Features
Daniel Raiskin, music director of the Winnipeg Symphony Orchestra, discusses his life – from his boyhood in Soviet Russia to his coming to Winnipeg and his admiration for the Jewish community here
By BERNIE BELLAN Daniel Raiskin has been the music director of the Winnipeg Symphony Orchestra since 2018. This paper has been remiss not to have interviewed Raiskin until now, although to be fair to ourselves, he is an extremely busy fellow,
so finding a time when he could sit down and talk about his career, what life was like growing up in a Jewish family in Soviet Russia, and how he feels about spending a good part of his time in Winnipeg, was not easily arranged.
But then Covid-19 suddenly took over everyone’s lives – no matter who they are or where they live and, without much planning required, we were able to arrange to speak with Raiskin from his Amsterdam home.
At the outset of our conversation, which was conducted via WhatsAapp on Friday, April 3, Raiskin explained he’s “lived in Amsterdam for 30 years.” While he travels the world serving as guest conductor for many different orchestras, he “shares his time between Winnipeg and Amsterdam. My home is both in Amsterdam and Winnipeg,” he said.
I asked him, since he’s lived in The Netherlands for so many years whether he holds Dutch citizenship? Raiskin answered that he’s been a Dutch citizen for 26 years, although he still “has a Russian passport, too.”
At the present time Raiskin is also resigned, like the rest of us, to remaining in his Amsterdam home with his wife and two children (a son, 21, and a daughter, 16) for the foreseeable future..
“I was actually caught here between two projects – both of which were in Winnipeg,” Raiskin explained. “I was supposed to return to Winnipeg to spend 10 days there, but then things began to get really cloudy and we decided it doesn’t make any sense for me to fly into Winnipeg and get stuck there without my family, so I decided to stay here.”
We discussed how The Netherlands had taken a relatively hands-off approach to the Coronavirus to begin with, but as the danger has become more apparent, the liberal attitudes that most Dutch have in being uncomfortable with seeing their liberties restricted have begun to dissipate.
“People here are used to going to parks and to the seaside, but I’m afraid that on Monday (April 6) the lockdown is going to be announced,” Raiskin observed (on April 3).
Before we began to talk about Raiskin’s musical career, I said to him that I wanted “to take him back to his childhood in St. Petersburg.” I remarked to him that when I was a student in Israel (a very long time ago – 1974-75 to be exact). I became friends with a girl from St. Petersburg, who bragged to me that people from St. Petersburg were so much more sophisticated than Israelis, also that St. Petersburg had “the best ice cream in the world.”
I asked Raiskin whether the part about the ice cream was true.
“Yes, that ‘s very true,” he responded – “at least judging from my kids’ reaction any time we go to St. Petersburg, they say ‘this is really the best tasting ice cream.’ “
I wondered whether Raiskin was a musical prodigy as a child.
“I was not a prodigy at all,” he said. “I took up the violin when I was six – and I didn’t ‘take it up’. I was given it. It’s an old joke that with the wave of Russian Jewish immigration to Israel every second Russian landing in Israel at Ben Gurion Airport had a violin in his or her hands. Those that did not were piano players.”
“I was born into a Jewish family where music played a very important role,” Raiskin explained.
“My father is one of the foremost Russian musicologists (who is also a now retired physicist, Raiskin noted). One of the first sounds I heard when I was born was my brother (who tragically died at a the age of 34) practising his cello. By the time I was six – I like to joke my mother was so tired of carrying my brother’s cello around, she opted for something smaller for me: a violin.”
By the way, both Rasikin’s parents are alive and still living in St. Petersburg, he told me. His father’s first love was always music, Raiskin noted, but as part of the generation that grew up in the Soviet Union following World War II, it was unrealistic for anyone to make a career of music, he explained.
“He was teaching physics at a university in St. Petersburg when he was 35, but he graduated from a music conservatory when he was 40. That goes to show how important music was to him,” Raiskin observed.
