music

Sizzlin’ Summer in June

The Vancouver Men’s Chorus “brings such an effervescent joy to the shows and the spring season in particular is a big party for the chorus and audience alike.” (photo by Mark Burnham Photography)

The Vancouver Men’s Chorus (VMC) Sizzlin’ Summer concert promises to be a lively and entertaining experience.

“The VMC is more than just your average choral concert – we have the chops to pull off some pretty complex vocal arrangements, but we also like to mix that up with pure upbeat fun,” said Jewish community member Dr. David Rothwell, who is one of the choreographers of the show, which sees several performances June 9-17 at Performance Works on Granville Island. “The group brings such an effervescent joy to the shows, and the spring season in particular is a big party for the chorus and audience alike,” he said. “Whether it’s pulling out some disco moves for a nostalgic trip to ABBA’s heyday, or donning umbrellas after a hairy forecast from the Weather Girls, the choreography put together by myself and my fellow choreographers (Randy Romero and Jason Yau) helps tell the story of our music and elevates that entertainment factor even higher. We even get the entire chorus to join along in their own way.”

Humphrey Tam, VMC’s vice-president of marketing and communications, as well as a singer in the choir, shared a sneak peek at the repertoire.

“In Sizzlin’ Summer,” he said, “we have music ranging from your pop classics like ‘The Raining Men,’ ‘Girls Just Wanna Have Fun,’ ‘Summer Breeze,’ to new hits like ‘Summer Time Sadness’ by Lana Del Rey and ‘New Rules’ by Dua Lipa, to the world première performance of ‘Ocean Songs’ by composer Gerry Ryan (former arranger and first tenor of the VMC) who, sadly, passed away few years ago.”

Conducting Sizzlin’ Summer will be VMC artistic director Willi Zwozdesky, who has been with the chorus since its inception; resident accompanist Dr. Stephen Smith has been with the VMC since the 1990s.

“Both of them are instrumental in the success of the Vancouver Men’s Chorus,” said Tam. “In 2021, we expanded our musical team to include an assistant conductor, David Buchan, who brought in another layer to our sound. On top of that, we have a full orchestra band in our concerts!”

The chorus rehearses every Wednesday, except during July and August, when they take a break; there are also extra rehearsals on Sundays a month or two before a concert.

While VMC is an audition-required group, Tam said the “singers are a mix of people with tons of background in music and theatre to someone who has no previous musical experience. We welcome everyone to audition and, even if you can’t sing, there are plenty of opportunities to join the chorus as a volunteer to help out with productions.” He said he was, before joining the chorus, “one of those who had no musical background except for playing the clarinet for one year back in Grade 8.”

Rothwell, who used to teach dance before moving to Canada from Australia, is an animator by trade, so “movement is my bread and butter, whether on the stage or the screen,” he said.

“After moving to Vancouver in 2018 with my husband, we saw the VMC performing their hearts out in the annual Pride Parade. We were quick to reach out to see if they were taking new members and, five years later, we’re basically part of the furniture!” said Rothwell. “We both grew up immersed in music, and it’s been a perfect way to pursue our interests and build a network of vibrant, talented friends in Vancouver’s queer community.”

About Jewish community, Rothwell said, “My mum reconnected with our family’s Jewish roots when I was a teen, so while I wasn’t immersed in that side of my heritage until that point, I’ve grown to recognize and appreciate the tenacity, humour and joie de vivre that I feel is ingrained in the Jewish spirit, including my own. These days, I’ll gladly join a seder and keep everyone’s cups full to the brim!”

For VMC member Dr. Etienne Melese, much of his connection to Judaism also came from his mother. “When I was young,” he shared, “she taught me about all the Jewish traditions, holidays, and growing up in New York helped, too.”

Proud of being Jewish, he said, “I feel the history deeply.” While Melese’s paternal grandfather survived the Holocaust, other members of his family did not. “We still visit their memorial in Paris (Mémorial de la Shoah) every time we visit, and I think about the courage it took survivors to live through that time,” he said.

Melese, who earned his PhD in immunology from the University of British Columbia and is currently working in biotech on designing new therapeutics for diseases such as cancer, said, “I came to the Vancouver Men’s Chorus because I wanted the opportunity to sing again. I had spent six-plus years doing my PhD and, during that time, had not been singing in a choir, which I used to enjoy so much! Also, the community – I wanted to expand my network of friends.”

Melese has been in many choirs over the years. What draws him to singing, he said, is “being able to express yourself. I find, through music, I am able to access so many feelings that are hard to just put into words…. I find there is an energy to choirs that can really change your outlook that day.”

Knowing that such benefits can come from choral singing, the Vancouver Men’s Chorus remained active during the pandemic, albeit in different ways.

“It was a very difficult time for the chorus,” said Tam. “From a choir point of view, not being able to sing as a group and perform was a huge loss to us; but, on top of all things, the VMC is a huge support group for our members, it’s a huge chosen family. Every week when we meet, we share our stories and we socialize. Not having that bonding time with each other definitely was strange and hard for some of us. Luckily, despite not being able to sing together, we still continued to have Zoom activities throughout the entire 2020 and 2021, and we recorded two digital concerts to keep doing what we love. Starting September 2021, we rehearsed together again but with masks and social distancing, and performed our first in-person concert in two years with Making Spirits Bright 2021 (also with masks on). Thinking back, I really don’t know how we did that.”

The VMC is a diverse and inclusive group, with members ranging from 18 to 70+ years old, said Tam. “We have open rehearsals every September and January for anyone to come join us at our rehearsals and sing with us,” he said. “From there, they can see if we are a good fit for them and sign up for an audition.”

Rothwell is keen for more people to experience the choir. “In addition to our spring season in June, the VMC also is well underway in preparing for our December season, Making Spirits Bright,” he said. “As always, our music selection committee makes sure to include songs for all holidays of the season; celebrating Hanukkah continues to be a mainstay of our setlist, along with the winter solstice and more. We’re gearing up for another great show this December, so I’d also encourage readers to keep an eye out for our next show, Cheers!, later this year.”

But, returning to Sizzlin’ Summer, Melese shared his favourite song: “‘The Summer Nights,’ a play on Grease, so fun!”

