Live music at JSA party

The Brock House Society Big Band performs after the Jewish Seniors Alliance AGM Oct. 26. (photo from JSA)

The Brock House Society Big Band will take part in the festivities that follow the Jewish Seniors Alliance’s annual general meeting Oct. 26, 2 p.m., at Beth Israel Synagogue.

JSA is celebrating its 20th anniversary. For the last 20 years, the organization, founded by Serge Haber, has served the Jewish and general communities through its education, advocacy and peer support programs.

The Oct. 26 AGM will consist of committee reports and the election of board members, and the birthday party/reception that follows at 3 p.m. will feature live music by the Brock House Society Big Band, balloons and loot bags. There will be a late, light lunch catered by Nava, at the cost of $36/person.

The Brock House band is an 18-piece ensemble that plays a wide variety of jazz and popular music. Their repertoire includes classic tunes from Count Basie, Duke Ellington and others, Latin and jazz standards and big band arrangements of contemporary popular music.

To register, call 604-732-1555 or email [email protected].

– Courtesy Jewish Seniors Alliance

Survivors a cautionary tale

On Oct. 29 at the Phoenix Theatre in Victoria, there will be a one-night-only performance of Wendy Kout’s play Survivors, which is touring schools this month. (photo by Peter Nadler)

In light of the success of last year’s pilot tour, the educational play Survivors is touring middle and secondary schools throughout Vancouver Island this month. And, with the support of the University of Victoria, there will be one public performance of the play this month: at the Phoenix Theatre, Oct. 29, 2 p.m. Last year’s public shows sold out.

Following the mistaken honouring in Parliament recently of Ukrainian-Canadian Yaroslav Hunka, who fought in a Nazi unit during the Holocaust, there should no longer be any doubt about the ignorance of the history of the Holocaust. This conclusion is further supported by the existence of monuments in Canada that honour Nazi veterans who were members of the Galicia division of the SS in Ukraine. Furthermore, Canada’s Governor General Mary Simon has apologized for the Order of Canada given to Peter Savaryn in 1987. Savaryn was chancellor of the University of Alberta and president of the Progressive Conservative Party of Alberta in the 1980s – he also served with the Waffen-SS, a voluntary Nazi unit in Ukraine during the Second World War.

A 2019 study done by the Azrieli Foundation, Yad Vashem, the United States Holocaust Memorial Museum and the Claims Conference revealed Canadians’ lack of knowledge of this period in history. For example: 62% of millennials did not know that six million Jews were killed in the Holocaust and 22% of millennials hadn’t heard or were not sure if they had heard of the Holocaust. Nearly one-quarter of all Canadians believe that substantially fewer than six million Jews were killed (two million or fewer) during the Holocaust.

History shows that when it comes to racist attacks and xenophobia, Jews are often the “canary in the coal mine.” Holocaust awareness and education could not be more timely or important. “We’re not just telling history,” said Survivors playwright Wendy Kout. “We’re telling history as a cautionary tale for the present and the future.”

Survivors explores hatred, the capacity to survive and thrive, and serves as a call to consciousness of the present challenges. Combining history with life lessons, the audience is guided through a time when hatred was normalized. The audience is both uplifted by the survivors’ triumphs and inspired to take action against present and future racism.

The play tells a chronological history of the Holocaust through the personal prism of experience, interweaving the stories of 10 Holocaust survivors, four of whom were still alive when the play premièred in New York in 2018. Though each has a unique story, all the survivors “went through this horror and came through the other side to build meaningful, contributing, beautiful lives,” said playwright Wendy Kout.

The Victoria production of Survivors will be touring throughout the four Western provinces for the next few years. For more about those tours and the organizations collaborating on them, visit jewishindependent.ca/theatre-that-educates and holocausttheatre.com. For tickets to the Oct. 29 matinée at Phoenix Theatre, go to eventbrite.ca.

– Courtesy Victoria Theatre Productions

The Debaters special edition

The special Chutzpah! Festival edition of The Debators will be moderated by Kate Davis. (photo from Chutzpah!)

This year’s Chutzpah! Festival opens with a bold question: “The Ten Commandments. Holy Moses, is it time for some new ones?” And the audience at the Rothstein Theatre Nov. 2 will be the ones to decide which comedian answers the question best at the special festival edition of The Debaters.

“As holder of stage rights for The Debaters comedy format, I have been presenting non-CBC stage productions for awhile, all with radio host Steve Patterson as moderator. These have been very successful, but I’ve also been keen to produce stage versions for specific audiences in different communities,” show creator Richard Side told the Independent. “This Chutzpah! Festival is the perfect opportunity to do that with a cast of comedians and a debate topic that will really connect with the audience and with [artistic managing director] Jessica Gutteridge’s vision for the fest.”

Debating the topic at the Rothstein Theatre will be comedians Jacob Samuel and Charlie Demers, and comedian Kate Davis will act as moderator. But the event won’t just be about making jokes.

photo - Charlie Demers
Charlie Demers (photo from Chutzpah!)

Demers, a Debaters regular, shared “his bona fides for this event” with Side: “I was team captain of the Canadian delegation to the World Schools Debating Championships in Jerusalem in 1998; you can also say that I am a novice Anglican Third Order Franciscan.”