“My mother stopped working a year ago (when she was 82),” Raiskin said. “She was a mathematician and a software programmer.”
I asked Raiskin whether his “parents ever endured any discrimination because they were Jewish that you can speak of? ” I added that “I didn’t want to seem naive by asking the question (since anyone who was following the fight of “refuseniks” in Russia attempting to leave Russia at the time that Raiskin was growing up would have known that anti-Semitism was rampant in that country.
” We lived in a country with a great rate of anti-Semitism,’ Raiskin answered. “My parents and my brother and me and friends all around us were all subject to state-sponsored anti-Semitism. At some point my family had also made the decision to leave (Russia), but it was too late. The Afghanistan war had broken out and everything was hermetically sealed. We got stuck.”
At that point I said to Raiskin that I wanted to talk about what it was like growing up as a young Jewish boy in Russia at that time – and how much love of music was inculcated into his and his peers’ lives.
“It was like – any given picture of Chagall has a violin in it,” Raiskin observed. “It’s part of the Jewish heritage and DNA; this whole ‘3,000 years of endurance’. Music was one of the things that kept us from getting alienated.”
At the same time though, Raiskin said that “music was not something that I particularly wanted to do. I wanted to play football and ice hockey with my mates outside. As a kid you don’t want to spend hours practising and doing scales for hours, looking out the window of your seventh-floor apartment while other kids are playing outside. I wanted to be more like them.”
“It’s very often a mistake to think that it’s the child who makes the decision at age six or seven to become a musician. Some kids are so incredibly gifted they show a unique talent at such a young age, there’s nothing else they want to do. I definitely don’t want to give the impression that I was one of those kids. I was pretty much normal and not very well behaved; I was pretty naughty.
“It was only later that I developed a real taste for music – and worked hard to become something.”
To that point we hadn’t discussed Raiskin’s particular musical interests. I noted that I had read in various articles and interviews that his favourite composer was Gustav Mahler (who was also Jewish, by the way). I wondered when Raiskin first became interested in Mahler’s music?
“You know, in fact, Mahler was not a composer whose music was very often played in my years in the Soviet Union,” Raiskin explained. “The performances of Mahler were always a great event,” but it was only one or two of his symphonies that were ever played, he noted.
“It was only with the collapse of the Soviet Union and the first Western orchestras that started to come on European tours that we really started to hear Mahler played. I’ll never forget the first time I heard Mahler’s Seventh Symphony played by the Pittsburgh Symphony…I think this was when it really hit me hard. This is the moment that I said to myself: ‘I’m going to conduct this once’…and I did, on many occasions…I try to conduct his music as often as I can.”
We skipped ahead to Raiskin’s first time coming to Winnipeg which, he said, was in 2015, as guest conductor of the Winnipeg Symphony Orchestra. There were two more appearances as guest conductor of the WSO in 2017 before Raiskin was appointed as music director in 2018.
“It was a lengthy process,” he said, “but I am, in fact, already looking back on five years of being associated with Winnipeg. It’s not like it started in 2018.”
Raiskin also observed that “no matter how successful a relationship a music director has with an orchestra – it’s never a relationship for life. It’s just the nature of the profession. It’s a marriage for a time…It’s not the conductors who play the music; it’s the orchestras. It’s about 67 musicians who play. It’s very important – the mandate we get from the musicians …and at a certain point it’s time for the conductor to go.”
However, Raiskin wanted to make clear that this is not something he is thinking about now. With his second season cut short due to the COVID-19 pandemic, he said that, |“more than ever our relationship and interdependency is being tested and I am confident we’ll get out if the crisis, whenever this might be, stronger than ever.“
Raiskin explained that, while he is contractually obligated to conduct the WSO for 12 weeks during the year, it is hugely important for any conductor to get out on the road as much as possible. He used the following analogy to illustrate his point: “A hockey player cannot perform at the highest level of his ability if he just plays home games. It’s also important how you perform outside.”