For tickets and more information, visit vancouvermenschorus.ca.

Celebration of Israeli culture

Mark your calendars for May 14. The Festival of Israeli Culture, a one-day free series of events at the Jewish Community Centre of Greater Vancouver, is a multicultural celebration of music, dance, art, sports, food and drink.

photo - Kids enjoying last year's Festival of Israeli Culture — Kids enjoying last year’s Festival of Israeli Culture. *(photo by Galit Lewinski)*

Get ready for community drumming by the Drum Café, Israeli dance, Mediterranean belly dancing, flamenco and the Israeli Choir, followed by a sing-along with well-known Israeli musician Elad Shtamer. And that’s not all! Join Maccabi-Mania with gym-based activities for all ages, the sassy sesame cooking workshop, intuitive painting, and calligraphy workshops.

photo - Dancers at last year's festival — Dancers at last year’s festival. *(photo by Galit Lewinski)*

For adults, there is a range of 19+ programs, including an Israeli wine tasting and cocktail party to sample some arak-based cocktails (arak is an alcoholic drink made primarily with aniseed and grapes) followed by an exhibition of video art from Bezalel Academy of Art and Design in Israel.

photo - Music is a part of the celebrations — Music is a part of the celebrations. *(photo by Galit Lewinski)*

In addition to the performances and activities, the festival will have a market featuring a variety of eats from local vendors and food trucks, along with hand-poured candles, jewelry, clothing, arts and crafts, Judaica, and more.

The Festival of Israeli Culture on May 14 runs from 11 a.m. to 5 p.m. at the JCC. While all events are free of charge, food donations to the Jewish Food Bank are encouraged. For more information, visit israelifestival.com.

– Courtesy Jewish Community Centre of Greater Vancouver

Supporting arts, community

Residents of Prince George might be forgiven for thinking there is more than one person named Eli Klasner in their midst. Among his many concurrent pursuits, the Toronto native is directing the Community Arts Council of Prince George, leading a fundraising initiative for Ukrainian refugees and serving on the board of the Jewish Museum and Archives of British Columbia.

Living in Prince George is the fulfilment of a lifelong dream for Klasner. Since childhood, he had entertained the notion of living on the Canadian frontier or the Far North. When he was younger, he also made a commitment to himself that, by the time he celebrated his 40th birthday, he would do whatever it was that excited him.

For philanthropist Eli Klasner, living in Prince George is a dream come true. (photo from Eli Klasner)

As events unfolded, he was able to do just that after running businesses in Toronto and Vancouver. In 2017, while Klasner was working for a nonprofit, the possibility of moving to Prince George presented itself.

“I was just charmed by the roughness and climate adversity and, significantly, by the opportunities I saw both as a participant in arts and culture but also to identify that there are Jewish people here and in this area,” Klasner told the Independent.

The friendliness and accessibility of locals reaffirmed his desire to stay. “Soon after I was here, I visited City Hall and asked who is the mayor? ‘Well, that’s his office there. If you want to say hello, just go on in and introduce yourself.’ I like that. Coming from Toronto, you don’t just walk in and put your feet up on the mayor’s table. I thought that was very appealing,” Klasner recalled.

His executive director position with the arts council quickly transformed into a full-time schedule as he came to realize that the city could use support with its arts facilities. Klasner’s role in Prince George’s artistic rejuvenation includes working on a new creative hub, a new performing arts centre and, in March, the gala opening of a retired heritage church that was turned into a concert hall.

“Taking the executive director job here helped solidify that I need to settle down and find a place to live permanently. At that point in my life, I thought a lovely arts council with a lovely little gallery and gift shop would be a lot of fun,” said Klasner, who during his youth studied music in various European capitals.

For two years of his stay in Prince George, Klasner lived in a cabin in the woods, along with two hound dogs and two cats. “I moved a little off the grid,” he said. “That, for me, was the boyhood dream of living in the woods, chopping wood, growing a garden in the summer and being close to wildlife and nature. It was an amazing experience.”

Then came 2020. Klasner contracted the coronavirus at the outset of the pandemic. “COVID is an interesting part of the journey of being up here in this odd, unusual place,” he said. “It was certainly a challenge, but, also, when you live through something like that, you really come to appreciate life when you have good health, and the bounty that comes with good health.”

From a Jewish cultural perspective, one of Klasner’s recent projects has been the performance of Different Trains, a piece written for string quartet, with pre-recorded tape, by American Jewish composer Steve Reich that revolves around the Second World War and the Shoah. After being approached last year by the Prince George Symphony Orchestra, Klasner was able to arrange to have the work performed to mark Holocaust Remembrance Day this past January.

“I found it to be a remarkable process of respect and inclusion and terrifically ambitious for a small-town symphony to want to take on such a challenging and groundbreaking piece of music,” Klasner said.

Afterwards, several members of the local Jewish community were invited on stage to say a few words. The crowd, according to Klasner, was very moved by the event. “People got to sit, ask questions and talk about Holocaust and persecution. I found it a unique thing to happen in a place like Prince George. Where else is something like this done in Canada that does not have a significant Jewish population?”

Prince George, like other parts of northern British Columbia, Klasner noted, used to have a thriving Jewish community, starting with the immigrants who arrived in the 1880s. Many of the first local businesses were started by Jews, and the first Jewish female elected to public office in Canada was in Prince George, when Hanna Director became chair of the city’s school district.

From the Second World War to the 1970s, the community dwindled. The Sefer Torah that was in Prince George was sent down to Vancouver and is in storage.

However, there has been a resurgence in Jewish life, Klasner said. “What we started to do is hold community events around holidays and festivals, wanting to expose the young generation to the culture and history of Jewish celebrations and milestones, holidays and festivals. We are quite open to people who might want to come but who are not Jewish to see a Hannukah celebration and what kind of foods we eat around Rosh Hashanah, etc. There has been a lot interest in the community.”

The Jewish Museum and Archives, Klasner said, helped him understand some of the history and heritage of the Jewish community in the area. This, in turn, helped Klasner get other members of the community involved to share stories about what life in Prince George was like at one time or another. For example, there were photos of a seder in Prince George just after the war, when so many Jews wanted to be involved that a community hall had to be used.