“The 3rd order Franciscan movement,” explained Side, “is a group that includes religious and lay people who try to emulate the life of St. Francis of Assisi…. As for how it relates to the topic of the Ten Commandments – [Demers] is arguing that the 10 commandments do not need revising so, along with the jokes, I am sure he will have some heartfelt points as well. And that is why I thought him ideal for a comedy debate that was not going to just ‘roast’ the commandments but also might have some insight in it, too. Facts and funny is what The Debaters is all about, laughs – and logic.”

Samuel, who is Jewish, is on the other side of the argument. First appearing on the CBC radio show about six years ago, he told the Independent: “Preparing for The Debaters is always a combination of excitement, stress and wracking my brains on how to squeeze jokes out of a given topic. I do a lot of brainstorming, writing and rewriting, and pacing around going over my arguments out loud. For the Chutzpah! show I’ll be preparing as I always do. However, I am doing maybe a bit more research than I would normally do to try to be as accurate as possible when it comes to the Torah and Jewish beliefs. I think it’s fair to say that this audience may be a bit more knowledgeable about Judaism than the average crowd.”

photo - Jacob Samuel
Jacob Samuel (photo from Chutzpah!)

Jewish Independent readers will be quite familiar with Samuel, whose one-panel cartoons the paper has published and whose comedy career the paper has followed.

“I think the last time I was in the Jewish Independent,” he said, “it was to promote the recording of my debut comedy album in late 2019 (what a time that was!). Well, it turns out, I won a Juno Award for that very album in 2021. I also got married and now have a mini Bernedoodle named Mendl who, to me, is also Jewish (he’s loud, anxious and has a very sensitive stomach).”

Samuel has learned a lot since his first time on The Debaters, which was at the 2017 Winnipeg Comedy Festival. “The debate was about emojis,” he said. “I thought it would be really subversive and clever if I held up giant emoji printouts for my closing argument – not the greatest idea for an audio-only show but, hey, it was my first time on radio. Luckily, they had me back and enough times that I often lose count.”

Davis, a member of the Toronto Jewish community, is also a Debaters veteran.

“My first Debaters,” she said, “was in 2007 in London, Ont. – ‘Should dads be in the delivery room?’ Of course, I was for this, as dads are the ones who got us into this mess in the first place.”

For Davis, being a mom is not just part of her private life, she incorporates it into her writing and gives parenting workshops, too, as well as talks on various related, and unrelated, topics.

“I love performing comedy and my speaking is my comedy and everything I believe in,” she said. “Over the years, I have created four different keynotes on work/life balance, connectivity, mindfulness and mental resilience, all of which I hope contribute to a healthier, happier life. Whether I am writing my comedy, books, scripts or a keynote, I find being multifaceted is like going to the gym – you don’t just work out your arms. Each one contributes to each other. I might write an article and think that’s a great joke and try that in my standup.”

Davis said she is “super-excited to be moderator for The Debaters – Chutzpah! Edition” that stars Demers and Samuel.

“I know what great comics they are and, honestly, I think moderating is being a great listener and keeping things going. But, let’s be honest,” she said. “I am pretty excited for the puns!!! Also, to prepare, I will be eating as many matzo balls as I can.”

For tickets to the The Debaters – Chutzpah! Edition (which is not a CBC-affiliated production and won’t be recorded for broadcast), visit chutzpahfestival.com. A portion of ticket sales will benefit the Jewish Community Centre of Greater Vancouver’s inclusion programs.

A voice to Lithuania’s victims

Grant Gochin in J’Accuse!, which can be screened online as part of the South African Film Festival Nov. 2-12. (screenshot)

The award-winning film J’Accuse! is about the alliance between Grant Gochin, a Jewish activist for Lithuanian Holocaust truth, and Silvia Foti, the author of Storm in the Land of Rain, which reveals that her grandfather – Jonas Noreika – operated as a Nazi collaborator who ordered the massacre of thousands of Lithuania’s Jews. However, Lithuania continues to view Noreika as a freedom fighter because he fought against the Communists.

J’Accuse!, by filmmaker Michael Kretzmer, screens as part of the South African Film Festival, which runs Nov. 2-12, presenting more than 20 movies.

SAFF Canada brings together the combined histories and volunteer efforts of two in-person festivals – the Toronto South African Film Festival and the Vancouver South African Film Festival. When the pandemic hit in 2020, the organizations transitioned to one virtual South African Film Festival that could reach audiences across Canada. While most films are online, there are some in-person screenings and events in both Vancouver and Toronto.

photo - Silvia Foti in J’Accuse!, a documentary by filmmaker Michael Kretzmer
Silvia Foti in J’Accuse!, a documentary by filmmaker Michael Kretzmer. (screenshot)

The festival is part of, and raises funds for, Education without Borders, created in 2002 by local Jewish community members Cecil and Ruth Hershler.

“It is estimated that over 90% of South African Jews are Litvaks, [are] of Lithuanian descent,” said Cecil Hershler. “On a personal note, my maternal grandparents were born in Plunge. My grandmother, Ethel Sher, arrived on a ship in Cape Town in 1905 – she was 10 years old, she never saw her parents in Plunge again. On Ruth’s side, her paternal ancestors come from Riteva.”