I noted at the outset of this article that, although Daniel Raiskin has been music director of the WSO for two years now, we still hadn’t interviewed him which, given that we’re a Jewish newspaper and he’s Jewish, is something that we should have done much earlier. But, since he’s now had time to get to know Winnipeg – and its Jewish community, much better, I asked him what his impression of our community was?
“I’m sure you’ve met Gail Asper,” I said (tongue in cheek; how could the music director of the WSO not have met one of the foremost supporters of the WSO – and arts in general in this city?)
“Yes, of course,” came Raiskin’s reply, “and many other people, like Laurel Malkin, and Michel Kay and Glenna Kay. You know, Winnipeg became a place where being Jewish for me suddenly started to matter in a very personal and positive way. Growing up in the Soviet Union was definitely not. I was once expelled from a music conservatory for visiting a synagogue – for the first time, just out of curiosity.
“And when you’re in a very cosmopolitan city like Amsterdam, with a very tragic history of Dutch Jews – one needs to acknowledge that there were 150,000 Dutch Jews before the Second World War, and only 15,000 survived – so, for me, connecting to the Jewish community here…like the first Rosh Hashanah dinner I ever attended was…in Winnipeg! Because some friends just took me and my wife and said: ‘Come’. I really feel that it matters in a very positive way that I’m Jewish and I can connect to many people in Winnipeg and many in our audiences are Jewish.”
“I feel more Jewish than ever since coming to Winnipeg,” Raiskin suggested. “Jewish music is so important to me. One of the first things I recorded as a musician – as an instrumentalist, was a complete edition of music for viola and piano by Ernst Bloch, the foremost Jewish composer.”
At the end of our interview we discussed the devastating effect that the current crisis is having on people’s lives – in so many ways. Raiskin said that he was still fully involved in planning for the coming season of the WSO – and for the season after that as well.
In terms of assessing people’s hunger for music, he had this to say: “I think there will be a sense of growing hunger…our souls and our spirits are being so hollowed, there will be a growing need to fill in this gap – and this is where we can step in.”
Raiskin closed our interview with this observation: “I feel: today, more than ever, people feel how important arts and culture are to them. We suddenly realize that we use art to communicate with each other!“
Features
The Torah on a Lost Dog: Hashavat Aveidah in a Modern Canadian City
A neighbour’s dog wanders into your yard on a Wednesday morning in May, dragging a leash and looking confused. You have a choice. You can close the door and assume someone else will deal with it, call the city, or take a photo, knock on a few doors, and try to find out where he belongs.
For most people in Winnipeg and elsewhere in Canada, that choice plays out in a flash of moral instinct rather than reflection. The hand reaches for the phone and the walk around the block begins. The neighbour, if it goes well, is at the door before lunch. The decision feels minor, but it matters more than it looks.
In Jewish tradition, the act of returning a lost animal sits at the centre of one of the oldest practical commandments in the Torah. Deuteronomy 22, near the end of Parashat Ki Teitzei, contains a passage that has become the foundation for an entire body of Jewish ethical law: “If you see your fellow’s ox or sheep going astray, you shall not hide yourself from them; you shall surely bring them back.” The verse goes on to extend this duty beyond animals to any lost property. “So shall you do with every lost thing of your brother’s which he has lost and you have found.” Then comes the line that has occupied rabbis for two thousand years: “You may not hide yourself.”
The Hebrew name for this mitzvah is hashavat aveidah, the returning of a lost thing. It is one of the more practical commandments in a tradition full of practical commandments, and the rabbinic literature surrounding it is unusually thick.
