Site News: Nechama Lifshitz’s Collected Recordings

Site News: Nechama Lifshitz’s Collected Recordings

Site News: Nechama Lifshitz’s Collected Recordings

The third International Nechama Lifshitz vocal competition took place in Vilnius on September 17-18, 2023, Nechama Lifshitz was a famous performer of Yiddish songs who was called the “Jewish Nightingale” during her lifetime. 35 singers from Lithuania, Latvia, Estonia, Israel, Poland, Germany and Bulgaria took part in the competition.

We are happy to inform our readers that at the same time we also made our contribution to preserving Nechama Lifshitz’s legacy. On our website you can read her biography (in Yiddish too) and listen to 46 recordings of her songs. To our knowledge, this is the largest virtual recording collection of this outstanding singer.

Nechama Lifshitz

Nechama Lifshitz

Nechama Lifshitz

Watch our collection of Nechama Lifshitz’s recordings (46 clips)

Nechama Lifshitz: The Jewish Nightingale

 

Nechama Lifshitz (whose surname before emigrating from the USSR was Lifšicaitė in Lithuanian), born on October 7, 1927 in Kaunas, Lithuania, was a Soviet and Israeli concert singer and performer of Yiddish songs. She is considered one of the most outstanding Jewish singers of the 20th century. She also performed in Hebrew.

The singer’s father, Yehuda-Zvi Lifshitz (1901–1980) was a Zionist activist who taught Hebrew from 1921 to 1928 and for some time worked as the director of the Hebrew-language school Tarbut in Kaunas. He also was an amateur violinist. The singer’s mother, Basya Dakhovker, was born in 1906 in Vilna and lost her parents during the pogroms committed by the Polish troops in 1919–1920. The year of her death is unknown.

Since childhood, Nechama sang in Yiddish and tried to play Jewish melodies on the violin. In the early 1930s she lived with her parents in the Lithuanian town of Alytus. On the eve of the Nazi invasion in June 1941, the family escaped to Uzbekistan, to the small town of Yangikurgan, where the young to-be singer studied the Uzbek and Russian languages at school. After graduating from high school, Nechama Lifshitz worked in the district committee of the Komsomol, as a teacher at an orphanage and as a librarian. Concerts were often held in her family’s house: Nechama would sing; their friend David Nakhimson, a dentist from Poland, would play the violin; her father would play the balalaika; her mother would play on kitchen pot lids due to the lack of percussion instruments; and Nechama’s sister Feigele would play on a comb. In 1943, she performed for the first time at a concert in the Uzbek city of Namangan.

After the end of the war, in 1946, the family returned to Kaunas — to find out that none of their relatives, friends and teachers had survived… In the same year, Nechama Lifšicaitė entered the vocal department of the Vilna Conservatory; after graduating from it she was for some time a soloist at the Kaunas Opera. In 1951 she gave her first solo concert. During this event, in addition to classical music, she included compositons by Lev Pulver, Lev Kogan and Shmuel Senderei.

While still studying at the conservatory, Nechama Lifšicaitė performed folk songs in Ukrainian, Belarusian, Lithuanian, Tatar, Uzbek, as well as popular opera arias. However, starting from 1956, her programs of solo concerts only consisted of Jewish songs. During the 1960s she also began to perform a few songs in Hebrew. The pianist Elena Golubkova was her permanent concertmaster from 1955 until Lifšicaitė’s emigration from the USSR in 1969.

In February 1958, the singer took part in the third All-Union Competition of Estrada (pop stage) Artists in Moscow, where she received a first degree diploma for her performance of several musical pieces, including the Yiddish song “Der kranker shnayder” (“The Sick Tailor”) composed by Khonon Gleyzer to S. Ansky’s lyrics. Soon, in May 1958, her first solo concerts took place in Moscow.

As Nechama Lifšicaitė later recalled: I was surrounded by a tight circle of the widows and children of executed writers and actors. Alla Zuskina, Tala Mikhoels, the late Feiga Hofsteyn morally supported me, and I must admit that I was not ready for such a dizzying success. They would ask me at the end of the perfomances: “Nechama, keep singing in the name of our fallen fathers and husbands.”

The celebrations dedicated to Sholem Aleichem’s 100th birthday anniversary that were held in March 1959 in France, under the auspices of the World Peace Council, included Nechama Lifšicaitė as a representative of the Soviet delegation. At the Parisian Olympia she performed Rivka Boyarskaya’s “Lullaby to Babi Yar” with the lyrics of the Yiddish poet Shike Driz. During the same year, by decision of the USSR Ministry of Culture, she toured across the entire country, performing in every Soviet republic at events dedicated to the widely celebrated Sholem Aleichem’s anniversary.

“Lullaby to Babi Yar” by Shike Driz

The tours abroad continued in February 1960. Nechama Lifšicaitė, together with Mikhail Alexandrovich, another renowned Soviet Yiddish singer, performed again in Paris, where a number of her songs were recorded, as well as in Strasbourg and Brussels.

Since 1966, viewing Lifšicaitė’s performances as nationalistic, the Soviet authorities began to ban her concert activities. Her last concert took place in Moscow in April 1967. At this event, Lifšicaitė performed songs based on poems written by Yiddish poets who were murdered by Stalin’s regime.

In 1969, the singer obtained a permission to leave the USSR and emigrated to Israel. There, she changed her surname from the Lithuanian version to the traditional Jewish one: Lifshitz. While living in Israel, she continued her concert activities, toured the USA, Canada, Mexico, UK, Australia, Brazil, Venezuela, Belgium and France. She often accompanied Israeli politicians on their trips abroad. Every year on August 12, the day when 13 members of the Jewish Anti-Fascist Committee were shot in 1952, she would hold annual concerts in Jerusalem.

