Central Synagogue concert at Bondi Junction.

‘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).

Yitzchak Meir Helfgot in concert in Sydney. Cantors galore!

Thursday, 20 August 2009 7.30pm - “Symphony for the Soul”

Concert at Central Synagogue featuring Chazzanim Yitzchak Meir Helfgot, Shimon Farkas, Dov Farkas and Yehuda Niasoff with baritone Bob Borowsky and popular singer Jimmy Barnes. Sydney International Orchestra - conducted by Mordechai Sobol.


This splendid concert allowed almost 2000 Sydney-siders to re-live a glorious golden age of cantorial and klezmer singing.

After the overture (Engel’s wedding march) we heard the ever popular ‘Oseh shalom bimromav’ by the three cantors. We then heard a brief pre-recorded video introduction with the night’s conductor Dr Mordechai Sobol giving the history of some famous cantors of the 20th century. Yoselle Rosenblatt and Moshe Koussevitsky were featured in two brackets which were cleverly crafted by Ofir, the son of Maestro Sobol, who also conducted one of the items in the second half. V’lirushalayim Ircha and Lefichach were just two of numerous such cantorial ‘pearls’. Chazzan Helfgot’s singing was imperceptibly spliced into (and back out of) historical clips of the great singers as the orchestra continue to play the accompaniment. The blending/mixing of the sounds was ingenious as it was tasteful.

We were reminded that the great opera tenor Enrico Caruso lauded his friend Rosenblatt, saying that attending his Saturday synagogue services in New York was the equivalent of a singing lesson for him.

Bob Borowsky introduced his aria 'Di provenza il mar il suol' in its context in the story of Verdi’s La Traviata. His smooth ‘velvet’ operatic baritone was a nice contrast with the surfeit of tenors on the night. Those wishing to hear a soprano voice will be disappointed in an orthodox shule (unless it were a boy soprano). For others wanting more opera, the final encore was Chazzan Helfgot doing 'Nessun dorma' in the style of Pavarotti (and holding the last notes even longer!). This aria from Puccini’s Turandot was sung for the World Cup in Rome in 1990. These items were the high points for me, being an ‘opera nut’ before becoming a chazzanut nut.

Cantor Helfgot began singing ‘A Yiddishe Momme’ and was then joined for the second verse by Jimmy Barnes to a great applause. He sang with charm and emotion, including several lines in Yiddish.

The second half began with ‘What a wonderful world’, also sung by Jimmy Barnes. He spoke about his own Mogen Dovid which was passed to him from his mother and grandmother and was the only symbol of Judaism remaining in his life until quite recent times.

Two tributes to Rabbi Shlomo Carlebach started with his version of 'Lecha dodi, likrat kala'. Including Central Synagogue’s Chazzan Sheini Yehuda Niasoff there were now four superb cantors on stage at the one time! Han’shama Lach was followed by a lively orchestral medley of Jewish themes.

In a speech after the intermission we heard about the musical tradition at Central Synagogue along with details of the tragic fire and new modern synagogue, now 11 years old. Credit and thanks were given to Rabbis Levy Wolff, Mendel Kastel, Chazzanim Shimon Farkas and Yitzchak Meir Helfgot, Dr Sobol, Harry Trigaboff, Frank Lowy, Paul Keen, other board members, supporters and the many others involved in this huge undertaking.

Judging by the ovation a marvellous time was had by all and the audience of nearly 2000 indeed got their money’s worth! It was a rare treat to hear one of the world’s best cantors again in Sydney, along with local chazzanut talents and one of the most celebrated experts on Jewish music conducting a symphony orchestra in the country’s largest synagogue.

Comments by Andrew Byrne ..


Additional personal comments by way of 'post-script':

The essential cantorial talent to focus and project the voice was not on show due to the use of amplification. For those of us lucky enough to be in shule the follow Shabbos Ch Helfgot took to the Bimah as Ch Farkas was away for a family celebration. The visiting chazzan was so generous with his singing at Kabbalat Shabbat that he sang beyond the timed lights-out session! Fortunately there was a goy in shule who offered to turn them back on.

