Music for a Merchant attempts to recreate the sights and sounds of a day in the life of Shylock, as he wanders in and out of the Jewish quarter in the vibrant, colorful world that was Renaissance Venice, inspired by Leopold Bloom’s wanderings in early 20th century Dublin from James Joyce’s Ulysses.
Songs in Italian, Hebrew, Yiddish and Spanish, (the languages used by the various nationi d’ebrei when Northern Italy was a magnet for Jewish immigration) are combined with the dances that Jew and Gentile alike would have enjoyed while celebrating a baptism, circumcision, or wedding – whether it took place under a chuppah or inside of a church – as well as canti carnascialesche, songs for Purim; and the villanelle ebraiche that give a glimpse of how Jews were viewed by the outside. Texts drawn from Shakespeare and contemporary Italian sources round out the program.
Music for a Merchant attempts to recreate the sights and sounds of a day in the life of Shylock, as he wanders in and out of the Jewish quarter in the vibrant, colorful world that was Renaissance Venice, inspired by Leopold Bloom’s wanderings in early 20th century Dublin from James Joyce’s Ulysses.
Songs in Italian, Hebrew, Yiddish and Spanish, (the languages used by the various nationi d’ebrei when Northern Italy was a magnet for Jewish immigration) are combined with the dances that Jew and Gentile alike would have enjoyed while celebrating a baptism, circumcision, or wedding – whether it took place under a chuppah or inside of a church – as well as canti carnascialesche, songs for Purim; and the villanelle ebraiche that give a glimpse of how Jews were viewed by the outside. Texts drawn from Shakespeare and contemporary Italian sources round out the program.
Music for a Merchant attempts to recreate the sights and sounds of a day in the life of Shylock, as he wanders in and out of the Jewish quarter in the vibrant, colorful world that was Renaissance Venice, inspired by Leopold Bloom’s wanderings in early 20th century Dublin from James Joyce’s Ulysses.
Songs in Italian, Hebrew, Yiddish and Spanish, (the languages used by the various nationi d’ebrei when Northern Italy was a magnet for Jewish immigration) are combined with the dances that Jew and Gentile alike would have enjoyed while celebrating a baptism, circumcision, or wedding – whether it took place under a chuppah or inside of a church – as well as canti carnascialesche, songs for Purim; and the villanelle ebraiche that give a glimpse of how Jews were viewed by the outside. Texts drawn from Shakespeare and contemporary Italian sources round out the program.
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