THE WORLD IS A STAGE - Assaf Bènraf conducts the Jerusalem Symphony Orchestra, the Jerusalem A-Cappella Singers, the Jerusalem Oratorio Chamber Choir and soloists in a program of opera favourites

 

Tali Ketzef,Assaf Bènraf,David Goldberg,Tamara Navoth (Courtesy Tamara Navoth)

THE WORLD IS A STAGE - This was no understatement regarding the concert that took place at the Jerusalem Theatre on December 21st 2025 to a packed Henry Crown Auditorium. In this, the second of "The Chorus Line" series, Maestro Assaf  Bènraf conducted the Jerusalem Symphony Orchestra, the Jerusalem A-Cappella Singers and the Jerusalem Oratorio Chamber Choir. Soloists were Tali Ketzef (soprano), Tamara Navoth (mezzo-soprano), David Goldberg (tenor), Dmitry Lovtsov (baritone) and Ziv Sabag (tenor). Jerusalem mayor Moshe Lion opened the festive event.

 

Assaf Bènraf and the musicians took the audience on a whirlwind opera tour to destinations throughout Europe and into Restoration England, with opera excerpts from the late 17th- to the early 20th centuries. And what more delightful way to start the evening rolling than with the Overture to W.A.Mozart's "Marriage of Figaro", performed with fleet lightness, wit, freshness and charm, its every gesture alluding to the opera's playful, mischievous plot. This was followed by a splendid reading of the chorus "Giovani liete fiori spargete" (Young ladies, happily scatter flowers).  

 

Leaving the world of opera buffa, the program took the audience to operas based on myth or history, those exploring profound human emotions, downfall and sorrow, starting with "Ah, se intorno a quest'urna funestra" (Ah! If around this mournful urn) from C.W.Gluck's "Orfeo ed Euridice", the choral role's lush, lyrical intensity interwoven with Orfeo's grief-stricken solo utterances (Tamara Navoth). Navoth's poised singing and tasteful ornamentation of Dido's Lament from "Dido and Aeneas" (Purcell) brought out the simplicity of this grand lament, followed by the choir's gentle request that cupids scatter rose petals on Dido’s tomb. For me, a highlight of the evening was the chorus introducing the 4th act of G.Verdi's “Macbeth”, "Patria oppressa" (Oppressed land of ours), in which Scottish refugees bemoan the misery of their own country. Expressive, meticulously detailed and with a fine balance between instrumental- and choral forces, Bènraf conveyed the bleak, menacing scene. This was followed by a pleasurable performance of the much-loved chorus from Verdi's "Nabucco" "Va, pensiero" (Chorus of the Hebrew Slaves), a reminder of Babylonian captivity following the destruction of Solomon’s Temple in Jerusalem (586 BC). Then, plummeting to the program's gloomiest depths, we heard the scene from M.Mussorgsky’s "Boris Godunov" that includes the Holy Fool's aria, a pivotal moment in the opera and a scene heavy in social commentary and psychological drama. Alongside praiseworthy singing on the part of the choir (with tenor Ziv Sabag as Shulsky) young Israeli tenor David Goldberg, commanded fine vocal control, his richly-timbred voice displaying the requisite pathos to portray the Holy Fool lamenting Russia's dark future. An outstanding and convincing performance of this challenging material.   

 

There was much enjoyment from the selection of pieces performed from G.Bizet's "Carmen", beginning with the Overture, its rousing march style including the Toreador Song. Joined by two choir member soloists, the chorus "A deux cuartos!" (For two cuartos!), a foil to the impending grim melodrama, was stirring, presenting festive celebrating of the crowd and merchants outside the bullring. Performing one of the best-known arias of operatic repertoire, we heard Tamara Navoth (her Carmen a less promiscuous gypsy than some) singing the Habanera, “L’amour est un oiseau rebelle” (Love is a rebellious bird), the performance characterized by attentive balance of solo voice, choir and orchestra.