Just momentarily, at the highest, loudest and most sustained, the chazzan can sound like a chain saw in action … only then to melt again into mellifluous melody, unlike his two-stroke competitor. I just say this to emphasis the power and projection of chazzan’s highest notes which are indeed phenomenal by any measure. I believe that he sang notes higher than a C natural but I could be mistaken (Pavarotti was famous for his sustained high C’s).

I had a ‘date’ to attend with a cultured continental lady who is a Shoah survivor. However, she had a cataract operation the day before so I took my own family G-dmother, another woman of the world, if a slightly different world. Following my own bent she is a genteel gentile who dabbles Yiddish for part of each week. Like most everyone else, she was highly impressed by the entire evening, from the Australian National Anthem (everyone knew the words!) at the start to the Israeli one to finish the evening.

The concert finished with a native floral presentation and ‘Happy Birthday’ (strangely sung in English) for Mr Borowsky who turned 80 recently. He is one of the stalwarts of the Central choir, still singing year round after a lifetime of opera singing.

Kirby address at Central Synagogue ................ The Dreyfus Affair - Lessons for Today.

Address by Michael Kirby – Sunday 24th May, 7pm.

At Sydney’s Central Synagogue in Bondi, Australia’s recently retired High Court Judge Michael Kirby gave a rousing Sunday evening address on the notorious Dreyfus affair and its relevance to modern Australia. He explained as a background that the French had been defeated in the short but humiliating Franco-Prussian war of 1870-1871. This led to the formation of the first truly united German state which our speaker called the ‘First Reich’ (although it seems that it was actually the second). Whatever, it now included two previously French provinces, Alsace and Lorraine … where 12 year old Alfred Dreyfus was intent on a career in the French military.

Kirby emphasised the effect of the loss of face and loss of territory on the French psyche. Most of all, perhaps, was the proclamation of the new German state in the Hall of Mirrors at the Palais de Versailles in Paris. This was indeed a total humiliation to the country which, under Napoleon Bonaparte, had once ruled much of Europe and beyond. Our speaker said that one reason put forward for the defeat was that France was infiltrated with spies intent on its destruction (for what it is worth, Wikpedia maintains that it was the more advanced railway network in Germany).

Our speaker gave a clear description of the original alleged crime of passing information to the Germans. The only piece of evidence was a hand-written note torn into pieces and found by a cleaner at the German embassy. As a government ‘plant’ she handed the pieces in to the French authorities. A clumsy attempt at handwriting comparisons (and some other fabricated evidence, apparently) led to the conviction of the promising army officer for spying. Although Dreyfus lived and worked in Paris, he travelled to his native Mulhouse (or Mulhausen in German) each year to visit his elderly father. And he was Jewish (which our speaker failed to mention until well into his talk - although most in this audience will have known that).

After the initial guilty verdict, Alfred Dreyfus suffered a degrading public discharge from the Ecole Militaire in Paris and was sent to the notorious Devil’s Island prison in French Guiana as punishment. His family, especially his brother Mathieu, supported him throughout along with a band of faithful friends. They eventually had the matter re-heard after another note with exactly the same handwriting was found in the embassy. Not only could Dreyfus not have written the note, being in custody, its origin was traced to another mid-ranking officer named Esterhazy. He was charged by the military court with being the REAL spy but ended up simply transferred to Tunisia. The actual intelligence related to details of a ‘new’ recoiling howitzer artillery piece.

Despite the initial key evidence being false and other supporting evidence fabricated or circumstantial, Dreyfus was still not formally exonerated. However, following the famous letter by Emile Zola “J’accuse” in the “L’Aurore” newspaper (not Le Figaro as maintained by an insistent questioner) and subsequent moves in the French parliament a full enquiry was called and the prisoner finally released. Only much later was he actually pardoned and fully a hundred years further a formal apology came from the French President’s office to the Dreyfus family. Parallels were drawn with Australia’s recent and delayed apology to the Aboriginal people when some of the wrongs were atoned for.

Apart from polarising French society in an ugly and unprecedented manner, the case had many consequences, one being the French law of 1906 separating church and state which remains to this day. We were reminded about the essential bias of trials conducted by the military. In British countries there has been a convention that if an alleged crime were committed by a service person within 10 miles of a public court house the accusation would be tried in the civil court rather than a court marshal.

