Rozhinkes Mit Mandlem - Score
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In , the ensemble accepted a donation of a Lyon Healy model 15 pedal harp to be used by the community and university students. Watch a video of the MHE performing here! O Sanctissima 4. Carol of the Bells 2. The First Noel 3.
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Greensleeves 4. Go Tell It on the Mountain. There are two main types of reconstruction: Revival and Homage. The recent Di goldene kale The Golden Bride production at the Folksbiene took Michael Ochs years to construct, from research to grant writing. It offered the first full-scale revival of a classic operetta by the top dog of the genre, Joseph Rumshinsky. Looking more closely, Ochs and his creative partner Zalman Mlotek had to make a lot of choices. Yiddish theatre was never standardized, so you have to pick your way through variant scripts, make orchestration choices, and adjust to the aesthetic of our day.
To simulate the popular culture reception of Yiddish melodrama, I did the play in English, with a local campus cast of faculty and students that the audience could identify with.
Andrzej Filończyk - Tenor
I also experimented with vaudeville , using our only surviving Yiddish playlet, Tsvishn indianer Among the Indians of , by K. In the case of an in-house genre like Yiddish-language entertainment, the issue looks different than it does for mainstream products, e.
In its day and it probably was only one day at the Windsor Theatre , Among the Indians demonstrated mastery of American popular culture, perhaps even educating its audience into those stereotypes, as part of a long process of acculturation. Whether nowadays one wants to just read it on the page, in translation, or consider staging the playlet involves a different set of concerns.
Asch and his collaborators become full-scale characters while the play is backgrounded to serve as a plot device for covering a long chronology of productions and their consequences. The fine score by Lisa Gutkin and Aaron Halva helps ground a period sense and keeps alive the necessary importance of music in Yiddish theater, and the show has been well received, partly due to the current interest in same-sex content and moral censorship.
I paid my own homage to the early Yiddish theatre in a one-act musical called Mogulesco: A Tale of the Yiddish Theater , which premiered at Wesleyan University in , though it was written decades earlier. The frame is a staging of the interview that Abraham Cahan of the Forverts did with Mogulesco in his last years.
Left: old Mogulesco; Right: young Mogulesco.
Performed by Wesleyan non-music major undergrads. My set-up has Cahan being called to the office, because the Russian Revolution has broken out. Please enter recipient e-mail address es.
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Rozhinkes mit Mandlen
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