More than 220,000 Jews – more than 95% of the prewar Jewish population – were murdered in the Holocaust. Kretzmer’s documentary exposes the scale and scandal of Lithuanian Holocaust denial by focusing on Noreika, who murdered as many as 14,500 Jews in the Plunge region in 1941. Gochin, whose family was murdered by Noreika, brought almost 30 legal actions against the Lithuanian government over more than three decades. In focusing on Noreika, the film also examines the role of the Lithuanian Genocide and Resistance Research Centre.

For tickets to watch J’Accuse! – the Vancouver Holocaust Education Centre is a community partner on the film – or any of the South African Film Festival offerings, go to saffcanada.ca.

– Courtesy Education without Borders

Tzimmes helps close festival

Left to right, Tzimmes’s Saul Berson, Yona Bar Sever and Moshe Denburg perform in the Ukrainian Hall Community Concert and Social on Nov. 5. (photo from Heart of the City)

A festival favourite, Tzimmes, will perform at the 20th Annual Downtown Eastside Heart of the City Festival, taking part in the Nov. 5 Ukrainian Hall Community Concert and Social, which closes out the 100-plus live and online events that take place at more than 40 venues over 12 days.

Presented by Vancouver Moving Theatre with the Carnegie Community Centre, the Association of United Ukrainian Canadians and other community partners, this milestone year of the festival – with the theme “Grounded in Community, Carrying it Forward” – starts Oct. 25.

“We have performed at DTES Heart of the City Festival on several occasions over the years,” Tzimmes founder and band leader Moshe Denburg told the Independent.

“November 2008 was the first time and, two years later, in October 2010, we performed again. We were invited a few years ago, in the fall of 2020, but couldn’t make it due to a scheduling conflict.”

In addition, said Denburg, a small group from the Vancouver Inter-Cultural Orchestra (VICO), which Denburg founded, played the festival in 2011. “The repertoire was, of course, intercultural, but included klezmer and Hebraic pieces as well,” he said. “Every time we played the festival, there was a truly welcoming atmosphere, and I would like to say it is an honour to be part of the mitzvah (good deed) that Heart of the City is performing for the neediest amongst us.”

“For 20 years, the Heart of the City Festival has been grounded in the Downtown Eastside and focused on listening and learning from the cultural practices of the community,” notes the press release. “The festival works with, for and about the Downtown Eastside community to carry forward our community’s stories, ancestral memory, cultural traditions, lived experiences and artistic processes to illuminate pathways of resistance and resilience.” The festival’s mandate “is to promote, present and facilitate the development of artists, art forms, cultural traditions, history, activism, people and great stories about Vancouver’s Downtown Eastside.”

The closing event at which a trio of musicians from Tzimmes will play – Denburg (lead vocal/guitar), Yona Bar Sever (lead guitar/backup vocal) and Saul Berson (clarinet/flute/saxophone) – will also feature the Barvinok Choir, Dovbush Dancers and the Vancouver Ukrainian Folk Orchestra. The concert will be opened by cultural speaker Bob Baker of the Squamish Nation and DTES resident, artist, poet and community activist Diane Wood will read “100 Years of Struggle” by the late Sandy Cameron, an historian and poet, among other things, who was very involved in the Downtown Eastside.

About what the Tzimmes trio will play at the concert, Denburg said, “The Tzimmes repertoire is always made up of Jewish music in the larger world context. So, there will be aspects of klezmer and Yiddish song (European), Ladino (Judeo-Spanish/Mediterranean), and pieces in a more Middle Eastern style as well. If anyone wants a primer on our repertoire, they can visit our YouTube page: @BigTzimmesProductions. Have a look/listen to ‘Dror Yikra,’ ‘Cuando’ and ‘Moishe’s Freylakh,’ and you’ll get an idea of what’s to come.”

The Independent last spoke with Denburg in 2021 about Tzimmes’s then-new two-CD album The Road Never Travelled. Since that interview, the group released, in 2022, a remixed and remastered version of their first album, calling it Sweeter and Hotter.

“In 2020, as we were creating our fourth album, The Road Never Travelled, I realized that there was almost enough material for a second disc, but it needed a few more pieces,” said Denburg. “Around that time, my dear friend and band mate, Yona, suggested that I try to remix our debut recording. We always felt that we were constrained by a simpler technology back in 1993, and that certain aspects of the mix could be improved – vocals could be clearer, instruments brought into better relation and so on. Looking around, I found a fine facility in Red Bank, N.J., that specialized in transferring old reel-to-reels to a digital format. The tapes of Sweet and Hot were 27 years old, but they transferred wonderfully to digital tracks.

“On the second disc of The Road Never Travelled, we included several remixed liturgical pieces from Sweet and Hot,” Denburg said, noting that the group continued the process and worked on every track of their 1993 debut album. He said, “The result, we believe, is an enhanced version of Sweet and Hot that does not compromise the original at all; in fact, we humbly submit, the result of all this work is that the sweet parts are even sweeter, and the hot stuff even hotter!”

The closing concert/social of the Heart of the City Festival – called Building Community: 20 Years of Friendship – takes place at the Ukrainian Cultural Centre, with doors opening at 2 p.m. and the concert at 3 p.m. Tickets ($30/$20) are available at eventbrite.ca.

