Music Review: Abu Ghosh Music Festival

Voices sounded as though picked for sheer beauty.

May 22, 2018 21:09
1 minute read.

JAUNA MUSIKA CHOIR. (photo credit: Courtesy)


Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analysis from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user experience almost completely free of ads
  • Access to our Premium Section
  • Content from the award-winning Jerusalem Report and our monthly magazine to learn Hebrew - Ivrit
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief


Jauna Musika Choir
Kiryat Yearim Church
May 20
Mostly Christian liturgical music, performed by mainly Israeli and some foreign guest musicians in a Catholic church of an Arab village – this is the Abu Ghosh Music Festival’s formula for peaceful collaboration.

The present festival’s guest musicians were the Lithuanian Jauna Musika choir, conducted by Vaclova Augustinas. Local audiences seem, for some strange reason, to be more familiar with Western and Central European music ensembles than with those of the Baltic countries. The tremendously high artistic level of this choir came, therefore, as quite a surprise to many.Voices sounded as though picked for sheer beauty. Clear sopranos, soft, gentle, unstrained and never shrill, even on the highest notes, soared radiantly over the medium voices in Bach’s motet “Singet dem herrn ein neues Lied” (“Sing unto the Lord a new song”). The balance of voices was perfect. Articulation of phrases was clear-cut. Phrase endings were achieved by a gradual diminishing of volume until vanishing into thin air, and never abrupt. Intonation was accurate without sounding pedantic.

In Mendelssohn’s motet “Nicht meinem namen” (“Not Unto Me, Oh Lord, Give Honor”) the baritones had a welcome chance to display their sonorous voices. Coloraturas were flexibly lubricated. It concluded with a contagiously jubilant “Hallelujah.”

Alessandro Scarlatti’s Stabat Mater dramatically and with intense emotion revived the grieving Mother’s despair at being doomed to witness her son’s brutal execution. The final “Amen” was not an afterthought, as happens so often, but a majestic conclusion of human suffering as described in music. In terms of choral singing, this Lithuanian choir was a dream come true.

Now is the time to join the news event of the year - The Jerusalem Post Annual Conference!
For more information and to sign up,
click here>>

Related Content

Breaking news
June 16, 2019
Magnitude 7.4 earthquake strikes Kermadec Islands in South Pacific


Cookie Settings