Laura Rosenberg

Klezcadia set to return

Bay Area klezmer trio Veretski Pass returns to Klezcadia, which runs in-person and online June 10-15. (photo from Klezcadia)

Klezcadia, a festival of klezmer music and Yiddish culture, is back for a second year. The June 10-15 event can be experienced in-person in Victoria or virtually from around the world.

The 2025 festival, free for all who register, features author and playwright Michael Wex, who will be offering a two-part webinar titled Jews, Germans and Jive: Yiddish as a Language of Resistance.

Wex, the author of the bestseller Born to Kvetch and Just Say Nu, will be delivering the talks from his home in Toronto. No stranger to Vancouver audiences, his play, The Last Night at the Cabaret Yitesh (Di Letste Nakht Baym Yitesh), in which he also performed, closed the 2024 Chutzpah! Festival.

Laura Rosenberg, the director and driving force behind Klezcadia, said Wex “is arguably the most famous person to interpret the public impact of the Yiddish language on the English language.”

She told the Independent that the festival’s mission, operating principles and format will be the same as they were in its inaugural season. “The performance and workshop content, on the other hand, will be completely new for 2025, though obviously within the same klezmer music and Yiddish culture arena as last year, and involving many of the same artists and faculty members,” she said.

Between in-person and virtual attendees, Klezcadia had more than 500 participants from 21 countries in 2024 and the 2025 registration looks to be at least on par with those data, according to Rosenberg.

“Everything from concerts to workshops to open rehearsals is designed to equalize as much as possible the experience of in-person and virtual participants,” she said. “And, thanks to our generous donors, registration is once again free.”

Other notable appearances this year include returning Bay Area klezmer trio Veretski Pass, who will appear on both the concert and workshop rosters. Members Cookie Segelstein (violin), Joshua Horowitz (19th-century button accordion) and Stuart Brotman (bass) play a wide variety of East European numbers. This year, they will offer “band-to-band master classes” with two Victoria-based klezmer ensembles.

Vancouver singer/songwriter Geoff Berner, joined by Segelstein, will perform songs from his upcoming album – Berner’s first to be completely in Yiddish. Over the past 25 years, Berner has toured in 17 countries, opened for rock stars in stadiums and, the Klezcadia notes state, “played nearly every dirty little café bar in Western Europe.”

Klezcadia 2025 will see the Victoria debut of Jordan Wax, a rising star on the Yiddish singer/songwriter scene, who will share music from his newly released album, The Heart Deciphers, on the Borscht Beat label. The New Mexico musician blends many influences, from the Missouri Ozarks to the Indo-Hispanic world and the entire Ashkenazic diaspora.

Christina Crowder, director of the Klezmer Institute, based in Yonkers, NY, will be on hand to perform century-old music rediscovered in Ukraine’s Vernadsky Library, which recently was published for global use via the Kiselgof-Makonovetsky Digital Manuscript Project.

As it did in 2024, this year’s festival will conclude with the entire Klezcadia cohort performing a finale concert at the Stage in the Park (Cameron Bandshell) in Victoria’s Beacon Hill Park.

Billing itself as “A Safer Shtetl,” Klezcadia’s hybrid environment prioritizes the safe experience of immunocompromised and high-risk participants, for the performers, crew and volunteers, and for attendees. Indoor activities feature the use of protective protocols such as supplemental air purification, required masking and daily onsite COVID testing.

“We learned from our inaugural-season experience that our fully hybrid format was extremely valuable, both to our immunocompromised and high-risk participants, but also to a vast number of people who, for geographic or financial reasons, were unable to attend in person,” Rosenberg said.

Rosenberg gives credit to other members of the Klezcadia team for helping with the various technical tools needed to put together a hybrid festival. She said some of the evolving challenges faced in viral safety and communal safety, and the current cross-border political situation, have provided added appreciation to how much a hybrid design can be adapted at short notice, if needed.

People who were not able to attend a live event in 2024 have expressed their thanks to Rosenberg in the lead-up to this year’s festival.

“One of my greatest delights in the intervening year since our inaugural season has been hearing what a difference Klezcadia made to our immunocompromised and high-risk attendees,” she said. “Whether local or halfway across the world, many of these people have felt shut out of their communities, including their Jewish cultural communities, and they expressed in heartfelt terms how life-changing it was for them to be able to participate in a cultural festival that prioritized their safety but was open to everyone.”

All Klezcadia events will take place within a 10-minute drive from downtown Victoria. Specific venue information will be provided only after registration, and only to in-person participants. For more information, visit klezcadia.org.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Klezcadia a June highlight

Veretski Pass – Joshua Horowitz, left, Cookie Segelstein and Stuart Brotman – will be joined by clarinetist Joel Rubin to present the world première of music from their new album, Makonovetsky’s Scion. (photo from Klezcadia)

Victoria will host Klezcadia, a hybrid klezmer and Yiddish culture festival showcasing a West Coast lineup of musical mastery and mavenry. Running June 4-9 in-person and online, there is no charge to attend.