***

photo - Among the many Heart of the City events is a month-long exhibit at Carnegie Community Centre of photographer David Cooper’s work for the festival over its 20 years
Among the many Heart of the City events is a month-long exhibit at Carnegie Community Centre of photographer David Cooper’s work for the festival over its 20 years. (photo from Heart of the City)

Among the many other events taking place during Heart of the City is an exhibit of photographer David Cooper’s work for the festival over its 20-year history, curated by Vancouver Moving Theatre co-founder Terry Hunter. (For more on Cooper, see jewishindependent.ca/capturing-community-spirit.)

Cooper will attend the Nov. 1, 4 p.m., opening reception in the third-floor gallery at Carnegie Community Centre. The exhibit, which runs to Nov. 30, will feature two to four photos from each of the festival’s 20 years, displayed chronologically with the festival poster for each year.

Organizers said Cooper provided guidelines for selecting the images: “simple, elegant, expressive images with energy, movement and/or emotion that represent the cultural and social diversity of the festival’s programming and people.” The exhibit also will include photos of festival participants who have passed away.

For more information, visit heartofthecityfestival.com.

Tell your own “crankie” stories

Where Do Stories Come From? (fun vanen nemen zikh di mayses) on Nov. 9 highlights a poem from each of three Yiddish women writers: Ida Maze, Esther Shumiatcher-Hirschbein and Yudika. (Illustration by Cesario Lavery)

This year’s Chutzpah! Festival includes several opportunities for people to participate in the arts being performed. A prime example is Where Do Stories Come From? (fun vanen nemen zikh di mayses), wherein attendees of the Nov. 9 event at the Rothstein Theatre will be able to learn new music inspired by Yiddish poetry and, in the Zack Gallery, on Nov. 7 and/or Nov. 12, participate in a “crankie” workshop.

Where Do Stories Come From?, which is presented by the Chutzpah! Festival and KlezKanada – co-curated by the organizations’ respective artistic directors, Jessica Mann Gutteridge and Avia Moore – includes “new musical and visual settings for three Yiddish poems by celebrated Canadian women writers, selected and translated by Faith Jones, with accompanying visual artwork in the form of ‘crankies’ – a centuries-old art form in which an illustrated scroll, evocative of the Torah, is wound across spools set in a viewing window.”

The artistic directors decided early on to work with the poetry of Canadian women writers who wrote in Yiddish, said Gutteridge, “and there was no more perfect collaborator to work with on selecting the poetry than Vancouver’s own Faith Jones. For the musical work, we drew on the incredibly rich community of KlezKanada’s artists and were lucky that Sarah Larsson was interested in the project – she’s not only a gifted composer with a thorough knowledge of Yiddish music, but is herself a stunning vocalist and music director.

“We also spent a lot of time looking at incredible artworks by Jewish visual artists and ultimately selected Benny Ferdman, Ava Berkson and Cesario Lavery, all of whom bring an interest in Yiddish, diverse styles, and interest in visual storytelling to the project. As part of the project involves community participation, we also ensured that all the artists are skilled at and enjoy working with community of all abilities and ages.”

The idea for the event came after Gutteridge met Moore at a KlezKanada Summer Retreat in 2022.

“When the JCC Association announced they would be funding new community-based projects incorporating live music and storytelling with an emphasis on partnerships,” said Gutteridge, “we realized we had a wonderful opportunity to work together to share our assets – KlezKanada’s immersive creative residency environment and access to brilliant artists with knowledge of Yiddish culture, and the Chutzpah! Festival’s presentation opportunities.

“KlezKanada’s 2023 Summer Retreat theme was Yiddish film and, because it’s a very unplugged environment, had plans to explore the ‘pre-film’ illustrated story technique of crankies,” she continued. “We thought this art form would pair beautifully with the musical work being created, and would offer a very engaging opportunity to the community to participate in creating a multidimensional presentation together.”

Where Do Stories Come From? is supported by the JCC Association’s Making Music Happen program and Chutzpah! Festival’s music programming is supported by AmplifyBC’s Live Music Presentation Fund.

The event’s title comes from one of the three poems highlighted, one by Ida Maze. “It’s a poem that grabbed the entire group immediately and we knew we wanted to work with it,” said Gutteridge. “In the poem, Maze creates a strong visual image of a little house that appears to be abandoned, but as you approach you see that a fire is lit and, in the house, sit a grandfather and a grandmother sharing culture and stories with the children, and the stories are then carried away on the wind. For us, this poem really captured the idea of the project – that intergenerational cultural transmission is the key to how we survive and thrive and, in many ways, is a model for how we hope to see this project unfold. But I think the very notion that we pose this as a question invites everyone who experiences the work to ask themselves where they think stories come from.”

The other poems are by Esther Shumiatcher-Hirschbein and Yudika.

“Faith made a longer list of poems selected for their striking visual imagery and potential musicality and presented them to our full group of artists,” explained Gutteridge. “Right away, we all responded to the Ida Maze work and had to then narrow our choices to two more. We asked the artists to highlight which poems they found particularly inspiring and, as artistic directors, Avia and I also kept an eye on whether the selections were creating an interesting and balanced program in terms of style and theme. It was an enjoyable and smooth process and I think we all enjoyed kicking off the project together in this way.”

