‘Symphony for the Soul’ - Central Synagogue. Wed 20th October 2010
Once again this year we were privileged to have a full symphony orchestra with four cantors at Central Synagogue in Bondi, NSW, Australia for an evening of (mostly) Jewish music. The star of the night was the extraordinary Yitzchak Meir Helfgot from Park East Synagogue on East 67th Street in Manhattan. No less renowned is chief house cantor Shimon Farkas with son Dov Farkas and chazzan sheini Yehuda Niasoff making a quartet of rare quality.
For the first time on the concert stage was the recently formed Central Synagogue boys choir of seven members. Through the marvels of audio and video technology we were also joined by the great Moshe Koussevitsky who had one of the most extraordinary voices of all time, although he died in the 1960s. His voice recordings and video clips of his singing were cleverly joined and then spliced almost imperceptibly with Chazzan Helfgot’s singing in some of the most challenging pieces in chazzanut. We also heard a reconstructed recording of the great Ch. Rosenblatt with images from the early days of the 20th century.
The vocal program began with all four cantors doing Eshet chayil with great aplomb. Maestro Sobol had pre-recorded some introductory lectures on cantorial singing with some anecdotes and superlatives concerning 20th century schools in Europe and America, old recordings, Caruso and New York. Yehuda Niasoff sang Zol shoyn kumen to a handsome ovation while the first half finished with a Carlebach compilation from all chazzanim.
The second half was introduced by shule president Paul Keen, including an infomercial for the synagogue and appropriate acknowledgements. We heard no less than three pieces by the highly successful pop singer, dancer, performer and song-writer Ilan Kidron, voice behind the “Potbelleez” group. With a colleague on double bass he sang with almost swallowed microphone a modern song about the language of love. This was followed by ‘Je ne regrette rien’ by Dumont (in excellent French). After another cantorial pearl from Ch Helfgot (Achai giborei hathila), Mr Kidron sang his own Hebrew piece which was also well received.
Following the beautiful and demanding Habet mishamayim there was rapturous applause for Ch Helfgott who scratched his head and returned directly to the microphone as the orchestra proclaimed the introduction to 'Nessun dorma' which he sang with vast Pavrottian effusion. It was just a shame that the boys choir could not join in the ‘none shall sleep’ choral sections, but we can’t have everything.
The much anticipated (at least by me!) 'Granada' was wiped from the official program for some reason. This was most disappointing, partly because it is a wonderful rousing piece which Shimon Farkas would have sung beautifully. But in addition, the Spanish city of Granada represents one of the ancient seats of Jewish learning from the time of RAMBAM until the expulsion of the Jews from Spain in 1492. ‘Granada’ was replaced by a full-choir version of ‘Adon olam’ which really got the crowds clapping and singing along. I think they suddenly thought it was lunch time Saturday instead of a midweek evening. Even the elderly Russian lady sitting beside me knew the words (at least the rondo ending in 'sh’mo nikra').
This event, which after three years, seems like an annual fixture, is a colossal undertaking for a shule with no school, no yeshiva, no conservatory, no hospital or nursing home. However the kehillah is one of the best endowed in the country as well as possessing one of the largest and most comfortable synagogues in the world. The concert was well attended with only a sprinkling of empty seats I noted at the very rear sections. The full 2000 seats could not be used as much of the lower level was taken up with the stage, sound equipment, special effects lighting, smoke machines and stairways, etc.
We were told that any profits from the concert would go into added security for the community. The notion of ‘fortress Israel’ was also emphasised as the video accompaniment to one of the second half arias was the IDF in every conceivable field of active combat. These included blowing up targets, paratroopers en masse, missile launching and armed personnel carriers going through snow and desert sands. It was as far from the psalms of King David as one could imagine. A community member I questioned afterwards said that he thought it was ‘a bit out of place’. However, the very fact that it happened is a demonstration of the unity Jews have towards the State of Israel, despite the obvious and continuing problems of settlements, Gaza ghetto, occupation, etcetera.
As well as a cultural high-point, these concerts are a ‘thank-you’ for kehillah donors, some of whom were singled out for their generosity. This week marked the 80th birthday of Frank Lowy who was sitting with his party in the front row upstairs. Others who were specifically thanked included Harry Triguboff and his wife along with numerous sponsors of the night, personal and corporate.
If I had any comment on the content as a gentile outsider it would be that there could have been a Broadway piece, another operatic pearl as well as perhaps a comedy number. We were serenaded with “Mamele” and “My zaide” but no Hollywood song. The excellent and responsive symphony orchestra had no great classic piece to show off their art. I would have chosen a Rossini overture, perhaps the Turk in Italy … or Leonard Bernstein’s miraculous Candide overture would have been equally acceptable.
The audience might also have appreciated a break from the three high-voiced tenors, perhaps by a baritone or bass.
Comments by Andrew Byrne .. (mystery goy in shule).
3 months ago