 

And to the world of light opera, of sweet sentiments of love and happy endings, starting with "The Merry Widow" by Franz Lehár. Performing the Vilja-Lied, in which the affluent widow Hanna delights her guests with a tale about a woodland fairy who bewitches hunters, soprano Tali Ketzef captured the piece's sentiments of longing and desire, of nostalgia and hope, her delicate rendition at times overshadowed by the orchestra. Ketzef and Navoth's voices blended and matched in their fetching performance of  "Belle nuit, ô nuit d'amour" (Beautiful Night, Oh Night of Love), the daintily lilting Barcarolle from Jacques Offenbach's opéra fantastique "The Tales of Hoffmann". For the opera's Finale, Ketzef, Navoth, Goldberg and Lovtsov (the latter's voice easeful, resonant and of warm timbre) sang the opening, then to be joined by the choir, with the JSO brass- and percussion sections contributing to the mighty, final tutti.  And what more jovial way to end the concert than with soloists, choir and orchestra raising a glass to indulgence and merriment in the iconic "Champagne Song" from Johann Strauss II's operetta "Die Fledermaus"? But it seems that yet another toast was in order, with a hearty performance of "Libiamo ne 'lieti calici" (Let's drink from the joyful cups) from G.Verdi's "La Traviata".

 

It was a sparkling evening of variety and of first-class, polished performance on the part of the JSO players, choirs and soloists, indeed, an evening of opera magic, despite there being no staging. Maestro Bènraf drew together these forces with precision, eloquence and clarity, his lively explanations adding interesting background information as to the works and their times. 

 

"Last Words" - the Israel Contemporary Players perform works of Dror Binder, Martijn Padding, Louis Andriessen and John Adams. Conductor: Christian Karlsen. Soloist: Hillel Zori

Maestro Christian Karlsen (Karl Gabor)

 

Prof. Hillel Zori (Courtesy Keshet Eilon)

"Last Words", Concert No.2 of the Israel Contemporary Players' 35th season, took place in the Zucker Hall of Heichal Hatarbut, Tel Aviv, on December 6th. 2025. Guest conductor was Christian Karlsen (Sweden). The soloist was Israeli 'cellist Hillel Zori.

 

The program opened with the world premiere of  "Long Exposure" by Israeli composer Dror Binder (b.1993). Binder is currently based in Vienna. Commissioned by the Israel Contemporary Players, "Long Exposure", scored for 12 instrumentalists, opened with short utterances of breathy, whistling (and other) sounds, moving into longer sections of changing timbres and fuller settings. Unconventional use of the piano and percussion instruments (also the sound of crinkling paper) elicited a myriad of associations in the listener's mind, the performance also providing visual interest in the process of music-making. The eclectic range of music  to which Binder was exposed as a child, and over recent years, filters through into the compositions he writes, bringing about his distinctive, personal musical style. The composer was present at the event.

 

Composed by Dutch composer Martijn Padding (b.1956), "Last Words" (2010) is actually a 'cello concerto in three movements. From the initial notes of the first movement (Preambulum), Padding introduces us to a different, changing relationship between orchestra and soloist. In this movement of high energy, of many colourful, spirited ideas and timbres, including some whimsical gestures, 'cellist Hillel Zori joins the conviviality with easeful, clean, dazzling playing. The second movement (Aria) is a mood piece (perhaps night music with insect sounds or bird calls?), its sparse scoring made up of small, delicate motifs, with the 'cello playing pizzicato. Dancelike and of good humour, the third movement (Foforlalana) takes us back to the brisk character of the Preambulum, as Zori engages in fast runs through all 'cello registers against vivid playing of the ensemble and frictious sounds from the keyboard. Fine, attentive performance on the part of all, with plenty of interest in the percussion section, kept the audience at the edge of its seats.