As for the workshops, Gutteridge said, “Ava and Cesario will be with us through the week to guide workshop participants through the process of making their own crankies, inspired by prompts from the poetry we will provide. While the crankies being made for the music event will be large scale, a wonderful characteristic of this art form is that it can be made any size using very humble materials like a shoebox or even a matchbox. With our partner the Zack Gallery, the work created in the workshops will be on display in a community exhibition, and our video director Flick Harrison will be on hand to help participants capture their crankies in action. Participants can opt to share their crankies and stories in an online video gallery. We hope we will see intergenerational groups making crankies together!”

During the week, Chutzpah! will also be hosting the return of the Flame, with their evening of storytelling on Nov. 6.

“The Flame’s artistic director, Deb Williams, will teach her remarkable day-long storytelling workshop on Sunday, Nov. 12, ending just before our final crankie workshop and the concert presentation,” said Gutteridge. “We hope that these projects together will inspire community participants to explore their own stories and find new and inspiring ways to tell and share them.”

For tickets to Where Do Stories Come From? and other Chutzpah! events, visit chutzpahfestival.com.

Following historic footsteps

Elam Rotem, founder and director of Profeti della Quinta, which plays in Vancouver Nov. 9. (photo by Theresa Pewal Photographie)

Swiss ensemble Profeti della Quinta, directed by Elam Rotem, brings Stars of  the Italian Renaissance: Monteverdi & Rossi to Vancouver Nov. 9. Part of Early Music Vancouver’s 2023/24 season, the concert takes place at Christ Church Cathedral.

“Salomone Rossi and Claudio Monteverdi are two composers we like very much,” Rotem told the Independent. “We find the fact that they were colleagues – they played together as instrumentalists and collaborated as composers – very interesting. Even more interesting is the fact that the Jewish singers and musicians in Mantua had this double musical life, where sometimes they sang madrigals and participated in the opera productions at the court (collaborating with Monteverdi and other non-Jewish musicians) and, at other times they sang Hebrew polyphony in the synagogue.

“In this program,” said Rotem, “we follow in the footsteps of those Jewish musicians from Mantua who, unlike Jews in other places (in Italy or elsewhere), participated in the arts. This particular constellation allowed Salomone Rossi to develop his polyphonic music for the synagogue, and it is also the reason why, despite the hopes of Rossi and his followers, this tradition never took off elsewhere.”

Rotem – who was born in Sdot Yam, Israel – has a bachelor’s in harpsichord from the Jerusalem Academy of Music and Dance, and he came to Basel, Switzerland, at the end of 2008 to specialize in early music at Schola Cantorum Basiliensis, from where he received his doctorate in a joint program with the University of Würzburg, in Germany. His PhD thesis was on early basso continuo practice.

“Throughout the 16th century, music was primarily polyphonic – typically composed of four to five parts. Towards the end of the century,” he explained, “new ideas led to the development of a new technique in which only two parts were composed: a vocal part and a basso continuo part – an instrumental bass line on which the player had to fill in the harmonies above it. The possibility of having only one singing voice allowed a much more direct and expressive communication with the audience and played an important role in the creation of early operas. The difference between the older polyphony and the new monodic style is so great that it changed the course of music history, and some examples of this will be heard in our concert.”

The origins of Profeti della Quinta go back to Rotem’s studies at Kibbutz Kabri High School, where he organized a vocal quintet with fellow students. Rotem is also a singer.

“I started Profeti in the corridors of my high school, wherever we could find some church-like acoustics” he said, “but the group only became professional after we won the York Early Music Competition in 2011.”

The ensemble now performs throughout Europe, North America, Israel and elsewhere. Focusing on the vocal repertoire of the 16th and early 17th centuries, the group “aims to create vivid and expressive performances for audiences today while, at the same time, considering period performance practices.”

About how he approaches this dual goal, Rotem said, “First and foremost, I’m interested in music from the period that I find interesting and beautiful. Then, I’m also interested in how it was performed and in what context – and, for that, you have to research and try things out. For example, we sing from (copies of) original partbooks and not from modern scores, so each singer has only his or her own line. This makes listening and making music very different. Then we also try to understand the music better. Finding out the motivations behind the decisions of composers, we feel that we can deliver their music better.”

In response to a question about how Rossi’s music is perceived with regard to its Jewishness – including his liturgical compositions – Rotem said, “It depends on what people mean by ‘Jewish music.’ If, for some people, Jewish music means Eastern European klezmer music, then Rossi’s music doesn’t sound Jewish. Rossi’s music is written in the language of his time – what we can categorize (if we must) as late Renaissance Italian style. If we compare the music of his prayers, for example, with the contemporary love madrigals (also his own), we see that the prayers are more solemn and simpler. But this is hardly surprising – the way composers created their music was based on the text, and so a heart-wrenching madrigal text would be composed in a very different way than a psalm praising the Lord. Another way to look at Rossi’s prayers is not so much as pieces of music in the normal sense, but simply the text of the prayers served on a plate of harmony – with the goal of elevating and glorifying the prayer.”