“When there was an opening on the board of the Jewish Museum and Archives, I thought it was an opportunity to help them have province-wide representation, rather than just the Lower Mainland, the Island and the Okanagan,” he said.

Jewish values were integral in Klasner’s recent efforts to assist Ukrainian refugees in his community. When a new endowment fund was created to help the newcomers, he reached out to the organizers to help propel their fundraising.

“I was overwhelmed at the possibilities of life when people open up their hearts to strangers in their land and by the idea of opening up one’s heart and mind and wallet to people in the community – and what a Jewish attribute as well. Our families were once accepted here as refugees,” he said. “Our life on earth depends on the fact that Canada accepted refugees.”

From June 9 to 11, Prince George will host another of Klasner’s ventures, the B.C. Gourmet Arts Festival. Now in its second year, the event features scores of local artisans and presents culinary delights of the region and country.

“I love life and the opportunity to be busy and creative and help people and get involved,” Klasner said. “Life is awesome.”

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

B’nai mitzvah tutoring

Sasha Kaye (photo from B’nai Mitz-Van)

Sasha Kaye recently launched B’nai Mitz-Van, a tutoring service that prepares b’nai mitzvah students for their Torah and Haftarah readings. She also offers basic voice training, performance anxiety management and d’var Torah writing support.

Kaye completed a double major in voice performance and psychology for her bachelor’s degree from the University of British Columbia, and she has a master’s degree in performance science from the Royal College of Music in London, England. In her master’s thesis, Kaye examined the experiences of musicians with moderate-to-severe performance anxiety in simulated performance environments.

“I came back to Vancouver in January 2023,” Kaye told the Independent. “Most of my time so far has been spent unpacking and readjusting to life in Vancouver!”

Kaye grew up attending Congregation Har El, where she is a member. She has led services as a lay cantor. “I performed at various holiday and milestone community events, and participated in extracurricular, Jewish-led activism with peers from King David High School,” she said about her younger years.

Kaye has performed with the University Singers choral ensemble, UBC Opera, the Vancouver Orchestra Club and Postmodern Camerata, among other groups. She performs as a solo recitalist and has almost 10 years of teaching experience.

“I came up with the idea for B’nai Mitz-Van while I was still in London, and the idea was partially inspired by my master’s thesis,” she said of her latest venture. “In addition to struggling with an anxiety disorder, I had particularly vivid performance anxiety as a musician. The two collided pretty spectacularly for my own bat mitzvah. Despite being well-prepared for it, I was constantly ruminating on potential mishaps and catastrophizing the consequences. What if I got so anxious that I forgot the trope for my Torah reading? What if I forgot the words? What if my voice cracked? What if I dropped the Torah? I would let my family down. These cognitive distortions are evident to my adult self, but the distress was very real to 12-year-old Sasha. When I told people I was anxious, they told me I had nothing to be anxious about. While I’m sure they were trying to reassure me, this ultimately dismissed my feelings and made me feel much worse. I had zero tools to cope with or manage my anxiety.”

Kaye said she has little recollection of the bat mitzvah itself. “I was so anxious, I essentially blacked out,” she said. “Based on second-hand information, I did well enough on the day, but I was unable to enjoy the simchah – and that’s ultimately what the day should have been about. B’nai mitzvot should be joyous occasions for everyone, including the b’nai mitzvah themselves.

“As someone who knows how to chant Torah and Haftarah, and knowing what I know now about performance anxiety, my hope is that B’nai Mitz-Van can both teach young adults what they need to know for their special day, and also give them the tools to manage feelings of nervousness or anxiety that they may have.”

Kaye has experience teaching b’nai mitzvah-age kids from when she used to teach singing lessons, which she did for about three years, and she has five more years of experience teaching older students.

“Performance anxiety is extremely common,” said Kaye. “While it may or may not necessarily impact the quality of your performance, that doesn’t make it any less uncomfortable to deal with.

“The experience can manifest cognitively, meaning through the kinds of thoughts you have, like fixating on the possibility of making mistakes in performances and overestimating the consequences; physiologically, meaning through bodily sensations like racing heart, dry mouth, shaking or feeling restless; emotionally, like feelings of nervousness, dread or irritability; or behaviourally, like avoiding practising.

“How to manage performance anxiety is the million-dollar question!” she said. “There are a number of techniques and methods that have been researched, and different things may work for different people. Some things that can help pretty reliably, if they are practised, are feeling prepared in your material; breathing exercises, like box breathing; grounding exercises that focus your senses on the here and now; and examining your self-talk, that is, how you talk to yourself in your own mind.

“Retraining self-talk can take a long time and it can be very challenging,” she acknowledged, “but it helps to start by noticing how you talk to yourself. Would you speak that way to a friend who was going through the same thing? If not, chances are your self-talk needs some adjusting from the harsh and self-defeating to the encouraging and self-supporting.”

About working with b’nai mitzvah-aged kids, Kaye said they “are at a really fascinating stage in life. They’re starting to come into their own sense of self, and they’re able to start thinking critically about the world around them without the cynicism that can follow us as adults. There’s an enthusiasm and idealism for tikkun olam that’s really refreshing.”

And, given her years of experience as a tutor of academic writing, Kaye can help students organize their enthusiasm and their ideas into a clear and concise d’var Torah. “More importantly,” she said, “I help them find their own way of relating to their parsha, so they can find the lesson they want to share with the congregation.”

Kaye offers both in-person and online lessons. She can be reached at [email protected] or 236-515-9469.

Erez’s new CD shows mastery

Itamar Erez’s May Song is inventive on many levels.

The most difficult thing for artists to do, and the aim which is most central to their consciousness, is to create something original, something new, something that is their own. We recognize the music of the greats because of their distinctive musical signatures, and all artists work towards this, with varying degrees of success. Itamar Erez, as evinced on his five previous recordings, and no less on his latest musical offering, May Song, is just such a distinctive artist – one with a voice and musical signature all his own.

An Israeli-Canadian guitarist, pianist and composer based in Vancouver, Erez is already quite celebrated, and deservedly so, and has been recognized by his musical peers and reviewers the world over (including the Jewish Independent). He is a globetrotter, musically and literally. His music is tinged with timbres, melodies and rhythms that evoke the confluences of the many cultures of the world.