A small commandment with big implications
The reason hashavat aveidah occupies so much rabbinic attention is that, on closer reading, it sets a high ethical bar. The Talmud, particularly the second chapter of tractate Bava Metzia known as Eilu Metziot, devotes pages to questions a modern reader would immediately recognize. How long must you wait for the owner to claim the item? How hard do you have to look for them? What if the animal needs feeding while you search? What expenses can you recover, and what counts as fair? What if the item is too inconvenient to safely return?
The rabbis answer all of these. The answers are not always intuitive. The finder is obligated to feed and shelter the animal while looking for the owner. The animal must not be put to work for the finder’s profit. The owner, when found, repays reasonable costs but is not on the hook for unreasonable ones. If the search takes too long, there are procedures for what to do next, none of which involve quietly keeping what is not yours.
Underneath the legal detail is a moral assumption that is easy to miss in a hurried reading. The Torah does not say to return the animal if it is convenient. It explicitly forbids the act of hiding yourself, of pretending you did not see, of crossing to the other side of the street. The commandment is as much about the person who finds as it is about the animal that is lost.
What this looks like in 2026
Most people who encounter a stray dog in a Winnipeg neighbourhood today are not thinking about Bava Metzia. They are thinking about whether the dog is friendly, whether they should call the City, whether they have time. The instinct to help is usually present. The question is what to do with it.
The practical infrastructure for hashavat aveidah in this country has changed considerably in the last decade. A finder in Winnipeg in 2026 has access to a regional humane society, a network of local Facebook groups, neighbourhood newsletters, and a handful of national platforms that gather sightings and missing-pet alerts across more than 180 Canadian cities. The mechanism is straightforward. A clear photo and a location pin can reach the right owner within hours when the system works, which it usually does.
The most underused of these resources, in any community, is the simple act of posting a sighting. Many people who find a stray feel they need to first catch the animal, find it food, take it home, or in some way solve the problem in full. The rabbis would actually disagree with that framing, and so does modern pet-recovery practice. The first responsibility is to make the sighting visible. The owner is almost certainly already looking. The finder’s main job is to surface what they have seen.
For people in Winnipeg looking for a place to start, a practical guide for what to do when you find a stray walks through the basic steps. Take a clear photo, note the cross-streets and time, check for a tag, and post the sighting where local owners will see it. The work is small. The effect, on the owner who has been awake for two nights and then sees a photo of their dog with a phone number underneath, is much larger than the work itself.
The ethical centre of the commandment
There is a strain of Jewish thought that reads hashavat aveidah as a kind of training in noticing. The deeper commandment goes beyond returning what is lost. It asks the finder to be the kind of person who sees what is lost in the first place, who does not cross to the other side of the street, who does not pretend not to have noticed.
That reading lines up with another Jewish ethical concept that often gets paired with this one: tza’ar ba’alei chayim, the obligation to prevent unnecessary suffering to animals. The Talmud derives this principle from several places in the Torah, including the rest commanded for animals on Shabbat. The two principles overlap in the case of a lost pet. The animal is suffering. The owner is suffering. The finder is, briefly, the only person in the position to do anything about it.
In a small way, the entire Canadian volunteer ecosystem around lost pets, from neighbourhood Facebook groups to national platforms to the dog walker who recognizes a posted photo, is an example of this ethical structure in action. People do not necessarily think of it in those terms. The framework is there anyway, doing its quiet work.
A community-scale point
Winnipeg’s Jewish community has always understood itself as a network of responsibilities to others, the kind that get described as chesed when they are visible and assumed when they are not. The work of returning a lost animal sits comfortably in that frame. It is not heroic, does not make the bulletin, and is exactly the kind of small obligation that knits a community together when nobody is paying attention.
The dog in the yard on a Wednesday morning in May, leash trailing, is one version of the question Deuteronomy asks. The answer, then and now, is the same. Do not hide yourself.
Features
Basketball: How has Israel become one of the best basketball countries in Europe in the last few years?