According to festival director Laura Rosenberg, Klezcadia intends to position Victoria as a focal point for klezmer and Yiddish cultural tourism. In conjunction with the music, the six-day event will present classes, workshops, lectures, demonstrations and open rehearsals conducted by artists, language faculty and other guests.

“Klezcadia’s audiences can expect cutting-edge performances – including three world premières – by some of the world’s leading klezmer artists. Additionally, participants at any level of experience will have opportunities to attend classes, workshops and presentations by these same artists and their Yiddish-language colleagues,” Rosenberg told the Independent.

“Our guiding principle is to make the safe in-person attendance experience and the virtual attendance experience as equivalent and rich as current technology allows, as well as to give the same level of respect to all attendees,” she said.

Some of the featured artists will be Veretski Pass, a Bay Area trio that will perform with clarinetist Joel Rubin; Vancouver musician Geoff Berner; and Jeanette Lewicki in her new show as Pepi Litman, an early 20th-century Yiddish theatre drag star.

Comprised of Cookie Segelstein (violin), Joshua Horowitz (19th-century button accordion) and Stuart Brotman (bass), Veretski Pass offers a wide mix of East European influences. Reuniting with Rubin, they will present the world première of music from Makonovetsky’s Scion, their new album for the Borscht Beat label.

Berner, a singer, songwriter, accordionist, novelist and political activist, will stage the première of Second Fleet, the Yiddish song cycle he recently co-wrote with Canadian writer Michael Wex, author of the bestseller Born to Kvetch, a humorous and scholarly look at the Yiddish language.

Lewicki will transmit the spirit of Litman, the original “drag king” of Yiddish theatre, in another première. The Pepi Litman Project will examine the time when a groundbreaking performer literally “wore the pants,” led her own touring troupe, turned taverns into theatres, and tested societal boundaries with her satire. Litman toured Europe and reportedly North America, too, singing, in male garb, at spas, inns and private homes in small towns and large cities alike.

Some of the talks and workshops on offer at the festival are The Barry Sisters: America’s Yiddish Swingsters, with Andy Muchin, the host of the Sounds Jewish radio show on PRX; Yiddish Through Song Lyrics, with Seattle-based Marianne Tatom, a Yiddish teacher and klezmer musician; and Yiddish Through Conversation, with Sasha Berenstein, a multi-instrument musician and fellow with the Yiddish Book Centre’s Yiddish Pedagogy Program.

On June 5, Christina Crowder of the Klezmer Institute will speak about the Kiselgof-Makonovetsky Digital Manuscript Project, an international endeavour connecting participants with the work of important klezmer musicians from the late-19th and early-20th centuries.

The festival will take a walk on the vilde side on June 8 with what organizers describe as “musical mash-ups, klezmer-adjacent adventures, song parodies, unusual instruments” and offering the forecast “you never know what will pop up in this clearing in the klezmer/Yiddish jungle.” The evening will feature Seattle neo-vaudevillian Mai Li Pittard, as well as local klezmer bands Kvells Angels and the Klezbians. A new klezmer ensemble, Kvells Angels, gave a concert last fall at the University of Victoria in which they performed works previously unavailable to musicians. The Klezbians, meanwhile, are a well-known band of “chutzpah-licious” musicians, and the group goes back many a year.

Victoria’s Congregation Emanu-El, under whose auspices Klezcadia is being produced, will host the finale concert at the Cameron Bandshell, located in Beacon Hill Park. The closing concert will be a gift to the city in celebration of the congregation’s 160th anniversary.

Festival organizers have made a concentrated effort to ensure that all participants enjoy a safe experience. The hybrid environment, they stress, will prioritize the well-being of immunocompromised and high-risk participants, for both those onstage and in the audience. Indoor activities will include protective protocols, such as supplemental air purification, required masking and daily onsite COVID testing.

“Klezcadia was inspired by deep listening to an online meeting of immunocompromised and high-risk musicians and Yiddish-language enthusiasts in early 2023,” Rosenberg said. “During the first two years of the pandemic, they had finally felt included in the klezmer/Yiddish community, since everyone’s only option was to gather online.”

The same groups felt marginalized again when most festivals returned to unmasked, in-person formats. Through dialogue with these groups, Rosenberg realized, Victoria had a chance “to become a host community for an inclusive form of cultural tourism.”