Created and recorded in 2021, and released in October 2022, May Song is the most recent step on his musical journey, and it breaks new ground in a number of ways. Significantly, Erez’s guitar is not present here – the emphasis is on composing and improvising from the keyboard.

“Over the last three to four years, piano is definitely more my focus,” he said. “Music was written with the piano in mind, and involved some polyrhythms and layers that are not possible to be performed on the guitar without some overdubs, which was not the direction I wanted to take.”

Erez began his career as a writer of through-composed music for others to play. Though he still creates such compositions, he has evolved as a composer, and is in a creative phase where he celebrates the improvisational qualities of music.

“I think that there is a shift in my music over the years,” he said, “going from through-composed music and being a composer who writes for others in the early days to a composer/performer/improviser, where the improvising part is growing to be just as important as the rest.” About May Song, he said, “I felt that the best part of the music is in what happens in the moment. The tunes will sound different each time. So this is a time of letting go of controlling the music and letting it unfold.”

His collaborating musicians on this recording have been working with him regularly for some years now. Jeff Gammon on bass and Kevin Romain on drums are tremendously in sync with Erez, bringing out the nuances of his musical gestures and style. No less, his longtime collaborator on clarinet, the world-class and gifted François Houle, carries the melodies on several tracks.

Conceived, prepared and recorded during the pandemic, Erez describes the project on his Bandcamp page as being “all about, for me, emerging from darkness and doubt into lightness and joy….”

Picking up on this thought, permit me to put forward my own take on this progression in the recording – as the moods and content move, generally speaking, from darkness to light, from doubt and concern to resolution.

The album begins with “Chant,” an invocation, as it were. Beginning with sparse piano string harmonics, it moves into Middle Eastern-sounding modal patterns, finding in-between notes as harmonies, evoking maqam-like (maqam = Arabic mode) gestures. The music gives way to sweet chords, a simpler melodic setting, a chant with out-there harmonic invention, always questioning.

“Hourglass,” with its quick five-beat underpinning, evokes a state of restless anticipation. Here the polyrhythmic utterance is quite pronounced, as the clarinet states the melody in a different metrical frame. The ensemble is tight and the rhythmic threads are followed excellently. There is an interweaving of improvisations followed by an extended solo for drums.

About polyrhythms, and in the hope of clearing away any mental barriers to the enjoyment of the music, let me briefly explain the concept. Polyrhythmic work is the putting together of two different beat patterns simultaneously. In “Hourglass,” the repeated five-beat pulse is overlaid by a melody in a different beat pattern. This gives the music a sense of suspension, and may even sound improvisatory while being a compositional device. So it is freer and more indeterminate than a strict groove.

Track 3, “Catch Me If You Can,” continues this five-pulse underpinning, but is brighter and livelier, a playfulness, a glimmer of hope. It segues into a quick three-beat, and there is a conversation between this three and the five, free and harmonically uncluttered.

“You And Me” features a steady three-beat underpinning, with a sadder more contemplative mood. A call-and-answer dialogue gives way to a piano improvisation over the groove. A bass solo intervenes, and the dialogue continues until its plaintive ending.

“March” reintroduces the clarinet, and very much sounds like a movement out of darkness into light. The darker chords never take over the mood, though some darkness lingers. By turns, explosions of melody give way to broader strokes. The clarinet solo begins to soar, inviting all to break free.

“May Song,” the title track, opens by stating the melodic theme contemplatively, then gives way to a five-beat pattern overlaid with the theme in cross-rhythm. This is varied with a second theme, which is somewhat anthemic and declarative, yearning and even victorious. By the end, there is a sense of quietude, gratitude and resolution.

Finally, “Long Way Home” begins in a quiescent manner, with a bit of a crying voice, but it continues the declarative, resolved and personal statement previously arrived at. The piano is answered in bass and drums, and a dialogue ensues, giving way to a slow, patterned statement of increasing force. Yes, there may still be some darkness to be overcome, but we have arrived at a hopeful state nonetheless.

May Song is inventive on many levels – melodic, harmonic and rhythmic. Never idle, the music is varied, always searching, with an intensity even in its quieter moments. There is a mastery here, especially in the use of polyrhythmic elements, but complexity is always balanced with an enjoyable harmonic and melodic richness. Erez’s musicians all evince a depth of feeling and understanding that give the music great integrity.

About his future direction, Erez shared, “My upcoming album will be a duet album with Hamin Honari (an amazing Persian percussionist). We went to the studio for two days recording improvisations … this is the first time I did something like that, it felt very exciting.”

Speaking for myself, I truly look forward to following Erez on his continuing musical journeys. He is a singular artist of prodigious talent, to whose music it is always rewarding to listen.

May Song is available for digital download at itamarerez.bandcamp.com. For information about upcoming shows and all things Itamar Erez, visit itamarerez.com.

Moshe Denburg is a Vancouver-based composer, bandleader of the Jewish music ensemble Tzimmes, and the founder of the Vancouver Inter-Cultural Orchestra (VICO).

New cantor welcomed

Left to right: Cantor Josh Breitzer, Cantor Shani Cohen, Rabbi Kylynn Cohen, Prof. Joyce Rosenzweig and Cantor Lianna Mendelson at Shani Cohen’s installation as cantor at Temple Sholom the weekend of Oct. 28-29. (photo from facebook.com/templesholom.ca)

Temple Sholom officially installed Cantor Shani Cohen, the first ordained cantor to serve the congregation, on the Oct. 28-29 Shabbat weekend, with services and music throughout to mark the occasion.

Always passionate about music and Judaism, Cohen found a path that combined her interests – and talents – while studying for a master’s of music in vocal performance and pedagogy at the University of Houston in the mid-2010s. There, she started working for Congregation Shma Koleinu.