Other parallels were drawn between this case and contemporary issues involving minority groups. Kirby brought up the Communist Party case numerous times to emphasise how important it was that people be allowed to hold any views they like, no matter how bizarre and foreign they may appear to others. Only if they infringe on the liberties of others or cause specific damage should action be taken … and that should be by the police, prosecutors and properly constituted courts offering trial by jury.

He reminded us that the Australian Parliament had outlawed membership of the Communist Party around 1950. However, the law also included people who were known to have communist ‘leanings or beliefs’ whether or not they were formal party members. After the law was rejected as unconstitutional in an appeal to the high court, a subsequent referendum also rejected such a law. We were told that in the USA almost exactly the same thing happened but in that country the court upheld the law, saying (more or less) that the legislature can ban anything it likes, leading to the destructive McCarthyist period about which almost nothing good has been written (like prohibition of alcohol).

The retired judge told us that he has always felt close to Jews as a close relative had married a Jewish lady who died after having two young daughters. The gentile father decided to give the two girls a Jewish upbringing according to their mother’s wish (and tradition).

To emphasise his own understanding of the Nazi period, our speaker referred several times to a book he guaranteed was ‘un-put-down-able’ called “To the Bitter End” by Viktor Klemperer (the brother of Otto the conductor). Viktor was professor of romance languages in Dresden and wrote copious diaries his whole life, some of which became best sellers after his death. He describes in only a few months going from Jews being normal passengers to standing at the back of the tram to being banned outright from transport and having to travel by foot. This creeping anti-Semitism soon led to the death camps.

Kirby spoke specifically about discrimination against Jews, homosexuals, Aboriginals and other minority groups. There were wide-ranging examples from around the world of people who were denied justice, at least initially. Cases from Hong Kong, Malaysia, California, England and Australia were mentioned, sometimes by name (since all such trials are on the public record). Kirby clearly is in touch with jurists on several continents.

A woman in Malaysia was denied the right to change religions in order to marry her betrothed. Another was denied a divorce on spurious grounds. Gays in California who had been given the right to marry under State law found their licences annulled by a federal plebiscite which took precedence. We were given a break-down of the voting patterns in this latter vote which overturned the legislation allowing gay marriage. Black voters had been strongly in support of striking down the marriage provisions while Jewish voters were 80% against changing the gay marriage legislation. Rather than the colour of those rejecting gay marriage, some social researchers found that the black voters were more likely to be church-goers and thus it was not their genes, colour or background but their priests and pastors who had the major influence over the vote - which gained nothing for anyone.

Possibly to allay any disquiet in this Orthodox venue, Kirby made the point that these were proposed civil marriages and there was no suggestion that churches, mosques or synagogues would be forced to be involved in anything contrary to their beliefs. For himself, despite having a male partner of 40 years, along with his partner they felt no particular interest in marriage while not wishing to prevent others from being involved if they so wished.

On this Sunday night forum the Q & A session was almost as interesting as the talk itself. In fact rather than using a moderator or chairperson, the retired judge said that he was looking for a new job after being retrenched from the High Court and was seriously interested in a career as a television compare/host. A question came about free speech and the lack of a of bill of rights in Australia. He addressed the American situation and referred to the US Consul General who was present at the gathering. As he said, British societies had generally relied on Parliament to act when there were issues of disadvantage or discrimination - and by and large he said that this usually worked. He emphasised that we may be free to speak but we also have to be responsible and incitement to hatred or defamation could be prosecuted when they occurred. He also appreciated the current debate over the issue of a Bill of Rights, saying that there were merits in some of the arguments for such a move.

One of the first questioners began by saying: “Mr Kirby: you will live with honour and you will die with honour” (perhaps a coincidence, but this is in fact parallels what Madama Butterfly says before committing suicide!). Thence began a long diatribe which became somewhat confusing, disgruntled and personal. The public kvetchnik produced a ream of printed material for the attention of the guest speaker. The latter dealt with the situation remarkably well by saying that he would be pleased to discuss these matters after the proceedings as they may be of limited interest to the general public. And when the man tried to ask another question later on, Kirby reminded him “but we have a date, remember!?”