 

Then to a work by Louis Andriessen (1939-1921). Producing a staggering output, Andriessen was considered the most influential Dutch composer of his generation. He was one of the founders of the Hague School, an avant-garde minimalist movement active in the second half of the 20th century. (Padding was a pupil of Andriessen.)  A commissioned work (1994), "Zilver" calls for a mixed instrumental septet of flute, clarinet, violin, cello, vibraphone, marimba and piano. The title refers to the two silver instruments – flute and vibraphone.  Andriessen saw the work as a chorale variation, as Bach had written for the organ. The ensemble divides into two groups, with the winds and strings playing the sustained melody in chorale-like four-part harmony; the vibraphone, marimba and piano form the second group. From the initial small bursts of sound, as flute and vibraphone descend an altered major scale together, Andriessen's design remains clear throughout, as the subtle variations in timing draw the listener into the process. The music proceeds to a faster, motoric pace, with both groups suddenly engaging in larger intervals. Winding down from the dancelike climax, the quartet bows out, as the work concludes with a single musical strand. A demanding piece, splendidly handled by conductor and players.

 

For me, the opportunity of hearing a work by John Adams (b.1947), a composer in a class on his own in the world of American music, is one not to be missed. The concert concluded with "Son of Chamber Symphony". This work, commissioned by Stanford University, Carnegie Hall and the San Francisco Ballet, had its first performance in 2007. (Choreographed by Mark Morris, the dance version, titled "Joyride", was premiered in 2008.)  "Son of Chamber Symphony" shares the similarly nimble character of its predecessor, the Chamber Symphony (1992). Indeed, it is as difficult as the original chamber symphony, if not more so. The rhythmic restiveness inherent in "Son of Chamber Symphony" is partly due to its choreographic intent. Including some jazzy elements, a pizzazzy pulse launches the first movement, as it offers a rich, imaginative mix of timbres. Mostly calmer in mood, and offering an opportunity to hear woodwind- and other players in some beautiful solos, the second movement floats a long, meandering melody over gentle chords. Back in hectic Adams mode, the last movement presents a busy scene, the bass instruments playing alternating major and minor thirds, with the upper voices threading polyphonic utterances through the pulsing fabric. 

 

Christian Karlsen (b.1985) is one of Scandinavia's most outstanding and innovative conductors. Having quickly established himself as one of Europe's foremost conductors of contemporary music, he is equally at home in  traditional repertoire and is renowned for his interpretations of Mozart and Haydn. Maestro Karlsen is no new face to the Israel Contemporary Players and their audience. At the Tel Aviv concert, Karlsen and the ICP's fine musicians joined in what was seamless teamwork,  performing the program's four works with dedication and true excellence. 

At St. Andrew's Scots Memorial Church, Jerusalem, the Israeli Vocal Ensemble (music director: Yuval Benozer) performs works based on biblical texts.

The Israeli Vocal Ensemble, Maestro Yuval Benozer back far right (Doron Oved)

 

The Bible has provided (and continues to provide) an inexhaustible source of inspiration to musicians, especially when it comes to choral repertoire. The Israeli Vocal Ensemble opened its 33rd concert season with "After These Things…Bible Stories in Voices". Taking place at St. Andrew's Scots Memorial Church, Jerusalem, on November 28th 2025, the concert was conducted by IVE founder/ music director Yuval Benozer. Joining the ensemble were  pianist Janna Kopelev and Itamar Leshem (horn). The program included works from the 16th- to the 21st centuries and from several countries.

 

Opening with a solo (Stefan Blochwitz), "Absalom, my son" (2 Samuel 18:33), composed by Michael Barrett (b.1983, South Africa) offered a marvellous mix of textures, modality, autumnal harmonies and pedal points, taking the listener from the narrative to the personal, emotional pain of David (as do all the works using the same text.). And to one of the supreme examples of late Renaissance repertoire, five ensemble members performed Thomas Tomkins' "When David heard". The singers, their rendition unmarred by vibrato, were attentive to each other, as they presented the blend of polyphony, harmonic content and emotion of this small gem. Ensemble member Dor Magen conducted the same text (in Spanish) as composed by Joaquin Rodrigo "Triste estabael Rey David" (1950). Taking it at a relaxed pace, Magen's direction gave expression to the fine details of this sombre work, its contrasting melodies, the convergence of vocal lines and the psalm-tone timbre (with grace notes) creating the lamentation's specific Spanish sound world.