“Rabbi Scott Hausman-Weiss saw something in me, and invited me to lead High Holy Day services with him. He knew that I would become a cantor before I did. Once I started leading services, I looked into becoming a cantor and what that would mean,” Cohen told the Independent. “What I discovered was that being a Reform cantor encompasses so many different skills: you get to lead the congregation in prayer, teach b’nai mitzvah, introduce new music, and lead lifecycles for the community.”

photo - Cantor Shani Cohen — Cantor Shani Cohen *(photo from Shani Cohen)*

Following her studies in Houston, Cohen enrolled at Hebrew Union College and embarked on a five-year cantorial program, which comprised a first year of study in Jerusalem, followed by four years in New York. “I got to work with the most incredible, groundbreaking cantors and rabbis of our generation, and enter into a diverse community of Jewish clergy around the world,” she said. “The training for cantors centres on Jewish music and liturgy, but many of our courses are in conjunction with the rabbinic students, including pastoral care, Bible, Jewish history and philosophy, and lifecycles.”

As a student, she presented recitals every year on different topics, such as Shabbat, High Holy Days, and Jewish composers. In her final year, she wrote a thesis and presented a recital on the same topic – her research delved into the collaboration between rabbis and cantors, looking into the history of these roles and the way clergy teams function in Reform congregations today.

Cohen was influenced by the cantors of the early to mid-20th century, which is often referred to as the cantorial “golden age.” These cantors included such names as Yossele Rosenblatt, Moshe Koussevitzky, Leibele Waldman and Moishe Oysher.

“I love how they brought their full voices to every piece, whether they were leading services or performing on the concert stage. I am also greatly inspired by the incredible teachers that I had at the Hebrew Union College Debbie Friedman School of Sacred Music (DFSSM), including Chazzan Israel Goldstein, z”l, who I got to work with as my coach my second year.”

Two of Cohen’s mentors, Prof. Joyce Rosenzweig and Cantor Josh Breitzer, were in attendance at her October installation, offering both words and music. Cohen worked with Breitzer as an intern at Congregation Beth Elohim in Brooklyn, where she got “to see firsthand his ability to weave together traditional and contemporary musical styles in an authentic, cantorial way.”

She said, “I too strive to bring the breadth and depth of Jewish music into my cantorial work, showing our community that both new and old music has a place in our synagogues. I think this is what cantors are called to do in order for us to keep this art form alive.”

Cohen delights in both the variety of her job and its interpersonal nature, noting that no two days are alike. “I could go from teaching students and leading prayer with our religious school one day, to officiating a wedding or going to visit one of our home-bound congregants the next,” she said. “Each facet of my work feels meaningful, especially being there for people when they are feeling vulnerable: when someone loses a loved one, gets bad news, or even the excitement and anxiety of preparing for their child’s b’nai mitzvah.”

A native of the Bay Area, Cohen attended the University of Puget Sound in Tacoma, Wash., where she studied music and psychology. “I love being close to the water and, when the sun comes out, you appreciate it so much more because so much of the year is dark and rainy,” she said. “It was definitely a big contrast from where I grew up, but I felt a strong connection to this part of the continent when I was an undergraduate student, and am so grateful to be able to live here now.”

Cohen and her wife Rabbi Kylynn Cohen moved here with their black Lab mix, Trouble.

“The addition of Cantor Cohen to Temple Sholom’s clergy team is a milestone for our growing congregation, having grown from 600 households in 2013 to nearly 950 households just nine years later,” said Rabbi Dan Moskovitz, senior rabbi at Temple Sholom. “Cantor Cohen adds a depth of pastoral skills and Jewish knowledge to her outstanding musical and cantorial abilities.

“She stands upon the shoulders of lay cantorial soloists Arthur Guttman and Naomi Taussig, who together set the tone and tenor for generations of Vancouver Jewish families,” he said.

“It is an honour and a privilege to be part of the Temple Sholom clergy team,” said Cohen, who brings the team to three, joining Moskovitz and Rabbi Carey Brown. “And I am grateful to get to do this work every day.”

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

Instilling a love of the arts

Merewyn Comeau and Raes Calvert in Th’owxiya: The Hungry Feast Dish, which is on the Chutzpah! stage Nov. 18-19. (photo by Javier Sotres)

For the first time, the Chutzpah! Festival, which was launched in 2001, is presenting programming specifically targeted to young people, families and educators. Dan and Claudia Zanes will be live in concert Nov. 13-14 and Joseph A. Dandurand’s Th’owxiya: The Hungry Feast Dish will be presented by Axis Theatre Nov. 18-19. Both events take place at the Rothstein Theatre.

“One of my first strategic goals when I joined Chutzpah! was to launch a programming stream for young people and families,” said Jessica Gutteridge, managing artistic director of the festival since 2020. “I have a background in theatre for young audiences, and this is an area of performing arts that I find very rich and interesting…. I think the best way to keep the performing arts vibrant into the future is to share exciting and stimulating arts experiences with young people so that they can grow into the audiences of tomorrow. And finding ways of sharing these experiences across generations makes for wonderful bonding between kids and their parents, grandparents, caregivers and mentors, but also gives the adults in the audience a memorable and enjoyable experience. I’m also a passionate proponent of arts education, so finding opportunities for teachers to bring performing arts into their teaching is meaningful to me.”

photo - Dan and Claudia Zanes will be live in concert Nov. 13-14 — Dan and Claudia Zanes will be live in concert Nov. 13-14. (photo by Xavier Plater)

Dan Zanes is a Grammy award-winning children’s performer and Claudia Zanes is a music therapist/jazz vocalist. The couple has been “making music with each other since the day they met in the fall of 2016.” Their Nov. 14 performance is for schools and the Nov. 13 show is open for all.

“Dan Zanes, to put it bluntly, was a key reason I survived the music playing in my children’s rooms when I had young kids,” said Gutteridge about her choice of performers for this program. “I think he’s just a spectacular musician and storyteller that all ages can enjoy, and his partnership with Claudia Zanes makes even more gorgeous and meaningful music. I appreciate that Dan and Claudia are committed to making their performances sensory-friendly and accessible, and in sharing messages of love, solidarity and social justice, that are timely and important.”