Our speaker was lauded and applauded by the audience on numerous occasions during his talk. However, in answer to one of the last questions on modern forms of anti-Semitism, he stated that until there was a genuine peace in the Middle East there would be continued ammunition for those hostile to Jews (or words to that effect). This relatively benign and logical comment brought distinct scoffs and groans of indignation from many in the audience. Kirby continued by mentioning ‘the settlements issue’, without going into detail. This seemed to annoy some people who may have felt this was not the place to raise such sensitive if important issues. Like Maria Callas’s last concerts, there was more clapping at the start than at the finish and our speaker had clearly ‘lost’ some of his audience by his candour.

The retired judge acknowledged and thanked numerous other dignitaries including Hon Peter Garrett, Minister from the Environment, Hon Gladys Berejiklian, MP for Willoughby, Chief Prosecutor Tedeschi, embassy, business, charity, kehillah, education and health care workers and officials present.

The evening had been organised by the B’nai B’rith as part of its community outreach program, hosted by Rabbi Levi Wolff and Central Synagogue president Paul Keen representing the Board of Management. Our master of ceremonies Mr Len Mahemoff had commenced proceedings by acknowledging the traditional owners of the Eora nation. He also sang, in succession the Australian and Israeli national anthems which finished the evening on a musical and dual-patriotic note. I noted that just about everybody knew all the words to both anthems, quite a feat when a majority of the audience were probably born overseas (many in South Africa, Russia and America).

Comments by Andrew Byrne .. Day job: Redfern dependency physician.


Email - ajbyrne@ozemail.com.au

Clinic web page: http://www.redfernclinic.com/c/

Andrew Byrne seeks a Jewish musical tradition in New York: April 2009

Shearith Israel Synagogue Central Park West and 70th Street.

On returning to Central synagogue last week, Rabbi Wolff said that he had not liked to comment on my absence – which is perfect etiquette. I usually spend a month in New York at this time of year since ‘discovering’ the Big Apple almost 20 years ago. My grandfather visited in 1922 and wrote effusively about his impressions (see blog). Despite not being Jewish I have been extended a welcome in Australia's pre-eminent synagogue as vocal enthusiast where I attend on Fridays as a rule and on other services as an exception.

It appears that I was away at the same time as Chazzan Shimon Farkas, a happy coincidence as his contribution to the Central services is unique and monumental. The shule is fortunate to have Rabbi Yehuda Niasoff whose vocal, musical and other talents are also remarkable. Including the large and professional male choir, there is no team like this in Manhattan, at least not that I could find even on close enquiry over several years.

Central Synagogue is an immensely beautiful modern building and its congregation and community spirit, especially the children, make it an appealing place to return to. The acoustics are near perfect in this hall of 2000 seats. For these reasons I believe all Sydney-siders, Jewish or otherwise, should consider attending a service here. It should also be on the list of things for tourists to Sydney to do if they have any interest in Judaica.

I was told that few Manhattan shules have choirs any more, at least for regular shabbos services. Some say that a choir makes the congregation less likely to sing themselves – and I found some evidence of that on this visit although it is clearly not the case at Central.

I attended three shules during my month in Manhattan. Shearith Israel twice – and the Sephardis are a world apart – if a recognisable one. Their rabbis wear headgear rather like Greek Orthodox priests: tall black cylindrical affairs with flat tops. The three clergy read and chanted from a centrally placed, raised bimah facing the ark. There is no drosha in Kabbalat Shabbat which I think is the old tradition anyway. Their chazzan (who I believe is also the mohel) and choir sang from the upstairs gallery of their enormous and beautiful shule building on 70th and Central Park West (just a block from my apartment). The tunes from the unseen singers were nearly all different in their tradition yet the chazzanut was glorious and uplifting on both occasions.

