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A Brooklyn concert will celebrate the forgotten history of women cantors
(New York Jewish Week) — Jeremiah Lockwood, the singer, composer and frontman of The Sway Machinery, is preparing for an upcoming concert by “doing a lot of talking to ghosts.”
These “ghosts” are those of the Jewish women singers and cantors of the past century. As it happens, many women — not just men — have made deep contributions to Jewish spiritual life and music, but their stories were rarely told or preserved.
Lockwood, 31, is hoping to rectify that. On Sunday, at the Brooklyn Conservatory of Music, Lockwood will unveil his newest composition of vocal music: “In di vayber shul” (“In the women’s synagogue”), which is inspired by the legacy of these nearly forgotten Jewish women.
“Chazzanus [cantorial music]is very important to me,” said Lockwood, who is currently a fellow at the Yale Institute of Sacred Music. “It’s the music that inspires my creative work and it’s part of my family heritage. It’s just the essential musical organizing point for my life.”
Lockwood’s father, Larry Lockwood, was a composer and his grandfather, Jacob Konigsberg, was a renowned cantor. “Growing up in a cantorial family, we were given the ideology that it was a male art form — that was a viewpoint that was held by both the male and female members of the family. But that’s not true,” he said.
A lifelong New Yorker, Lockwood has been leading efforts to recognize and revive “the golden age of cantorial music,” sacred singing by Eastern European cantors on records and in live performances that became widely popular on record and live performances among Jewish audiences in the 1920s. Last year, he produced “Golden Ages: Brooklyn Chassidic Cantorial Revival Today,” a 10-track album featuring six Brooklyn cantors singing in the style of this music, which is operatic with lots of technical flourish and improvisation.
Lockwood describes the past year studying women’s voices — voices both cantorial and in a broader sense — as a “shock of recognition.” “There were women who were prayer leaders in small towns in Europe,” he said. “There were women who were priests, professional healers and exorcists, parallel to the Baal Shem Tov [the 18th-century founder of Hasidic Judaism]. There were women who were doing healing work.”
Since beginning his study, Lockwood said he’s come to understand the historic power of women’s voices: in synagogues and spiritual spaces, on the Yiddish stage and radio, in community initiatives and in family life. They include women like Goldie Malavsky, who along with her father and six siblings formed the Malavsky Family Choir, which performed in concert halls and hotels. Malavsky went on to become an independent soloist who toured around the world in the second half of the 20th century. Another cantorial star was “Khazante” (female cantor) Perele Feig, who in the 1950s had a weekly radio program on WEVD, the Yiddish language radio station in New York, and toured the Eastern Seaboard.
“It’s not shocking, it makes total sense. It fits well with what I understand about Jewish life,” he said of these women’s success. “The thing that’s surprising is just how thoroughly it’s been erased from contemporary Jewish life. I feel that is a problem.” Lockwood has mainly been using Jewish press archives to conduct his research and uncover these stories.
Lockwood’s piece, a tribute to these women’s voices and stories, is the culmination of his studies. The lyrics draw upon American and Yiddish language ethnographies — descriptions of Jewish society both in Europe and the immigrant communities of New York— as well as Eastern European folklore, Yiddish vaudeville and even contemporary music, like that of the late Jewish music composer Jewlia Eisenberg, a friend of Lockwood’s who died in March 2021.
On Sunday, the one-hour concert will be performed by singers Judith Berkson, Yula Be’eri and Rachel Weston. (The program premieres the previous day in New Haven.)
“It’s important to me to get deeper into why their [women cantors’] story disappeared,”Lockwood said. “There’s a throughline of stories that have been eroded from public Jewish consciousness that has to do with the roles that women play in sustaining the spirit life of the community.”
“In di Vayber Shul” will be performed at Brooklyn Conservatory of Music (58 Seventh Ave.) on Sunday at 7:30 p.m. Tickets, from $11.44, are available here.
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The post A Brooklyn concert will celebrate the forgotten history of women cantors appeared first on Jewish Telegraphic Agency.
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The gift Tom Stoppard gave to me — and to all who adore him
In 2022, during a reporting trip to London, I had tea with a source who confessed to me that her mother’s central interest was the work of Tom Stoppard. It was more than an interest, really: “He was the main thing in her life,” she said.
There are artists you admire, and then there are artists you flat-out adore. Particularly cerebral types, like Stoppard, risk falling into the first category: They may generate great thoughts, but those great thoughts have a great chance of leaving you cold. That wasn’t the case for Stoppard, who died Saturday at 88, and was a thinker worth adoring. His best work achieved a rare balance: Audiences left his most affecting plays with both a fresh perspective on the world, and a feeling of great warmth toward it.
I felt that myself, after seeing a much-heralded revival of Stoppard’s Travesties on Broadway in 2018. It’s quite a highbrow play, about the brief intersection, in Switzerland during World War I, of the lives and work of James Joyce, Vladimir Lenin and Tristan Tzara, founder of Dadaism. It made me laugh until I cried. And the gloss Stoppard bestowed on this obscure episode of history followed me out of the theater, giving a brief sheen to everything and everyone I saw. I felt as though I floated back to Brooklyn, and as if the Q train might be full of personalities I’d never guess were important until years afterward.
Much of Stoppard’s work revolved around the question of what it really means to live an important life — one that is not just full, but has some kind of identifiable impact on others. The main character of Travesties isn’t Joyce, Lenin or Tzara; he’s an endearingly self-satisfied British diplomat, Henry Carr, who briefly found himself in the same circles as those luminaries. As the play opens, decades later, he’s trying to conjure up a memoir about his time in the presence of the greats, with the implication that he deserves to be considered among their ranks.