Joining Rotem (bass vocals, harpsichord and musical direction) from Profeti della Quinta on the Western Canadian tour that will take the musicians to Vancouver, Edmonton and Calgary, are Doron Schleifer (countertenor), Andrea Gavagnin (countertenor), Lior Leibovici (tenor), Loïc Paulin (tenor) and Ori Harmelin (chitarrone, which is a kind of lute). After the concert in Vancouver, there will be a talk and Q&A with Rotem, hosted by Suzie LeBlanc, artistic and executive director of Early Music Vancouver.

For tickets to the performance on Nov. 9, 7:30 p.m., at Christ Church Cathedral, visit earlymusic.bc.ca.

Lanyi debuts in March

Israeli pianist Ariel Lanyi performs in Vancouver March 3. (photo by Kaupo Kikkas)

Israeli pianist Ariel Lanyi will make his Canadian debut on March 3, 3 p.m., at the Vancouver Playhouse in a concert presented by the Vancouver Recital Society.

Born in Jerusalem in 1997, Lanyi is now based in London, England, having recently completed his studies at the Royal Academy of Music. In 2023, he received the Prix Serdanag, a Swiss prize awarded by Austrian pianist Rudolf Buchbinder, and was nominated as a Rising Star Artist by Classic FM. In 2021, he won third prize at the Leeds International Piano Competition and was a prize winner in both the Young Classical Artists Trust YCAT (London) and Concert Artists Guild (New York) International Auditions. Also in 2021, Linn Records released Lanyi’s recording of music by Schubert, with other releases also planned. Lanyi’s 2021 Virtually VRS recorded performance can be viewed on the Vancouver Recital Society’s YouTube channel.

Lanyi has appeared with orchestras in Israel, the United Kingdom, Argentina and the United States, and highlights include playing with the Israel Philharmonic, Royal Liverpool Philharmonic Orchestra and City of Birmingham Symphony Orchestra, the latter of which he will return to this season for Mozart K503. Other notable future engagements include his debut with the Mahler Chamber Orchestra at the Grafenegg Festival, a return to Australia at the Sanguine Estate Music Festival, followed by a tour to China, and the Stars & Rising Stars concert series in Munich.

An avid chamber musician, Lanyi has collaborated with members of the Berliner Philharmoniker and Concertgebouw Amsterdam, as well as with musicians such as Maria João Pires, Marina Piccinini, Charles Neidich and Torleif Thedéen. He also recorded with the Mozarteumorchester Salzburg under the auspices of the Orpheum Stifftung, as part of their Next Generation Mozart Soloist series, and gave recitals at the Kissinger Sommer, Fundaçion Juan March in Madrid, and Festspiele Mecklenburg-Vorpommern.

Lanyi’s March 3 performance in Vancouver will feature Ludwig van Beethoven’s Sonata No. 30 in E major, Op. 109, Frédéric Chopin’s Mazurkas, Op. 59, and Chopin’s Polonaise-Fantaisie in A-flat major, Op. 61, as well as Max Reger’s Variations and Fugue on a Theme by Bach, Op. 81. The concert will be followed by a talkback session. For tickets, visit vanrecital.com.

– Courtesy Vancouver Recital Society

Multidisciplinary approach – When the Walls Come Down

Racheal Prince, left, and Caroline Hébert in When the Walls Come Down, which is at the Rothstein Theatre Nov. 8 and 10. (photo © iiiiportraits)

“I think the performance is a really fun way to learn a little bit about Deaf culture,” Caroline Hébert, the lead actor and inspiration for When the Walls Come Down, told the Independent. “I hope people can make the time to try something different and I look forward to meeting some new people at the Chutzpah! Festival.”

When the Walls Come Down (WTWCD) will see three performances at the Rothstein Theatre next month, as part of the festival. A collaboration from Vancouver’s Dance//Novella, led by Racheal Prince and Brandon Lee Alley, the work highlights moments in Hébert’s life, “shed[ding] light on stereotypes and difficulties faced by many Deaf Canadians and tell[ing] a story of resilience and love,” according to the press material. It is performed with movement, music, projections and lighting, and in ASL with English voiceovers.

“Racheal and Brandon and the WTWCD team have been learning ASL,” said Hébert. “It’s really inspiring to me to see a group of people who want to create an environment where we can share ideas and our culture. I want to participate in more collaborations as I continue my journey as a Deaf actor. This is my first time stepping into a leading role for a one-hour show. I think, at first, I wasn’t really sure if this is something I could do. Over time, I realized that I can do it, and I can connect to many different people through my art form.”

The creation of WTWCD began in 2020, said Prince and Alley, when “our curiosity led us to explore the fusion of ASL and dance, with a strong desire to collaborate with a Deaf actor and blend their creative ideas with ours. Caroline was recommended to us by Chis Dodd, director of SOUND OFF. What intrigued us further was her last name, Hébert, which happened to be the maiden name of Racheal’s grandmother. This unexpected connection felt like a sign. After a video-translated conversation with Caroline, we realized that she possessed a compelling story that needed to be shared, so we quickly chose her as the central character for the work.”

As for her decision to be that central character, Hébert said, “I was interested in trying something new and I thought why not!? I did dance a little when I was a child so maybe that was also part of the reason?”