Park East Synagogue Shabbos morning service was a high point vocally with previous Central maestro Russell Ger conducting Yitzak Meir Helfgot and a professional choir of 6 men. I had to pinch myself to realise that I was there, hearing such a great cantor (not perfect, though, as he sometimes seems to push a little beyond even his own capabilities), a professional choir and an Aussie conductor. As the maestro and chazzan switched places towards the end, Russell sang the penultimate song himself as a solo, much to the delight of the congregation. I saw people craning their necks to see who was now singing, so different was Russell’s mellifluous strong baritone from the chazzan’s high, dry tenor. Unfortunately, their ‘bimah’ is adjacent to the ark so some vocalism is wasted to the front wall, curtains, etc. The choir sat in an arc on ‘stage right’, allowing their voices to project into the hall right up to the final Adon olam. This is a marathon 3 hour session for all the participants – equal to most any grand opera or musical.

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An address was given in the middle of the morning service by an Israeli army general Gershon Hacohen. He spoke in good English about the vexed issue of accusations of excess collateral damage in the recent Gaza incursions. By chance I was sitting right next to an IDF veteran who was also visiting New York. His copious eyebrows and facial expressions revealed his discomfort at some of what the general had to say. We spoke about seeing things from different perspectives, American and Israeli. Unlike some newspapers in the west, the Israeli press is very frank its criticism of some aspects of war, even when the most serious efforts are obviously taken to prevent excess collateral damage. I read that there are present investigations into the excesses of some individual soldiers … but I was surprised to hear these things discussed in a house of worship.

The Carlebach Congregation is a tiny but very famous shule on 79th St near Riverside Drive. It was well attended on a Friday night with enthusiastic singing, clapping and panel bashing with a cantor who had written his own new melody for some part of the service. By chance I sat next to a man who remembered me from the opera as he worked in the box office at Lincoln Center! He was intrigued about my goyish attendance, Australia, Bondi, opera, etc and ask lots of questions – when I really just wanted to concentrate on the service. Does that sound like a kvetch? At least he was pleasant and forthcoming. In Lecha dodi at least half the men danced in a chain around the bimah – such as it was – a tiny platform at the front. The shul building is like two narrow tram-cars with a metal fence dividing men from women. I met the current Carlebach chazzan named Yehuda who said “so what” when I confessed to cross-denomination straying.
Like Central, the Carlebach now has transliterated Artscroll siddurim available while both Shearith Israel and Park East are considering them according to their helpful staff. Each is an orthodox kehillah.

Next time in New York I may try the large temple Emanu-El on 5th Avenue near Central Park South. As for Sydney shule descriptions, I keep a diary, but this is far too verbose, subjective and detailed to be of interest for normal readers. I sometimes send snippets to friends and congregants both to check my own ‘recall’ as well as spread the word about these extraordinary vestigal institutions. I always ask that these notes not be forwarded since people’s privacy needs to be respected – even if attending a house of worship is essentially a public thing to do.

Photos and more details on request.

Notes by Andrew Byrne ..

Leonard Bernstein's 90th birthday celebrations ... in memoriam.

As published in the Australian Jewish News, Yontif edition Thurs 2nd October.

Bravo Bernstein! Sydney Jewish Choral Society. 3pm Sun 14th September 2008
Celebration of Leonard Bernstein’s 90th birthday. [by Andrew Byrne, roving shul goy]

Bernstein was one of the true musical ‘greats’ of the 20th century. Yet, unlike Puccini, Gershwin or The Beatles, he excelled across a vast range of endeavours from poetry to performance to opera and politics. He even wrote ditties for his friends’ pets! While he had a secular education he was never far from his Jewish roots.

This relaxed Sunday afternoon concert was a true variety show, starting with a spirited and rhythmic arrangement of Simchu Na by the entire choir. Next we heard four charming pieces Bernstein dedicated to friend’s dogs! Moriah College brass players included tuba, trumpet, trombone and euphonium. They played solo pieces professionally, concluding with a fanfare ensemble. Next we heard a beautiful rendition of Psalm 23 written by Bernstein for Chichester Cathedral using adult choir and child soprano. To wind up the vocal part of the first half we heard Mr Len Mahemoff sing Yerushalayim with his mellifluous basso voice and fine characterisation.

In the programme’s only departure from Bernstein’s work, we heard the Chandos Ensemble perform three charming string pieces by Velazquez, Gardel (Tango) and Louiguy (La Vie en Rose).