In 1970–1976 Nechama Lifshitz studied at Bar Ilan University in the department of library science. After finishing her studies and until 1993 she was in charge of the music library’s historical archive at the Tel Aviv Municipality. Later on, she became the director of the Felicja Blumental Music Library in Tel Aviv.
She died on April 20, 2017, at the age of 89. Nechama Lifshitz, who was nicknamed “The Jewish Nightingale” during her lifetime, used to say: “I have nothing to regret, I had a very interesting life”. Her priceless personal archive was donated to the National Library of Israel.

Modern-ish and Yonia Fain’s Yiddishland

Modern-ish and Yonia Fain’s Yiddishland

Modern-ish and Yonia Fain’s Yiddishland

On September 13, 2023, an exhibition called Modern-ish: Yonia Fain and the Art History of Yiddishland by the contemporary artist Yevgeniy Fiks opened at CUNY’s James Gallery, as a part of his project Yiddishland Museum of Modern Art.

Yonia Fain (1913-2013) was a renowned modernist artist and a Yiddish poet, author of 5 poetry books published in that language. During his life he travelled across the entire globe: from Ukraine and Lithuania to Japan, China and Mexico. Fiks told our website that his neologism “Modern-ish” refers to the special modernist tradition of Yiddishland, the global space of Yiddish culture, which does not quite fit into the canons of modernism. Representatives of this tradition often have multiple hyphenated identities: for example, one may be Lithuanian-Jewish-American.

We have already written on our website about Yevgeniy Fiks and his concept of Yiddish as a “cosmic” language, a cultural bridge capable of uniting traditional ethnicity with the principle of universalism, the local with the cosmopolitan and cosmic. In 2022, the Yiddishland pavilion, organized by Fiks, opened at the Venice Biennale. The current exhibition at CUNY will be open until December 9.

Book on Vilnius Jewish Folk Theater

Book on Vilnius Jewish Folk Theater

Book on Vilnius Jewish Folk Theater

On September 8, 2023, a presentation of Betzalel Frank’s newly published Russian language book “Vilnius Jewish Folk Theater. Pages of History” took place at the building of the Lithuanian Jewish Community in Vilnius.

In the late 1940s, during Stalin’s anti-Semitic campaign, virtually all public Jewish cultural events in the USSR were banned. This ban was lifted in 1956; Jewish amateur actors and singers then immediately reappeared in Vilnius, performing in Yiddish. The Vilnius Jewish Folk Theater, created in 1971, remained active until 1999. It ceased to exist due to the mass emigration of most Lithuanian Jews to Israel.

Betzalel (Tzalik) Frank is a former actor of the Vilnius Jewish Folk Theater who now lives in Israel. For many years he has been collecting materials related to this theater, which for almost three decades preserved not only the tradition of Jewish stage art in Lithuania, but also helped to preserve the Yiddish language itself. As a result of his labors, Frank presented in Vilnius his new richly illustrated book of memoirs.

Beregovsky Index Published in Moscow

Beregovsky Index Published in Moscow

Beregovsky Index Published in Moscow

The Moscow publishing house Muzyka has published Evgeniya Khazdan’s book Moisey Beregovsky: Biobibliographic Index. The author and compiler, who lives in Saint Petersburg, is a musicologist, music critic and a Candidate of Sciences specializing in art criticism. The publishing house would like to thank Academic Grigory Roytberg for his help in publishing this book.

Moisey Beregovsky was an outstanding musicologist and researcher of Jewish folklore, whose collection of Yiddish songs, klezmer melodies, Hasidic nigunim and musical theatrical performances comprise a gigantic layer of Yiddish culture. Khazdan accomplished a great task by compiling the first biobibliographic index of his works.
As the author writes in the preface, the book “includes Beregovsky’s published works, as well as his manuscripts, information on archive materials, currently known articles about him and his work, and publications addressing the materials from his collection.”

The Index is bilingual (English-Russian). The electronic version of this book is available on our website. Muzyka is the oldest Russian music publishing house, where the first volume of Beregovsky’s famous five-volume collection was published in 1934. This book is also available electronically on our website.

On August 6, a screening of the documentary Song Searcher: The Times and Toils of Moyshe Beregovsky took place at the New York Museum of Jewish Heritage. The documentary was created by the Russian director Elena Yakovich. During the discussion after the screening, Julia Zilberquit, the executive director of the Heritage Projects Foundation, told the audience about the new Beregovsky Index.

Evgeniya Khazdan and Muzyka’s director Dr. Mark Zilberquit

“Yiddish Concerto” Premiered in Italy

“Yiddish Concerto” Premiered in Italy

“Yiddish Concerto” Premiered in Italy

Michael Guttman

In July 2023, the International Music Festival took place in Pietrasanta, Italy. The highlight of this event was the Italian premiere of Laurent Couson’s Yiddish Concerto for violin and string orchestra — a new contribution to today’s Yiddish culture.

The Yiddish Concerto was created in 2022 by the contemporary French composer Laurent Couson for Maestro Michael Guttman, the initiator and permanent artistic director of the festival. It was brilliantly performed in Pietrasanta by Guttman and the Brussels Chamber Orchestra.

The authoritative Amadeus Magazine wrote: “It has been 17 years since Pietrasanta… has held such a lively high quality festival… thanks to Maestro Michael Guttman, a violinist of Belgian origin, a volcanic personality with a contagious enthusiasm who invites top-ranking musicians”.

The composer, Laurent Couson, notes that his Yiddish Concerto, played by a solo violin and a strings ensemble, was composed during a trip across the historical Jewish Poland, between Warsaw and Krakow. The first movement of the composition is called Shtetl, followed by Hatikvah and Lechaim. “From melancholia to joy, this short concerto explores the soul of Yiddish culture”.