As with the concert, the Nov. 18 production of Th’owxiya is for schools and the Nov. 19 show welcomes everyone, with the caveat that the ogress might be scary to some young children. The play, recommended for ages 5 and up, recounts a Kwantlen First Nations tale, “the legend of the basket ogress, Th’owxiya, an old hungry spirit that inhabits a feast dish full of bountiful delicious foods, and sly Mouse (Kw’at’el), who is caught stealing cheese from this feast dish. To appease an angry Th’owxiya, Kw’at’el embarks on a journey to find two children for the ogress to eat, or else!” The work features “traditional Coast Salish and Sto:lo music, masks and imagery” and audiences will learn “how Raven (Sqeweqs), Bear (Spa:th) and Sasquatch (Sasq’ets) trick a hungry spirit and save Kw’at’el and their family from becoming the feast.”

Both the concert and the play run about an hour, and all performances take place at 11 a.m.

While the concert and play are two programs specifically aimed at young audiences, Gutteridge said many of the Chutzpah! performances “are appropriate for general audiences, and we hope that youth and teens in particular will join us for some of them. For example, Persian Jewish Cooking with Ayelet Latovich, Music at the Centre of the River, and the Joan Beckow Legacy Project – which will feature youth performers from Perry Ehrlich’s Showstoppers – are all programs that all ages can enjoy together. Programs like Jacqueline Saper’s presentation of her memoir of growing up Jewish in Tehran and the Site: Yizkor project may offer teens engaging ways of learning and contextualizing current events and history.”

In a similar vein, Gutteridge added, “Adults should feel just as welcome as kids to come and enjoy these shows – truly these are experiences that are relevant and enjoyable for all ages. If any families who would wish to join us for these events feel that their financial situation does not permit them to attend, please contact our box office. We have an allocation of tickets set aside so that cost is not a barrier to sharing these experiences with young people.”

For the full Chutzpah! lineup and tickets, visit chutzpahfestival.com.

Explore Persian culture

Arash Khakpour and Alexis Fletcher première All my being is a dark verse (working title) Nov. 9-10 at the Rothstein Theatre. (photo by Peter Smida)

This year’s Chutzpah! Festival, which takes place Nov. 3-24, highlights Persian culture. The decision to feature Persian artists and stories – which was made well before the protests that erupted in Iran after the death of 22-year-old Mahsa Amini in the custody of the country’s morality police last month – seems even more important and relevant now.

“When the festival was offered the opportunity to support the creation of a new dance work by Alexis Fletcher in collaboration with Arash Khakpour, two Vancouver artists I admire and enjoy working with, I began to explore the resonances between Persian artists and stories of both Jewish and Muslim background,” Jessica Gutteridge, Chutzpah! artistic managing director, told the Independent. “These communities are culturally rich and have been intertwined for a very long time, while at the same time in lesser and greater political tension over the course of history. The festival’s mandate includes exploring what Jewish culture has in common with non-Jewish communities, and bringing artists of different backgrounds into conversation, so I thought it would be interesting to pull on this thread and bring Jewish and non-Jewish artists and culture into a themed programming thread.”

photo - On Nov. 14, Jacqueline Saper, author of From Miniskirt to Hijab: A Girl in Revolutionary Iran, will speak and answer questions about Jewish life in Iran pre- and post-Revolution — On Nov. 14, Jacqueline Saper, author of From Miniskirt to Hijab: A Girl in Revolutionary Iran, will speak and answer questions about Jewish life in Iran pre- and post-Revolution. *(photo by Beking Joassain)*

The two main programs of the thread are the Nov. 9-10 world première of Fletcher and Khakpour’s All my being is a dark verse (working title), which was developed through an artistic residency at the Norman and Annette Rothstein Theatre, and the Nov. 23 concert by Israeli singer, songwriter and actress Liraz Charhi.

Two digitally streamed programs round out the offerings. On Nov. 14, Jacqueline Saper, author of From Miniskirt to Hijab: A Girl in Revolutionary Iran, will speak and answer questions about Jewish life in Iran pre- and post-Revolution. And, on Nov. 21, Israeli chef Ayelet Latovich will present “a menu drawn from the Persian Jewish heritage of her mother’s family, which includes her grandmother, Kohrshid Hoshmand, a well-known and beloved figure in the Iranian community in Tel Aviv.”

“The festival has always provided public outreach opportunities, ranging from master classes to workshops to public conversations with artists,” said Gutteridge about these events. In addition to the Persian-themed outreach, Chutzpah! is partnering with rice & beans theatre’s DBLSPK program to offer a public workshop of Tamara Micner’s new Yiddish panto-in-progress, Yankl & Der Beanstalk.

photo - On Nov. 21, Israeli chef Ayelet Latovich will present a menu drawn from the Persian Jewish heritage of her mother’s family — On Nov. 21, Israeli chef Ayelet Latovich will present a menu drawn from the Persian Jewish heritage of her mother’s family. *(photo by Sarit Goffen)*

“We have a broad array of workshops to choose from as well,” Gutteridge continued. “David Buchbinder, Mark Rubin and Michael Ward-Bergeman will lead a creative workshop focused on making intercultural connections. Edith Tankus will bring clowning techniques for self-expression in a workshop tailored to parents and caregivers. Liz Glazer will lead a workshop on how to tap into your funny side and create comedy for the stage. And Maya Ciarrocchi will lead a series of workshops sharing the practice of Yizkor books as a means of remembering and mourning the lost people and places of our lives, that will lead into the final performance of the Site: Yizkor project.”

Life, love, longing, death

All my being is a dark verse is inspired by the poems of Forugh Farrokhzad (1934-1967), whose poetry was controversial enough in its expression of personal freedom to have been banned for almost a decade after the establishment of the Islamic republic in 1979. The project combines Farrokhzad’s poetry, the work of local artist Nargess Jalali Delia and the dance choreographed and performed by Fletcher and Khakpour. The shows will include a program of Persian storytelling curated by the Flame.

“I discovered Forugh’s poetry through Nargess, when I was helping her prepare for a visual art exhibit in 2020,” said Fletcher. “Nargess had a painting that captivated me, which I learned was inspired by Forugh’s beautiful poem, ‘Inaugurating the Garden.’ When I read the poem for the first time, I was moved to tears and felt so much of my own life inside Forugh’s words. From there, I started to research the work of this poet and felt viscerally connected to her work. When I began dreaming of creating a response through movement, I approached Arash – an artist I greatly admire and have always wanted to work with. We decided to create and perform together, and to bring together a mix of Persian and non-Persian artists to complete our team, including costume design, original music composition, lighting design, and translation work between Farsi and English.

