Backstage
Artist’s note: From Nova, 6/18/2008
I’d like to share a few thoughts about two of the five songs that I’ll be performing on Friday, June 20. These two have a special place in my heart.
Few songs are as passionate as the Russian favorite “Otchi Tchornia” (Dark Eyes). It is a song of absolute abandon, and a joy to sing. Whenever I put together a set of Russian songs, “Otchi Tchornia” is always among them. It drips with such beautiful melodrama, that it almost doesn’t matter if you know the words or not.
Another song transcending words is the Armenian anthem of genocide remembrance “Groong” (Crane). Sung without accompaniment, it is a heartbreaking ode to lost homeland, vivid memories, and wrenching yearning. And yet, you might not know that from the simple, almost elementary words to the song.
Crane, where do you come from?
I’m a slave to your voice.
Crane, from our homeland, have you any news?
You gave me no answer.
You got up and left.
Crane from our homeland, fly far away.
Only when the words are married with the haunting melody do they develop their subtext.
In performances of this song, I’ve often seen audiences ignore the words in the printed program, and simply focus on the sublime music. I certainly don’t blame them. No wonder this piece has touched the ears of practically every Armenian around the world. It is perhaps the one universally known song in the Armenian culture.
Artist’s note: From Ariella, 6/18/2008
I have always had great interest in multi-cultural and ethnic collaborations, discussion and fusion. I believe understanding one anothers’ cultures is the essence of creating peace and getting along. When I learned about this series and the potential to share our differences through song I knew I needed to be involved.
Some of what I’ll be singing are:
-Los Bilbilicos, a Ladino folk song. Ladino is the language of the ancient Jewish of Spain, and is described as a mixture of Spanish and Hebrew. The last verse is in Hebrew, and was later added by Sephardic Israelis. It is very fun to sing because of its lyrical melody and because I feel as if I’m bringing along the joyous voices and rhythms of those who’ve sung and played it before me. It is easy to sing this song with true abandon.
-I am My Beloved’s, taken from the text of King Solomon’s ancient renown poem, Song of Songs. In Maurice Goldman’s composition, he uses the translated English as the lyrics except for the last line of the song, which is in Hebrew, “Ani l’dodi, v’dodi li,” meaning, “I am my beloved’s, my beloved is mine.” This phrase is very common in Jewish and Israeli art and culture, sung at Jewish weddings, artistically written on Jewish Ketubot (Marriage contracts), and painted often.
These two songs have elements of both classical and cantorial music (music that is sung in Synagogue during prayer). I have studied cantorial music for years with some tremendous Cantors who are my role models and mentors, and now work part-time as a cantorial soloist. I love the intricacies of the melodies, phrases and musical modes common to this music.
My biggest challenge with this concert is singing classical music again. While I studied it in college, since then I have been performing world music and avant guard experimental, improvisational music. I’m working on grounding and centering my breath and sound to fit these pieces.