Bernstein’s ‘Candide’ started life in 1956 as a Broadway musical but has since ‘morphed’ into a light opera. Its overture is one of the most inspired and popular orchestral pieces. The soprano’s show-stopper ‘Glitter and be Gay’ was originally sung by Barbara Cook and it may be the only modern successor to Mozart’s ‘Queen of the Night’. We heard many Candide themes in the trio medley ‘Burning with Bernstein’ led by Sarah Butler on bassoon with trumpet and clarinet. We returned to Candide with the full choir performing ‘Life is happiness indeed’, including solos by several members who all sang with accuracy and flair.

The concert concluded with numbers from Bernstein’s famous Broadway Musical ‘Westside Story’ including ‘Maria’ and ending with ‘Somewhere’.

The sell-out crowd gave a great round of applause for all the talented musicians, notably accompanists Shirley Potitzer, Sussanna Lin and Shirley Frumar. The choir was ably conducted by Rose Grausman.

For more information about the Sydney Jewish Choral Society please contact Anne Spira mobile: 0403392878. For details of Bernstein’s birthday events in New York: http://www.carnegiehall.org/bernstein/


Reviewed by Andrew Byrne, Sydney addictions physician.

Opera blog: http://www.redfernclinic.com/opera/critique/blog/

"The Three Cantors" - Central Synagogue August 08

“Three Cantors Concert” conducted by Marvin Hamlisch. “From Jerusalem to Broadway”. Shimon Farkas – Bondi; Dov Farkas – Caulfield Hebrew; Alex Stein – Calgary, Canada. Wed 20 Aug 08

Central Synagogue was almost unrecognizable, being dramatically transformed for the purpose of the ten year anniversary of the new building after the terrible fire in 1995 which destroyed the original shule on the site. History has proven that adversity can be the mother of innovation … ensuring viability and even expansion, something which is rare in religion these days.

The front of the synagogue was turned into an enormous concert platform up to but not including the bimah. Hence the laterally place musicians only just had enough clearance under the overhang of the upstairs section (they are used to cramped work-places). And there were perhaps 50 in the “Sydney International Orchestra”, conducted by American maestro Marvin Hamlisch. He has a huge Wikipedia entry which reads like a latter day, longer-lived (Jewish) W. A. Mozart.

The concert proper started with a medley of music by Irving Berlin (who also wrote "I’m dreaming of a white Christmas" - which they tactully omitted). The medley was boisterous and rhythmic with a brief staccato solo for clarinet imitating the saxophone. Next the vocals commenced with the rondo version of ‘Oseh shalom bimromav’ as the tune was bounced from one tenor to another as if it were a football on the field. Alex Stein, Shimon Farkas and Dov Farkas were all in excellent voice. The former seemed to push the voice at times yet the other two (father and son) were comfortable in their range. Each has a distinctively individual vocal character with particular and parallel prodigious talents. All have amazing breath control and could take a note seemingly to infinity.

Shimon Farkas is a true man of the theatre and it was his ‘dream’ to have such an event which he told us as the orchestra quietly introduced “Dream the impossible dream” from Man of Lamancha in an arrangement by Tommy Tycho.

In another orchestral interlude we had Marvin Hamlisch on the piano with Scott Joplin in his own arrangement of ‘The Sting’ music. He made an unnecessary gag about Paul Newman and Robert Redford being in the cast and that HE was the understudy for both!

The three cantors were joined in the last number before intermission by Yehuda Niasoff who led the Hassidic Kaddish on a haunting Hungarian theme. This is sung at numerous points in the liturgical calendar including Sechilot if I recall correctly. They used the Ashkenazic pronunciation to keep in character.

The interval was a ‘meet and greet’ session for perhaps 1500 community members, an opportunity to catch up. A benefit of the octagonal design of the synagogue is that one can see the faces of at least half the congregation without even turning one’s head. It was a credit to the Jewish community that when the orchestra played the national anthem, Advance Australia Fair, almost everybody knew the words (a legacy of John Howard, perhaps).

Some of the ‘banter’ between songs was a little ‘light-weight’ while a bland ‘commercial’ for one of the sponsors was over the top. The mention of a ‘ham sandwich’ lacked tact in an orthodox shule. But the audience seemed to enjoy it all and many knew the words of the songs and sang along. All were asked to join in some pieces, including the Toreador song from Carmen. What few in the audience probably knew is that the words of Carmen were co-authored by a Jew, Ludovic Halevy, the nephew of the composer of La Juive.