When Israeli Deni Avdija became the first Israeli to be drafted as the highest Israeli draftee in NBA history in 2020 – then emerged as a key NBA wing in Portland, it was not so much the breakthrough it appeared to be, but a portent of things to come. Israeli basketball development has been decades in the making, and in recent years its clubs have made Europe take notice.
This is why Maccabi Tel Aviv, Hapoel Tel Aviv, and the national basketball team of Israel are now the subjects of serious discussion in European basketball. It is only natural that fans and bettors reading form, depth of the roster, and momentum would look at our Euroleague predictions and then evaluate how Israeli teams would fit into the continental picture.
A rich history: The Maccabi Tel Aviv mythos
The contemporary narrative dates back to before Avdija. Maccabi Tel Aviv won its maiden European Cup in 1977, beating Mobilgirgi Varese and providing a nation under pressure with a sporting icon. Tal Brody’s declaration: “We are on the map” became not just a quote, it became a declaration of Jewish confidence, Israeli strength and a basketball dream.
Maccabi turned out to be the team of the nation since it bore Israeli identity past the borders. Maccabi has been a cultural ambassador before globalization transformed elite lists into multinational conundrums. Its yellow jerseys were the symbol of excellence, rebellion, and identification for the Israeli people at home and Jewish communities abroad.
The six European championships for the club provided a benchmark that has influenced the Winner League and Israeli basketball. Children were not just spectators of Maccabi, they dreamed of Europe as something accessible. Coaches studied in the continental competition. Sponsors and broadcasters realized that basketball had the potential to be the most exportable Israel team sport.
The modern pillars of Israeli basketball’s success
The recent ascendancy of Israel is no magic. It is the result of history, astute recruiting, youth-building and pressure-tested league culture. The nation has made its size its strength: clubs find talent at a young age and enhance the potential with foreign professionals.
Nurturing homegrown talent: The Deni Avdija effect
The most obvious example is that of Avdija. He was a high-ranking contributor in the system of Maccabi Tel Aviv, was chosen as a teenager, and was picked number 9 by Washington in the 2020 NBA Draft. His career was a reminder that an Israeli prospect could be more than a local star; he could be a lottery pick with two-way NBA potential.
Israeli NBA player Omri Casspi had already opened that door, and Avdija opened it even further for the next generation. Their achievements captivated the expectations of youthful players in Tel Aviv, Jerusalem, Holon, Herzliya, etc. An Israeli teenager is now able to envision a path from youth leagues to the Winner League, the EuroLeague, and ultimately – NBA minutes.
It is that dream that has been followed by investment. Israeli clubs put more emphasis on skills training, strength training, and analytics, as well as international youth tournaments. The success of the national program in the face of the best of Europe has also helped.
A global approach: The role of international and naturalized stars
The other pillar of the Israeli basketball program is the openness of Israel to global talent. The Winner League has been an important destination, not a stopover, for American guards and forwards. Most come in with NCAA or G league experience and become leaders due to the fact that the league requires scoring, speed and tactical flexibility.
It is enriched with naturalized players and Jewish players, who are able to use the Law of Return to come to Israel to play. Inspired by legendary players like Tal Brody, current imports who can bond both professionally and personally with Israelis have provided teams with uncharacteristic diversity in their rosters. The outcome has been a mixture of Israeli competitiveness, American shot making, Balkan toughness, and European spacing.
Making waves in Europe: Israel’s modern Euroleague footprint
Even in challenging seasons, Maccabi Tel Aviv has remained the flagship team. Currently, Maccabi is out of a playoff spot in the EuroLeague, but Hapoel Tel Aviv has shot up in playoff discussion. That juxtaposition speaks volumes: Israel is no longer represented by one lone, iconic club. Its profile has expanded.
Nevertheless, it is true that the reputation of Maccabi in the EuroLeague does count. Menora Mivtachim Arena in Tel Aviv is one of the most intimidating arenas for EuroLeague teams to play in: loud and emotional. Recent security and travel realities have affected the usual home-court advantage but the name of the club is still a potent brand.