 

For me, one of the highlights of the concert was the performance of "Da Jakob vollendet hatte" (When Jacob had finished the instructions to his children, Genesis 49:33 & 50:1) by Johann Hermann Schein. This piece belongs to the 1623 "Israelis Brünnlein" (Fountains of Israel) collection, composed by Schein in the Italian madrigal style, most of the texts taken from the Old Testament. From the motet’s densely chromatic opening, Benozer and singers gave articulate, meticulously-phrased expression to its remarkable images of grief and to the word painting woven into this piece, indeed, one of the most extraordinary documents of the early German Baroque.

 

The program included a number of Israeli compositions. Tastefully accompanied by Janna Kopelev, tenor Daniel Portnoy performed "In the Beginning" (lyrics: Haim Hefer, melody: Sasha Argov), his rendering clean, genial and communicative, as he presented the narrative with freshness and good humour. In Israeli composer/conductor Tzvi Sherf's splendid arrangement of "In the Beginning (Genesis)" (music/lyrics: Don McClean, 1978), the ensemble gave a coherent, colourful delivery of the song's upbeat, richly-detailed verbal- and musical text. As to "Vayimalet Kayin" (And Cain Fled), the IVE's male singers conveyed the rhythmic, muscular energy of Yehezkel Braun's distinctive setting of Yaakov Shabtai's poem. The text tells of Cain (soloist: Michael Bachner, portraying a self-pitying Cain), having murdered his brother Abel, wandering the earth and finding no respite. Again, on the theme of family tragedy, Canadian-born Israeli composer Aharon Harlap's "Bat Yiftach" (Jeptha's Daughter, Judges 11:29-39) relates the story of Jephtha willing to sacrifice whoever comes forth from the doors of his house on his return from war, if God grants him victory in battle. It is his daughter, who dances out to greet him. Harlap's score calls for SATB choir, French horn solo and two vocal soloists. With the French horn's sound traditionally associated with destiny, Itamar Leshem's playing is majestic, setting the fateful scene, also concluding the work. Harlap's writing, stringent, chromatic and uncompromising, entrusts the choir with the narrative. Baritone Dov Antin made for a gripping Jephtha, with Liron Givoni' giving an emotional portrayal of his daughter. 

 

Born in Estonia in 1935, Arvo Pärt's deep Christian faith has shaped his globally celebrated compositions. "Which Was the Son of" was commissioned by the city of Reykjavík for its European Capital of Culture 2000 program.  Inspired by Iceland’s tradition of reciting family names, the composer sets a passage from the Gospel of Luke that lists the order of Jesus’ descent and his lineage. At the Jerusalem concert, we were presented with a fascinating (indeed, mesmerizing) performance of the work. This was no monotonous listing of names. Indeed, Maestro Benozer led the singers through a high-energy reading of the work, its different sections employing chordal and melodic elements, dynamic variety and fluid interchanges of voices, ultimately arriving at a multi-voiced polyphonic section, in which the names of Adam and God are highlighted. With precision and fine diction, the singers undertook the pronunciation of Scripture proper names as indicated in the score's table of signs.  An outstanding performance of this unique work!

 

The Israeli Vocal Ensemble's repertoire includes a number of Afro-American spirituals. These works constitute splendid concert fare. We heard American composer/arranger Mark Hayes' jazzy, finger-snapping setting of "Go Down Moses" (Solo: Ronen Ravid), a dose of whimsy added by Hayes to the original Gospel song.  "Shadrack" (Robert MacGimsey, arr. Charles R. Casey), brimful of foot-tapping dance rhythms and vocal effects endorsing the song's quirky style of narrative, was followed by Moses Hogan's rich, sophisticated vocal writing in his arrangement of "The Battle of Jericho", and splendidly performed. 

 

Ronen Ravid's eloquent reading of some of the song texts added an extra dimension to this concert of fine programming and consummate performance.  

 

For an encore, the ensemble gave a colourful rendition of Matti Caspi’s “Farewell to Noah’s Ark” (lyrics: Nurit Zarhi, arr. Tzvi Sherf.)