“Both Arash and Nargess have welcomed me into their culture, language and their very personal connection with Forugh in the most generous of ways,” said Fletcher.

“I am excited to connect with an artist who comes from a completely different movement background from my own, and yet who shares so many of the same interests and curiosities about the place that dance holds in the world, what it can offer and how it can bring people together in unique ways,” said Khakpour.

“Growing up in Iran,” he continued, “I was reading Forugh’s poems at the young age of 11, even though I knew I wasn’t supposed to because her open-minded and dark-natured poems were not seen as ‘appropriate,’ and this experience had a profound effect on me. Forugh’s words were a revelation to read, something that someone wrote so many years ago and yet which seemed to speak directly to my fears and desires as if the words were both coming from me, and as if they were meant only for me.

“After moving to Canada at the age of 15,” he said, “I lost that connection to Forugh’s poetry, but now I am at a place that I feel the need to reconnect to her work again and integrate my love for her work, the knowledge and the sentiment it awakens in my dance practice.”

Currently, the pair are working with four of Farrokhzad’s poems: “The Wall,” “Reborn,” “Inaugurating the Garden” and “Window.”

“Forugh’s work is full of life, love and longing, yet full of death,” explained Khakpour. “I know from growing up in Iran that many people around me talked about her work as a forbidden reality, too forward, or too much – and the ways in which we should be talking, and the ways in which we should not be talking, as men and women. Forugh defied all of these binaries and all of this drew me to her magical poetry and body of work.

“As I was growing up, I have felt that similar feeling of defying the norms about myself, in terms of pursuing a dance career at all, as a man, which has many stigmas attached to it in my culture. I feel the same now as an artist at times.

“Forugh awakens the courage in us to be courageous,” he added. “This has always drawn me to Forugh’s work; her rigorous, rebellious nature has inspired many generations of artists since her death. Her writing, although being specific, is also timeless, transcends across cultures, and is full of humanity and love that goes beyond borders and ideologies. She longed for a world that could address and heal humanity’s pain.

“I think Alexis and I are drawn to Forugh and her work for these unapologetic tendencies and yet her humble nature of being, writing and expressing on the page. We strive for the same things in dance and choreography and long for a world that can address and heal its pain.”

“We both see dance as poetry in motion; a universal way of channeling poetry into the body and sharing that with the audience,” said Fletcher. “We believe this universality, along with the multidisciplinary and cross-cultural nature of this project, is a fertile ground that can draw new audiences to dance and connect different audiences to each other.”

Fletcher quoted from Rosanna Warren’s The Art of Translation: “The psychic health of an individual resides in the capacity to recognize and welcome the ‘Other.’” She explained that she and Khakpour “will use the act of translation as a practice of empathy; a way for artists and audiences to come together and lift the multiple veils of language, culture and ways of being that can obscure ‘the other,’ revealing the universality of our shared human experience, with language, visual art, dance and live performance as ways of ‘lifting the veil.’

“Expanding on the above,” she said, “we are curious about how we can use the practice of duet, including our partnership as performers, as a vehicle of exploration of ‘self’ and ‘other,’ and how this project can be a platform for this resonant conversation. This sparks our interest because, to execute duet skilfully and on an emotional level, one must delve into the other’s perspective more deeply…. We have the unique privilege of sharing this type of intimacy and connection with others as dancers because our bodies, especially in duet, are our physical and literal instruments: we must literally soften and yield our bodies and minds to give or receive the weight of another. We must take time to look into each other’s eyes and allow the other’s body to enter our private, personal space, learning what the impulses, dynamics, instincts and thought processes of that other person are. We must give each other patience and care for the relationship and choreography to work. We must acknowledge different subjective opinions and points of view. We feel that duet is a direct practice platform through which to investigate the myriad ways one can be in an empathic relationship with another.”

A dream come true

“Music in my life is the most important thing,” Charhi told the Independent. “When I started to create, to sing and to songwrite in Farsi, I knew that I had a message to be a little voice for the Iranian muted women. I knew that would be a continuation to the women from my family who are muted themselves. It wasn’t a question that I would do that. It’s not about me – I deeply feel I’m the pipe to tell a story.”

photo - Liraz Charhi gives a special concert on Nov. 23 at the Rothstein Theatre — Liraz Charhi gives a special concert on Nov. 23 at the Rothstein Theatre. *(photo by Shai Franco)*

On Oct. 7, Charhi releases her third album in Farsi. Called Roya – a vision, a fantasy, a dream – she recorded it with Iranian musicians in Istanbul. “It was an extremely emotional journey I cannot even express with words,” she said, “but we made a wonderful album with wonderful meaning and we all share the same dreams together.”

Charhi collaborated secretly with several Iranian artists – singers, writers, instrumentalists – on her second album in Farsi. Secrecy was necessary because of the political situation.

“Recording my album Zan (woman in Farsi) and collaborating with Iranian musicians was a dream come true,” she said. “I felt that I can give and be artistically freed, especially because I felt that we needed to meet and to create together. [That] we love each other with no boundaries is a fact we wanted to spread to the world. There are bridges we can build despite this crazy situation and we have the power to make a change.”

Charhi chose the name Zan for that album, she said, “because it’s all about women’s freedom I sing about. Struggling and, on the other hand, rejoicing, singing and dancing, making little by little resolution, which is very, very relevant to what’s going on today in Iran.”

Charhi’s first Iranian album was Naz, which, she said means “coquettish manners.” It has been described as a “rebellious soundtrack.”

“It’s about being a good Iranian woman, using all her charm and politeness to get what she wants from her man and still stay determined,” she explained.

Charhi’s parents emigrated to Israel in the 1970s, before the Islamic Revolution, and Israel is where Charhi was born, in Ramla, in 1978.

“My music is built out of layers of my heritage, Israeli and Iranian,” she said, “and so I knew always I wanted to use traditional Iranian instruments and to mix them with my psychedelic music that I love so much [from] the Iranian ’70s.”

