand new manufacturing of Iolanta, Tchaikovsky’s most intimate operatic work that’s lastly making its Israeli stage debut. Directed by Shirit Lee Weiss and carried out by Dan Ettinger, the opera tells the story of a blind princess whose father has hid her situation since childhood, believing ignorance to be a type of safety.
Final performances: January 23 at 1 p.m.; January 24 at 8 p.m.; January 26 and 28 at 6 p.m. The Shlomo Lahat Opera Home, Tel Aviv. www.israel-opera.co.il/present/iolanta
3. AMERICA, IMAGINED
What does “American music” really sound like? This Israel Philharmonic program approaches the query as each a geographical and an emotional journey. Below the baton of Roberto Forés Veses, with violinist Vadim Gluzman as soloist, the night brings collectively composers who formed the American sound from markedly totally different views.
Shulamit Ran’s “Chicago Skyline” opens with city rigidity and architectural boldness. Leonard Bernstein’s “Serenade,” impressed by Plato’s Symposium, turns inward, philosophical, and looking. Aaron Copland’s “Appalachian Spring” follows with open horizons and pastoral optimism, earlier than Gershwin’s “An American in Paris” closes the arc in a swirl of jazz-inflected vitality.
January 23 at 11 a.m.; January 24 and 25 at 8 p.m., Charles Bronfman Auditorium, Tel Aviv; January 27 at 8 p.m., Haifa Auditorium. www.ipo.co.il
4. DIRTY MUSIC, NO APOLOGIES
The Italian ensemble Sticky Bones brings the uncooked, unvarnished spirit of early American jazz to the native stage. Drawing on blues and jazz traditions from the 1900s by way of the Nineteen Thirties, the group recreates the sounds of speakeasies, Vaudeville halls, and late-night barrelhouse golf equipment.
Led by vocalist Irina Arozarena and that includes an acoustic lineup that features banjo and tuba, the ensemble channels the tough textures of King Oliver and Fat Waller with out sharpening away their grit.
January 23 at 9 p.m., Tel Aviv Museum of Artwork. January 24 at 9 p.m., Abba Hushi Home, Haifa. shamayim.smarticket.co.il
5. MUSIC AFTER ERASURE
Czech virtuoso Pavel Sporcl, identified for his signature blue violin, returns to Israel for a poignant live performance to mark Worldwide Holocaust Remembrance Day 2026. As a part of the Into the Mild venture, which resurrects forgotten works from archives all over the world, Sporcl joins Israeli pianist Michael Zartsekel in restoring silenced voices to the stage.
Works by Viktor Ullmann, Gideon Klein, and Erwin Schulhoff, composers murdered by the Nazi regime, are positioned alongside music by Dvorák and Smetana, figures who formed the nationwide sound that after nurtured them. The night seeks not solely to memorialize loss however to reclaim inventive identification and continuity by way of sound.
January 26 at 8 p.m., Israel Conservatory of Music, Tel Aviv.
www.magnificent-jewish-music.com
6. WANDS WELCOME
The Israel Sinfonietta invitations younger audiences right into a theatrical musical encounter the place Harry Potter brushes shoulders with Mozart and Beethoven.
“The Magic Baton” blends acquainted movie melodies with mild classical works, in a format designed to spark curiosity somewhat than instruction. Youngsters create glowing magic wands forward of the efficiency, finally turning into a part of the spectacle themselves.
January 27 at 5:30 p.m., Tamuz Corridor, Beersheba Performing Arts Heart. isb7.co.il
7. MEMORY, WITHOUT MERCY
Rami Be’er’s Aide Mémoire returns to the stage in a robust revival by the Kibbutz Modern Dance Firm. Created in 1994, the work has change into a cornerstone of Israeli up to date dance, confronting the legacy of the Holocaust by way of the embodied reminiscence of a second-generation survivor.
Avoiding narrative or historic reconstruction, Be’er shapes a stark, common motion language that speaks to trauma, endurance, and the persistent eager for human connection. After a whole lot of performances worldwide, the work stays unsettling, pressing, and painfully related.
January 27 at 8 p.m., Zichri Corridor, Ga’aton. January 31, February 1, and a pair of at 8 p.m., Israeli Opera, Tel Aviv. February 16 at 8 p.m., Rehovot Cultural Heart. February 26 at 8 p.m., Sherover Auditorium, Jerusalem Theatre. www.kcdc.co.il
8. WHEN POETS TESTIFY
Marking 80 years for the reason that Nuremberg Trials, Anu, Museum of the Jewish Folks hosts a particular night on the testimony of Yiddish poet Abraham Sutzkever. This system brings collectively former Supreme Court docket president Aharon Barak and theater supervisor Noam Semel for a dialog on the ethical weight of witnessing, accompanied by theatrical excerpts from The Witness.
January 27 at 8 p.m., Anu, Museum of the Jewish Folks, Tel Aviv.
www.anumuseum.org.il
9. THE FIELD, REOPENED
Ohad Naharin’s Sadeh21 returns to the Batsheva Dance Firm’s repertoire after a six-year absence. Constructed as a sequence of distinct motion “fields,” the work distills Naharin’s Gaga language into an intense bodily dialogue pushed by precision, repetition, and uncooked presence.
Set to a soundtrack that strikes from Pachelbel to industrial digital music, and devoted to motion pioneer Noa Eshkol, the piece stays a masterclass in managed vitality and collective focus.
January 27, 28, and 31. January 30 (matinée), Suzanne Dellal Centre, Tel Aviv. www.batsheva.co.il
10. AFTER CALLAS, THE ECHO
The parable of opera diva Maria Callas returns to the live performance corridor in “The Voice of Maria,” a tribute tour carried out by Constantine Orbelian that sidesteps easy nostalgia. Carried out by the Israel Sinfonietta Beer Sheva, this system revisits the high-stakes repertoire perpetually related to “La Divina,” that includes rising soprano Diana Skavronskaya and seasoned tenor Berj Karazian.
Highlights from Bellini’s Norma, Bizet’s Carmen, and Puccini’s La Bohème unfold alongside works by Rossini and Dvorák, tracing the staggering emotional and vocal vary that outlined Callas’s legacy.
Skavronskaya, a current award-winner in San Francisco, and Karazian, who has graced phases from Carnegie Corridor to the Dubai Opera, carry up to date technical brilliance to those traditional scores. Quite than a mere imitation, the night presents a contemporary interpretation, permitting these vibrant new voices to inhabit an operatic shadow that also graces the worldwide stage.
January 29 at 7:30 p.m., Henry Crown Auditorium, Jerusalem Theatre. January 31 at 8:30 p.m., Beersheba Performing Arts Heart. February 2 at 7:30 p.m., Edith Corridor, Kiryat Gat. isb7.co.il