WTWCD debuted as a live-streamed performance during the 2021 Vancouver International Dance Festival (VIDF), which made it “challenging for us to establish a direct connection with the audience and gauge their reception of the work,” said Prince and Alley. “However, we knew this work had the potential of uplifting and illuminating a traditionally marginalized community, so we kept refining and building upon our initial ideas.”

In 2022, they received an invitation to perform WTWCD in Edmonton at the SOUND OFF festival, the first time the piece was presented in a live setting. “To our astonishment, the audience responded with thunderous stomps and a standing ovation. It was truly incredible to witness the profound connection the work had with the Deaf community,” they said.

In addition to that positive reaction, the pair won the 2023 VIDF Emerging Choreographic Award. “To us,” they said, “this award emphasized the collaborative and harmonious aspect of the work’s creation, transcending our roles as individual choreographers.”

Both creatives multitasked to make WTWCD. Prince and Alley choreographed the work; they played a part in the storyline creation and development with Hébert and her daughter, Anna-Belle Hébert, all four of whom perform the piece; Alley composed the music and Prince did the costume and set design. Other key contributors are lighting designer James Proudfoot, assistant lighting designer Chengyan Boon, and mentors and coaches Chris Dodd and Landon Krentz.

“Being a contemporary dance company, one of our goals was to find innovative ways to convey the music to a Deaf audience,” said Prince and Alley. And it was Alley who “came up with the idea of using a playful animation to advance the storyline and evoke the emotional essence of the music.

“To realize this vision, we collaborated with the Vancouver Film School,” they said. “We pitched our ideas to them, leading to the organization of a competition involving five different groups. Each group listened to our concepts and then presented us with small animations. After careful consideration, we selected the group that we believed best captured the essence of the work and the nuances of the music. They went on to create the animations that will be showcased during the performance.”

Listed on Dance//Novella’s website are producer Jill Tao, designer/animators Kanako Takashima and Cecilia Cortes, animation lead Arturo Acevedo and storyboard artist/designer Heena Yoon.

An integral part of this project has been Anna-Belle Hébert.

“She is a CODA (child of Deaf adult), fluent in ASL, QSL, English and French,” explained her mother. “Anna-Belle understands who I am and the story I want to share because it’s partly her story too. In the beginning, I recommended that Racheal and Brandon reach out to Anna-Belle to see if she would like to join the process, which they enthusiastically agreed to. In the performance, she is my voice over actor, but has also been a huge part of the creative process. She really helps bridge the gap between our ideas and how they can connect to hearing and Deaf people at the same time.”

Both Prince and Alley talk about how much they have learned while creating WTWCD. “One significant revelation for us,” they said, “was the realization that ASL and English are two distinct languages. Initially, we attempted to transcribe everything in an effort to ensure clarity, but this approach only seemed to confuse Caroline further. With the guidance of a specialized ASL coach, Caroline developed a unique method for documenting the script on paper. This breakthrough allowed her to memorize and retain everything effortlessly while making it her own.”

Prince and Alley had nothing but good things to say about Hébert.

“Caroline is an incredibly generous and patient collaborator,” they said. “During our rehearsals, we frequently paused our creative process to listen to stories from Caroline’s life. Each story offered us a glimpse into the experiences of a Deaf child, mother and student, which ultimately became the core of our creative journey. The exchange of knowledge and personal narratives became the driving force behind our work, giving it profound meaning for our team.”

When the Walls Come Down is at the Rothstein Theatre Nov. 8 and 10, at 8 p.m., and there is a special matinée for school groups grades 6 and up on Nov. 9, 11 a.m. (contact [email protected] for more information about that). The show runs 60 minutes with no intermission. For tickets, visit chutzpahfestival.com.

Talking on democracy

Left to right: Ora Peled Nakash of the America-Israel Democracy Coalition and Michal Muszkat-Barkan of Safeguarding Our Shared Home listen to a question posed by Temple Sholom Rabbi Dan Moskovitz at an event Sept. 26. (screenshot)

More than 300 people pre-registered to attend Hear From Leaders in the Israeli Protest Movement at Temple Sholom on Sept. 26 and the sanctuary was full. Presented by the synagogue, UnXeptable Vancouver, the America-Israel Democracy Coalition, and Safeguarding our Shared Home, in partnership with JSpaceCanada, New Israel Fund of Canada, Ameinu Canada and Arza Canada, this was the first time that a Canadian Jewish establishment hosted protesters from Israel’s pro-democracy movement on Canadian soil.

Speaking before the Hamas terror attacks on Oct. 6, Michal Muszkat-Barkan of Safeguarding Our Shared Home, and Ora Peled Nakash of the America-Israel Democracy Coalition were touring as part of an effort to educate North American diaspora Jewry on the judicial coup attempt and other fundamental issues with which Israel’s society has been grappling this past year. The unprecedented protest movement was, at 39 weeks, the longest sustained protest movement in modern Israeli history. In response to the war, however, the movement suspended protests in Israel and around the world, including Vancouver, standing in solidarity with their fellow Israelis.