She also has released two albums in Hebrew, one self-titled, the other Rak Lecha Mutar (Only You’re Allowed).

As an actress, Charhi garnered a nomination for best actress from the Israeli Film Academy for her role in the 2004 Israeli film Turn Left at the End of the World. She has acted in theatre, television and film, including playing the love interest of Phillip Seymour Hoffman in the movie A Late Quartet (2012), the role of Frida Kahlo in a production by the national theatre of Israel (2017) and an Israeli Mossad agent in the Israeli TV series Tehran (2020).

For the full Chutzpah! schedule and tickets, visit chutzpahfestival.com or call 604-257-5145.

The elements of a hit song

I freely admit it, I was one of those angsty teens who wrote bad poetry to express all my big feelings. I also wore a lot of black, but that’s not relevant here. What kind of surprises me about myself is that, despite having taken piano for years, learned various other instruments and sung in choirs since I was in single digits age-wise, it wasn’t until last year that I put some not-bad (not-great) poetry to music and wrote a song. It was inspired by my wife and it must have been beginner’s luck, because I’ve not been able to replicate that success.

This is a long preamble to why I was excited when award-winning songwriter and music consultant Molly Leikin emailed that she had a new book out: Insider Secrets to Hit Songwriting in the Digital Age (Permuted Press). While it’s too soon to say whether it will help me write another song, I did find it informative, easy to read – Leikin has a great sense of humour – and full of practical advice. I’ve just been too busy to do many of the myriad exercises and put in the time necessary to hone any skills.

There is a whole chapter on making the time to write, as well as how to quiet the inner critic, who often stops creative-aspiring people dead in their tracks. Other chapters focus on writing lyrics, composing a melody, picking a strong song title, working with a writing partner, overcoming writer’s block and other aspects of the process. There are also chapters on what needs to be done to get a song published, what royalties are, and what types of jobs you might be able to do to sustain yourself until your music can. Interspersed between the how and what chapters are interviews Leikin has conducted with some of her peers, other songwriters, producers and industry professionals.

Insider Secrets is targeted at writers who want to get into the business. And whether one succeeds at that is as much hard work as it is talent, probably more. One great aspect of Leikin’s approach is that she believes in being kind to oneself, so offers several ideas for how to reward yourself when you do put in the hard work.

“Whatever you do,” she writes, “make a point of acknowledging that you’re doing it as a reward for what you’ve just created. It is a victory in itself, just because you did it, not because your song was downloaded 10 million times. The victory starts with you.”

Ultimately, Leikin says, it comes down to persistence. It is also crucial to understand that a creative life is not a straight path, but an up-and-down one, and you have to learn how to navigate the challenges.

“A writer’s job is to write,” states Leikin. “If you do that, keep raising the level of your craft and write your fingerprint, and hustle your hustle, someday, the world will know your work. But until then, I want you to feel in your bones that you have the magic to go the distance. No Grammy can give that to you. Honestly, you have to give it to yourself, every day, all day, for the rest of your life.”

To purchase the book and for more information on Leikin, visit songmd.com.

Gili Yalo returns to city

Gili Yalo performs in Vancouver on Sept. 24 for a Chutzpah! Plus event. (photo from Chutzpah!)

Israeli singer-songwriter Gili Yalo returns to Vancouver for a Chutzpah! Plus concert on Sept. 24. It’s his first time back in the city since 2015, when he was part of the band Zvuloon Dub System. Yalo said he can’t wait – “the last time at the Chutzpah! Festival was wonderful!” he told the Independent.

In 2015, Zvuloon Dub was touring the United States and other countries. “Part of the tour was the Chutzpah! Festival,” said Yalo, “and we finished the tour in Montego Bay, Jamaica, performing in the legendary festival SumFest. After being part of Zvuloon Dub for seven years, I felt that it was the right time and the right spot to start something new. I came back to Tel Aviv and started working on new songs for my solo career.”

Yalo’s eponymous first solo album, released in 2017, was very well-received and he followed it up in 2019 with the EP Made in Amharica, on which he collaborated with Dallas-based musicians in Niles City Sound, a studio in Fort Worth. He has released several singles and has played on stages and in festivals around the world.

But, even though he has been a singer his whole life and performing almost as long – including in children’s choirs and during his time in the Israel Defence Forces – Yalo resisted making music a career. Among his alternate endeavours was being a club owner.

“I opened the club for Israeli Ethiopian people, who didn’t feel safe to stand in line at Israeli clubs; back then we got a lot of refusal just because of the colour of our skin,” he explained. “At the club, there were two floors, one of R&B and reggae/dancehall music, the other one was Ethiopian music. It really affected me because I have heard and learned lots of Ethiopian music.

“After several years of running the club, I felt that I needed to do something different in my life … and I told myself, you don’t want to regret not trying to achieve your biggest dream, and I decided that I had to try and overcome my fears. It was natural for me to make a fusion of Ethiopian music and Western music such as jazz, funk, R&B and reggae, because that was my life between home and the outside.”

Born in Ethiopia, Yalo was 4 or 5 years old when he and his family fled to escape famine in 1984. Traveling by foot, it took them about two months to walk from the Gondar region, in northern Ethiopia, to refugee camps in Sudan, where they stayed for several months, until being airlifted to Israel as part of Operation Moses.

“Lots of the songs that I’m writing are talking about identity, journey and integration into society, so I think all of it came from the experience of making aliyah and the difficulty in the process,” Yalo told the Independent.

There are many things that Yalo would still like to accomplish, but, right now, he said, “I especially want to share music.” He wants to write good songs, collaborate “with musicians that I appreciate, and take my music to a place that it can inspire lots of people.”

Playing in Vancouver with Yalo will be Nadav Peled (guitar), Dor Heled (keys), Billy Aukstik (trumpet), Eran Fink (drums) and Geoffrey Muller (bass).

About coming to the city, Yalo said, “I want to say that Vancouver is one of the best places in the world. I’ve seen so many places thanks to music and, if it wasn’t so far away from my family, I would definitely consider living there.”

For tickets to the Sept. 24, 8 p.m., concert at the Rothstein Theatre, visit chutzpahfestival.com.