It is the reason why there is an interesting betting discussion within Israeli teams. The name Maccabi still retains a historical impact, but analysts also need to quantify the present defensive performance, injuries, substitution of venues and guards, and fatigue in the schedule. The emergence of Hapoel has provided another Israeli point of reference and markets have to regard the nation as a multi-club force.
What’s next? The future of Israeli basketball on the world stage
Sustainability is the second test. The Israeli national basketball team desires more serious EuroBasket performances and a future world cup. It requires Avdija types – fit and powerful, more domestic big men, and guards capable of playing elite defense to get there.
The pipeline is an optimistic one. Israeli schools are more professional, teams are bolder with young talents, and the Winner League is a test ground where potential talents have to contend with older, tougher imports each week. Not all players will turn into an Avdija, yet additional players ought to be prepared to participate in EuroCup, EuroLeague, and even NBA games.
To the Jews in the Canadian diaspora, the impact is not only sporting, it is also emotional. Israeli basketball brings pride, drama and a common language to the continents. To the European fan, it provides tempo, creativity and unpredictability. To analysts, it provides a sign that a small nation, with memory, ambition and adaptation, can rise to become a true basketball power. Israel has ceased to be the unexpected guest on the table of Europe. It is a part of it, season after season.
Features
In recent years, we have been looking for something more than a house in Israel – we have been looking for a home
For many Jewish families in the diaspora, Israel has always been more than a destination. It is the land of tefillah, memory, family history and belonging. But in recent years, many families have begun asking a practical question too: should Israel also become a place where we have a home?
Not necessarily immediate aliyah. Sometimes it begins with a future option, something good to have just in case, or simply roots with a stronger connection to Eretz Yisroel.
But what does it mean?
A Jewish home is shaped not only by what is inside the front door, but by what surrounds it: neighbours, synagogues, schools, parks, local services, safe streets and the rhythm of Jewish life. For observant families, these are not small details. They are the things that turn a house into a place of belonging.
This is not a new idea. It is a need that has helped shape Jewish communities in Israel before. The Savyonim idea is rooted in the story of Savyon, the Israeli community established in the 1950s by South African Jews who wanted to create a green, safe and community-minded environment in Israel. It was a diaspora dream translated into life in the Jewish homeland.
That idea feels relevant again today. Many Jewish families abroad are now making plans around where they can feel connected in the years ahead.
Recent figures point in the same direction. Reports based on Israel’s Ministry of Finance data showed that foreign residents bought around 1,900 homes in Israel in 2024, about 50% more than the previous year, with Jerusalem emerging as the most popular place to buy. In January 2026, foreign residents still purchased 146 homes, broadly similar to January 2025, even as the wider housing market remained cautious.
For Lior David, International Sales & Marketing Manager at Africa Israel Residences, part of the continued interest may lie in the fact that today’s residential projects are increasingly built around the wider needs of Jewish families abroad: not only buying a property in Israel, but finding a setting that can support community, continuity and everyday Jewish life. That idea is reflected in Savyonim, the company’s residential concept, which places the surrounding environment at the heart of choosing a home.
This can be seen in Savyoney Givat Shmuel, where the surrounding environment includes synagogues, parks, educational institutions, local commerce, playgrounds and transport links, and in Savyoney Ramat Sharet in Jerusalem, located in one of the city’s established green neighbourhoods.
For families abroad, these things matter. Jerusalem and Givat Shmuel are never just another location. They are home to strong Jewish communities, established religious life and surroundings that allow a family to imagine not only buying property, but building a Jewish home in Israel.
Together, these projects reflect a broader understanding: that for many Jews in the diaspora, the decision to create a home in Israel is not only practical, but rooted in identity, continuity and community. The Savyonim story began with a Zionist community from abroad that succeeded in building a real home in Israel; today, that same vision continues in a contemporary form.