In Rosencrantz and Guildenstern Are Dead, the play that made Stoppard into a star at age 29, the two title characters grapple with their inability to in any way change the course of a narrative — that of Hamlet — that they know will lead to their deaths. In Shakespeare in Love, the film that won Stoppard an Oscar in 1998, he and his coauthor Marc Norman imagined the king of English playwrights as a young man full of talent but still struggling toward greatness, in need of an overwhelming emotional shock to propel him into complete ownership of his gifts.
There are the 19th-century Russian revolutionaries of the ambitious trilogy The Coast of Utopia; the intellectuals seeking to redefine the world and its history in Arcadia; the striving academics of The Hard Problem; the newly emancipated Viennese Jews of Leopoldstadt, the play Stoppard wrote that most profoundly invoked his heritage. Over and over, variations of the same question emerge. What does it mean to live completely and well, as an individual and a member of society?
“If there is any meaning in any of it” — “it” being the brutal course of history, its neverending cycles of destruction — “it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities,” Joyce declares in Travesties. Later, Carr echoes him — a surprise, as the two hold very little respect for one another. When told that the only relevant function of art is “social criticism,” he protests.
“A great deal of what we call art,” he says, “has no such function, and yet in some way it gratifies a hunger that is common to princes and peasants.”
Not everyone wants to be an artist, and, as Carr reflects at the end of Travesties, it’s a sure thing that not everyone can be. But in the wake of Stoppard’s death, I’ve found myself thinking about the mother of my one-time source, so enraptured by what Stoppard created that her own child saw his work as the most profound passion of her life.
It’s easy to say that kind of effect made Stoppard’s life important. But the quieter story, I think, is that it made that devoted fan’s life important, too. Because she loved Stoppard, she saw herself as more firmly secured in her own existence; she saw herself as having a purpose and place.
To help someone experience their own significance — to gratify the common hunger that afflicts us all — is a great gift. And Stoppard gave it to many, including to me.
The post The gift Tom Stoppard gave to me — and to all who adore him appeared first on The Forward.
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Iran to Boycott World Cup Draw Over Visa Restrictions
Soccer Football – World Cup Playoff Tournament and European Playoff draws – FIFA Headquarters, Zurich, Switzerland- November 20, 2025 The original FIFA World Cup trophy is kept on display during the draws. Photo: REUTERS/Denis Balibouse
Iran intends to boycott next week’s World Cup draw due to the limited number of visas allocated to the country’s football federation.
According to the Tehran Times, the United States issued visas to only four members of Iran‘s delegation, with requests for three additional visas denied, including one for Iranian Football Federation (FFIRI) President Mehdi Taj.
“We have informed FIFA that the decisions taken are unrelated to sport and that the members of the Iranian delegation will not participate in the World Cup draw,” FFIRI spokesman Mehdi Alavi said on Friday, per the report.
Alavi said the federation has been in contact with FIFA in an effort to resolve the situation.
The World Cup draw will take place on Dec. 5 at the Kennedy Center in Washington, D.C.
The expanded 48-team World Cup is being hosted by the United States, Canada and Mexico from June 11 to July 19, 2026. Matches will be played at 16 venues, including three in Mexico and two in Canada.
The draw will sort the teams into 12 groups of four. The top two teams from each group and the eight best third-place teams will advance to the knockout stage.
Iran has secured a spot in its fourth consecutive World Cup and seventh appearance overall.
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Dublin to Rename Chaim Herzog Park in a Move Slammed as Attempt to Erase Jewish History
Anti-Israel demonstrators stand outside the Israeli embassy after Ireland has announced it will recognize a Palestinian state, in Dublin, Ireland, May 22, 2024. Photo: REUTERS/Molly Darlington
i24 News – Citing the Gaza war, Dublin city council voted to rename a park honoring Israel’s sixth president, the Irish-born Chaim Herzog, in further manifestation of anti-Israel sentiment in the country.
While a new name is yet to be chosen, reports cite efforts by pro-Palestinian activists to change it to the “Free Palestine Park.”
Former Irish justice minister Alan Shatter harshly criticized the vote, charging that “Dublin City Council has now gone full on Nazi & a committee of the Council has determined it should erase Jewish/Irish history. Herzog Park in Rathgar is named after Chaim Herzog, Israel’s 6th President, brought up in Dublin by his father, Yitzhak HaLevi Herzog, a friend of Eamon De Valera, who was Chief Rabbi of Ireland & Israel’s first Chief Rabbi… Some councillors want the Park renamed ‘Free Palestine Park.”
The Jewish Representative Council of Ireland issued a statement regarding the renaming of Herzog Park.
“It sends a hurtful and isolating message to a small minority community that has contributed to Ireland for centuries. We call on Dublin City Councillors to reject this motion. The removal of the Herzog name from this park would be widely understood as an attempt to erase our Irish Jewish history.”
A virtuoso diplomat and an intellectual giant, Herzog had served in a variety of roles throughout his storied career, including a memorable stint as the ambassador to the United Nations, where in 1975 he delivered a speech condemning the Soviet-engineered resolution to brand Zionism as a form of racism. The address is now regarded as a classic, along with the oration from the same session by the US Ambassador Daniel Patrick Moynihan.
Israel’s Foreign Minister Gideon Sa’ar slammed the decision, saying that Ireland’s “antisemitic and anti-Israel obsession is sickening.”