(b Berlin, April 30, 1903; d Herford, Oct 19, 1960). German composer. His father was director of music at the St Matthäus-Kirche in Berlin. After initial music studies with Arnold Ebel, Raphael attended the Hochschule für Musik in Berlin (1922–5). There he studied composition with Robert Kahn, organ with Walter Fischer and piano with Max Trapp. From ...
William D. Gudger and Erik Levi
(b Samakand, Tajikstan [Uzbekistan], Dec 28, 1920). Bukharan Jewish singer. From an early age, she immersed herself in Bukharan Jewish traditions, first under the influence of her father, a cantor, who died when she was six. Her original surname was changed to Kuinova in an attempt to avoid anti-Semitic persecution by the Soviet government. She began vocal lessons at the age of 14, performing first in her school choir and on Soviet radio. Renowned for her expertise in traditional music, she toured the Soviet Union widely, performed for foreign dignitaries and at state functions, and earned the award of Honored Artist of the Soviet Union. Kuinova also became an expert in shashmaqam, a traditional music of Central Asia which features texts that date from 15th century. In ...
(b Brooklyn, NY, Oct 4, 1912; d Plantation, FL, March 18, 2000) American klezmer clarinetist, saxophonist, and violinist. Though born in the United States, he was considered an equal of the great European klezmer clarinetists such as Dave Tarras and Naftule Brandwein.
Beginning his career at age 12 playing violin for silent movies, Epstein mastered the clarinet and later the saxophone, and played regularly on the Yiddish stage, on the radio, and in concert. The Epstein Brothers, including Max, Willie (trumpet), Isidore, or “Chizik” (clarinet) and Julie (drums), dominated the New York Jewish music scene for nearly three decades. They are best known for their playing in the Hasidic community in postwar New York, where they became the pre-eminent orchestra. They issued several recordings, including the classic LP ...
(b Constantinople, 1897?; d Athens, 1980). Greek singer of Jewish origin, famous for her recordings of smyrneiko (urban popular song from Smyrna) and rebetiko song. Eskenazy came from a poor family who moved to Thessaloniki around 1900, where she started performing as a dancer until she got married to a wealthy man and gave birth to a son, Paraschos. A few years after her marriage, her husband died and Roza moved to Athens, where she launched her successful career as a musician. In Athens her voice was discovered by the famous ...
(b New Orleans, LA, Sept 3, 1910; d New York, NY, April 17, 2007). American popular singer and actress of German Jewish heritage. She trained as a singer and actress in Europe and New York and began her career with appearances in Broadway musicals in the early 1930s. While continuing to perform on the stage, she starred in a number of Hollywood movies in the 1930s, famously alongside the Marx Brothers in ...
(b Budapest, Sept 8, 1915; d Budapest, Oct 23, 1987). Hungarian composer and pianist. She was born into a well-established Jewish family in Budapest; they owned the city’s ‘English Park’, a famous entertainment park, and her father was a well-known journalist. Hajdú graduated as a piano teacher from the Budapest Academy of Music, where she studied with Zoltán Kodály (folk music) and György Ránki (composition and instrumentation). For more than 40 years she was one of the most successful composers of light music in Budapest. Her song melodies perpetuated in an original manner the typical, operetta-like nostalgic atmosphere of the city. As a pianist she worked with leading Hungarian actors and singers, who generally congregated in the capital. Among her most famous partners were Lili Neményi, Mária Mezei, Hanna Honthy, the Latabár brothers and the opera singers Sándor (Alexander) Svéd and Mihály Székely. Hajdú’s chansons and cabaret songs achieved remarkable popularity. She was one of the founders of Hungarian Television (...
(b Rochovot, Israel, Jan 14, 1960). South African bass-baritone of Israeli birth. The son of an Israeli father and an English mother, he emigrated to South Africa with his family in 1966. After studying singing at the RNCM in Manchester and at the University of Toronto, Saks made his professional début in ...
William Y. Elias
Opera in two acts (16 scenes) by Josef Tal to a libretto (in Hebrew) by Israel Eliraz; Hamburg, Städtische Oper, 9 November 1971 (in German).
Inspired by an ancient Talmudic legend, and an allegory about totalitarianism, the opera is set in an idyllic, peaceful country. The King (lyric baritone) hates the Queen (mezzo-soprano), whom he married only to prevent war with her father, and is in love with the Landlady (soprano). In Act 1, the devil Ashmedai (tenor) appears one night to the King and suggests that if he, Ashmedai, could rule as king for a year, he could turn the peace-loving citizens into bloodthirsty savages while the King could live happily with the Landlady. The King has such faith in his people that he agrees to the bet, but as soon as Ashmedai assumes the physical traits of the King and ascends the throne the citizens turn into intolerant, aggressive killers. A terrible war breaks out, causing total destruction. In Act 2, Ashmedai has won his bet, but the real King refuses to reclaim the throne because his faith in his people has been shattered. Ashmedai changes into a rooster and is devoured, unknowingly, by the Queen and her entourage. The King returns to his throne but refuses to continue the war, despite the advice of his Son (tenor), the commander of the army, and is lynched by the furious masses. Ashmedai appears to the people but they refuse to believe the truth. In an apocalyptic scene the physical world disintegrates, leaving only the King’s naked body with his anguished, faithful Daughter (soprano) leaning over him....
John S. Powell
Sacred opera in five acts by Marc-Antoine Charpentier to a libretto by François Bretonneau; Paris, Collège Louis-le-Grand, 28 February 1688.
The drama is set in the Holy Lands during biblical times. King Saul (bass), on the eve of his battle against the Philistines, consults a Witch (...
Opera in two parts (Prelude and legend) by John Casken to a libretto by the composer with Pierre Audi; London, Almeida Theatre, 28 June 1989.
The ancient Jewish legend of the Golem describes how a saviour figure is created to protect the innocent when a community is under threat. Casken’s treatment of the legend relates its main action in flashback. In the Prelude the Maharal (baritone) remembers in old age how, many years before, he had created a golem. Accompanied by six ghostly madrigalists (the other members of the cast), he relives in his imagination the events that led to the death of his creation, while Ometh (countertenor) reminds the Maharal of his own role in the tragedy. The Legend then tells that story in five scenes. The young Maharal creates the Golem (bass-baritone) from clay on the banks of a river, although Ometh, a wounded, Promethean figure, questions his motives. As the Golem learns to talk and to perform everyday tasks, he comes into contact with the townspeople, with Stoikus (tenor), mourning the loss of his own son, and Miriam (soprano), the Maharal’s wife, whom the Golem desires. Ometh arrives and confronts the Maharal: together with the Golem he could drive evil out of the world; the Maharal angrily dismisses him. When the townspeople meet to rise up against their oppression, the Golem unwittingly interrupts them; after being taunted he kills Stoikus. He is briefly united with Ometh, but the Maharal intervenes, only to discover the murder and what his creation has done....