Rosenberg said her 45-year arts administration career came in handy when building a music festival from the ground up; she had already done so with two other festivals. It has been a year’s worth of full-time work to plan the format, bring in the artists and teachers, scout venues, initiate community engagement and, importantly, raise the money.

Locals seem eager for the festival to start. “I am optimistic based on expressions of pride I have heard from Victoria residents, on how quickly Klezcadia’s in-person registration reached capacity and on the eagerness of local tourism-sector businesses to be included in our visitors’ guide,” Rosenberg said.

People from more than a dozen countries have signed up to view events streamed online.

For more information, visit klezcadia.org.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Creating a community

Laura Rosenberg and Andy Muchin co-founded the Victoria Jewish Culture Project with Farley Cates. Here, the two participate in the group’s 2021 Passover seder (screenshot)

In late 2019 and early 2020, before the pandemic struck and lockdowns took effect, a group of friends in Victoria gathered to talk about forming a cultural group – a havurah, or casual and friendly meeting place for people to discuss art and social events through a Jewish lens.

As COVID hit, with everyone at home and in-person meetings impossible, the group, which had called itself the Victoria Jewish Culture Project, held its first gatherings over Zoom. These days, the VJCP, under the leadership of members Laura Rosenberg, Andy Muchin and Farley Cates, still meets weekly and for Jewish holidays over Zoom.

“As a result of what at that time felt like an interim, for-the-moment format, we started having a variety of events on Zoom, including holiday celebrations and commemorations, as well as a weekly discussion group,” said Rosenberg. “I am shocked to note that here we are almost four years in.”

The discussion group at first would meet to go over the Torah portion of the week. Once the biblical cycle was complete, the group shifted to different social and cultural topics from week to week. While most of the VJCP attendees are based in Victoria, they have active members elsewhere. Because their meetings are held on Zoom, geography does not pose a barrier.

“We have an active Zoomer from Salt Spring Island every Saturday,” said Muchin. “For some of our holiday events, we have people pop in from various places – relatives of friends, friends of friends, even my sons played roles in our Zoom Purim spiels, from different American cities.”

“VJCP is basically a group of people who generally view things from a secular humanist perspective. The biggest thing we are offering right now is the opportunity for some discussion among people of different backgrounds,” said Cates. “We want to look at things critically and think things through.”

Rosenberg said, while she was excited about a weekly discussion group four years ago, she never anticipated it would end up becoming such an important venue for the exchange of ideas and a catalyst for many of the other events the group has organized. Holiday celebrations have included a drag Purim spiel, co-sponsored with the Klezbians band and an outdoor Tashlikh ceremony at Esquimalt Gorge Park.

“It has been a generative force and this, I think, is something which will continue to be a core activity for this group, and [it will] continue to generate ideas and thoughts that can bring a number of different activity spin-offs,” Cates said.

“I would go so far to call the Saturday morning a ritual we have developed for ourselves. It is really a part of my Saturdays. There’s always a critical mass of people,” said Muchin. “It is a great ongoing connection for us in addition to being a wonderful way to explore issues.”

“What we are trying to do,” explained Cates, “is reflect on what the Jewish community is faced with, as well as what other communities are faced with, and what the world is faced with generally.”

Since the events of Oct. 7, the members of VJCP have expressed gratitude for having a “safe haven” in which civil and open discussion can take place.

“We have a forum where we can discuss these things that were obviously deeply painful and could have been very divisive, but we could discuss them in a respectful manner – even when, as individuals, we did not always agree,” Rosenberg said.

Aside from the VJCP, Rosenberg, Muchin and Cates have been engaged in various aspects of Jewish cultural life and beyond for a long time. Rosenberg plays concertina for the Victoria-based, all-female klezmer ensemble Kvell’s Angels. She is also the newly appointed director of Klezcadia, a klezmer music and Yiddish culture festival run through Victoria’s Congregation Emanu-El. The festival will have its inaugural season in June 2024.

For the past 13 years, Muchin has been the host and producer of Sounds Jewish, a weekly radio show that airs on Mississippi Public Broadcasting and is distributed on PRX, a web-based radio platform. As well, he is active with the Victoria International Jewish Film Festival (VIJFF) and has written for several Jewish publications.

Cates has been co-director of the VIJFF for four seasons. Outside the Jewish community, his “pet project” is Theatre Inconnu, the longest-surviving alternative theatre company on the island, where he serves on the board. Furthermore, he is involved in various cultural activities in the Victoria area, such as a performing arts centre on the West Shore and the Arts & Culture Colwood Society.

The VJCP says the group is open to new members and welcomes suggestions for activities or programs others are interested in pursuing. They are holding a Hanukkah party over Zoom on Dec. 15 at 7 p.m. For more information about the event and/or the VJCP, write to [email protected].

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.