If I were forced to criticise the evening it would be that a true concert might have had the tenors in front of the orchestra and without microphones or amplification. I would not have covered the ark or bimah but highlighted them (one shule member commented that the bimah had been made into a giant mixing platform!). The ark, curtain and scrolls were all covered by a black full-length material with unrealistic illuminated stars.

It was touching that up to 50 volunteers were quietly allowed into the auditorium for some of the program, leaving others to do security and preparation work outside in the large foyers and function rooms. There would have been 1500 people in the synagogue by my estimation with nearly all seats sold (at the last minute some friends bought ‘restricted view’ positions dead centre but with some obstruction from the bimah platform. Some side and front seats were left empty as they would have had no view of the proceedings. As a goodwill gesture the residents of Bon Accord Avenue were all invited and many accepted. In most cases it was the first time they had seen the inside of the synagogue.

The official party, led by Governor Marie Bashir, entered with some ceremony in the upstairs section. Nearby were Frank Lowy, Harry Triguboff and many other prominent Australians.
The evening was a great success and a tribute to new shule president Paul Keen, Rabbi Levy Wolff, the artists and staff who managed to pull off this event. It brought people in from far and wide and re-introduced many to the synagogue, Jewish music and this proud and traditional community.

Comments by Andrew Byrne ..

Travel blog: http://ajbtravels.blogspot.com/

John Pinchas Cargher RIP.

Mr John Cargher 1919-2008 [Published in Australian Jewish News]

Australia has lost a great musical ambassador with the death of John Cargher on Wednesday 30 April 2008 at his home in Melbourne aged 89. He was a self-taught expert and critic on voices, composers, opera and classical music generally. His 'Singers of Renown' has been a Saturday afternoon fixture on ABC Radio for forty two years. I listened avidly to his broadcasts whenever I could and they often raised discussions between family and friends.

I only knew John from his occasional outings to the opera in Sydney and from numerous email exchanges. Many in Melbourne knew John personally from his involvement in record stores and theatrical exploits from 1951 when he arrived from London. Yet it was his broadcasting which took his softly spoken European accent and his personality into homes across Australia and beyond. His father Jacob was a rabbinical student in London where John was born. He was raised in Germany and Spain due to the illness and early death of his German mother. John then returned to London as a teenager to learn a trade and also attend operas and concerts in cheap seats.

John’s choice of items was always novel as were his eclectic commentaries between them. Even many non-opera people know John's signature tune, the 'nostalgia' duet from Il Tabarro with Mario del Monaco and Renata Tebaldi. This glorious and previously obscure piece of soaring Puccini is now probably the most often broadcast opera excerpt in the world after more than 2000 programs. Dame Joan Hammond also popularised a famous aria from this Puccini Trittico masterpiece "Oh mio babino caro".

Even up to recent weeks John was still making his pre-recorded weekly broadcasts, despite some repeats due to illness. On the week of his death the ABC replayed a program from the 1990s featuring Verdi’s opera Ernani with excerpts from the 78 era to the present day. While personally favouring the great baritone arias, he played a vastly varied selection from the last castrato to strained falsettos and booming basses. My own favourite ‘oddities’ were the delightfully drunk soprano song, the famous pussy-cat duet "Miaou" and the tone-deaf Florence Foster Jenkins. He avoided the temptation to showcase Callas, Sutherland and Pavarotti who he played infrequently. Other century greats he played included Gigli, Tucker, Di Stefano, Schmit, Warren, dal Monti, Ponselle, Muzio and Caruso. His historical notes often included how the Second World War affected careers and lives of individuals. He often mentioned the cantorial tradition and occasionally mentioned his Jewish roots.

John Cargher wrote numerous books popularising classical music and he was made a member of the Order of Australia for his services to music and the theatre. His wry wit, profound knowledge and occasional exposed mistake will always be remembered by this listener. Rest in peace. May his passing inspire others to such heights. He leaves his second wife, Robyn Walton and daughter Penelope.

[Written by Sydney addictions physician and opera critic Andrew Byrne]