The Sept. 26 evening began with Rabbi Laura and Charles Kaplan singing Oseh Shalom, Salaam (Od Yavo) and Lu Yehi followed by Temple Sholom Rabbi Dan Moskovitz’s introduction of the partner organizations. He said, “We have tried to partner at every opportunity we can to bring a dialogue about Israel, to bring an understanding of the challenges Israel faces and the reality that it faces, as well, through a lens of Zionism that is pro-Israel, pro-democracy, pro-human and civil rights.”

Daphna Kedem, lead organizer of UnXeptable Vancouver, spoke about the global protest movement started by Israeli expats, which has grown from 24 to 70 cities, with chapters in five Canadian cities. She said, “The only reason [the current Israeli government] has not succeeded [with the judicial coup] is millions of determined protesters in Israel and around the world who have been fighting for 38 weeks in a row to save Israeli democracy.”

A shortened version of the speech that American-Israeli author and journalist Yossi Klein Halevi, this year’s resident scholar at Temple Sholom, gave at the synagogue during Rosh Hashanah was played. Klein Halevi said: “Now, in Israel, we’re confronting a situation for the first time that I’ve experienced where there are no two sides. There are no two legitimate sides – one side is trying to destroy the foundations of Israeli democracy and the other side, the side that is in the streets every week for the last 37 weeks, sometimes more than once a week, waving giant Israeli flags, that side is trying to save the Israel that’s embodied by the two flags on the bima [pulpit of Temple Sholom]. These two flags represent the entwinement of Jewish and democratic values – that is the Israel that the diaspora fell in love with and that is the Israel that we’re fighting to preserve.”

Temple Sholom member Rina Vizer, in introducing the two main speakers of the evening, dubbed them “the new wonder women, ahead of Gal Gadot,” for their dedication to their cause, taking a 17-hour flight just as Yom Kippur ended in Israel, landing in Seattle, and driving to Vancouver, arriving mere hours before the event.

Peled-Nakash is a software engineer from Kibbutz Ramat David, just outside of Haifa. She was the first woman to graduate the naval officer’s academy and first woman to serve on a missile ship. She is a member of Forum Dvorah, a nongovernmental organization with a network of professional women in an array of fields relating to Israel’s national security and foreign policy.

Muszkat-Barkan is a professor of Jewish education at Hebrew Union College. She is the director of the department of education and professional development and heads the Rikma program in pluralistic Jewish education in partnership with the Melton Centre for Jewish Education at Hebrew University. She is also the founder and head of the Teachers’ Lounge, a professional development program for Arab and Jewish Educators in Jerusalem.

Peled-Nakash presented a slideshow about what brought her to quit her day job at IBM and volunteer full-time with the protest movement. As the first woman to graduate from the naval officer’s academy, she was inspired by the Alice Miller Supreme Court ruling in 1995, she said. When Miller – who had made aliyah from South Africa with her family when she was 6 years old – applied to the Israeli Air Force Flight Academy in 1993, she was rejected based on her gender. Miller sued the Israel Defence Forces, with the case ending up at the Supreme Court, where the rejection was deemed unconstitutional.

Tying the Miller case to the current attempt by Israeli Justice Minister Yariv Levin to weaken the Supreme Court, Peled-Nakash said, “Alice’s appeal to become a fighter pilot, that completely changed the course of my life…. I didn’t become a fighter pilot but I became a naval officer … following the same steps [as Miller], of opening equal opportunities for women in military service, which is a fight that is actively going on.”

Peled-Nakash has two daughters, ages 8 and 12, and regularly brings them to protests. She sees this act as a continuation of her family’s long Zionist legacy – to fight for Israel as a democracy, whether you live in Israel or in the diaspora.

Muszkat-Barkan grew up in an Orthodox Zionist home in Jerusalem. She spoke of the liberation of Jerusalem following the Six Day War in 1967 and how the night of celebration was also one that opened her eyes to those around her. “I just looked up, I don’t know why, and I saw a hand closing a window and I said to myself, ‘Oh my God, someone is living there and it’s four o’clock in the morning. How come I didn’t think about that? How come we are all here singing and shouting and we didn’t think that someone is living up there?’”

This experience is what led her to dedicate her life to multiculturalism and pluralism, her realization that we are not all the same, but we must live together and respect one another.

It was a WhatsApp message that led Muszkat-Barkan to begin the Jerusalem-based protest group Safeguarding our Shared Home with a few of her friends. The movement grew, with more people coming out to the streets every weekend. “If you came to Jerusalem to protest with us,” she said, “you would see groups of people against the occupation … you would see groups of religious people, you would see Reform people, educators, many groups all together.”

In wrapping up the question-and-answer period, Peled-Nakash left the audience with two messages for diaspora Jews.

“I would ask each and every one of you to take a hard look at how you are supporting, financially, current causes,” she said, “and to make sure that they are in line with your values because the fact is we’ve seen a lot of this coup has been funded by well-intended people that actually thought they were supporting Israel but they weren’t aware of which kind of Israel they were supporting. So, start with an audit to make sure that the causes you’re currently supporting are in line with the values we’re talking about.”

A recording of the entire presentation can be found on Temple Sholom’s YouTube channel.

Maytal Kowalski is a board member of JSpaceCanada and the New Israel Fund of Canada. Based in Vancouver, she serves as the executive director of Partners for Progressive Israel, a New York-based nonprofit dedicated to the achievement of a durable and just peace between the state of Israel and its neighbours.