"Is it possible to convey how magical the experience was?"
Philadelphia Inquirer
, 2006
  


5 Programs for a Festive 5th Season!

Newsletter
February-March 2007

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FEATURE PROFILE


Two Callings:
Sheryl Heather Cohen


Sheryl Heather Cohen, soprano soloist in Tempesta di Mare's upcoming Hoshanna! Hebrew Music of the High Baroque, is a singer with two callings. As opera singer Sheryl Heather Cohen, she's sung in Don Giovanni, Die Fledermaus, Hansel and Gretel—and Tempesta di Mare fans will remember her turning into a tree in Handel's Apollo and Daphne a few years ago. As a National Winner in the most prestigious talent search in the field of opera, the Metropolitan Opera National Council Auditions, she's sung at the Met. Twice.

She's also Sherry Cohen, a Cantorial Soloist at Philadelphia's Congregation Rodeph Shalom, the great tiled and gilt Moorish synagogue on Broad Street just north of Spring Garden. For more than 11 years, she's led worship services at one of the oldest Jewish congregations in the Western hemisphere.

"Oh yes, singing at the Met in competition is very exciting," Cohen says. "The crowd is huge, they're all strangers, every eye is on you, judging." Rodeph Shalom is a completely different experience. "It's comfortable, calm, familiar. You're leading people in prayer, after all."

Opera and cantorial chant both run in Cohen's blood. Her mother, an opera singer, was her first voice teacher, and she was a cantorial soloist at her home congregation in Newton, MA. While studying at Philadelphia's Academy of Vocal Arts a few years after winning the Met award, she got her break at Rodeph Shalom. One of the Cantorial Soloists got sick during the High Holy Days. Cohen knew the repertory from childhood and stepped right in.

Being both entertainer and spiritual leader doesn't bother Cohen. She loves it. "It's me underneath, no matter what I'm doing," she says. "When you're leading a service, maybe you're more yourself than when you're playing some character. But when you're portraying a character, it's you telling an important story through that character."

Her name, Cohen, brings her Jewish heritage into her concert career. Certainly, times have changed. The days when opera stars Belle Miriam Silverman, Reuben Ticker, Moishe Miller, and Jacob Pincus Perlemuth had to perform as Beverly Sills, Richard Tucker, Robert Merrill and Jan Peerce are long past.

Or perhaps not that long. "After I won the Met competition," says Cohen, "an old man came up to me, very, very kind. He had a beard and looked like an old-fashioned rabbi. He congratulated me. I said thank you very much. He said, have you considered changing your name? I said, no, I haven't. You might want to reconsider it, he said, it's too Jewish sounding." She laughs.

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FEATURE ARTICLE (continued)

Bringing concert singers in to lead prayers can prompt controversy, too. In 1944, Richard Tucker had to resign as cantor at the Brooklyn Jewish Center when he won his Metropolitan Opera debut in La Gioconda. One of the rabbis who blackballed him wrote, "I am sure that people would find it quite strange to see their cantor one day recite the Neilah prayer and the following day sing a love duet with some lady."

But at Rodeph Shalom, they love their divas. "It's like going to an opera, so beautiful that you feel like you're in another world," says a congregant. "They're singing prayers and it's so moving. It feels like a transforming experience."

For Cohen, that's the magic of music. "It's really a gift to be able to communicate with people on such a meaningful level. Singing is like communing with the congregation, it's really lovely, it's a pleasure for me," she says.

"Kol haneshama," the cantata Cohen sings in the upcoming Hoshanna! Hebrew Music of the High Baroque, suits her to a "T". For the opera singer, it's a showstopper with bravura vocal writing like Mozart's. It's also a deeply devotional piece in Hebrew, a setting of Psalm 150 ("Let every thing that hath breath"), just right for the cantorial soloist.

And in the eighteenth-century Italian oratorio, God, Defender, and Accuser (Elyon, Melits, u-Mastin) Cohen will be singing the part of "Mercy," who spars with the "Accusor" in a mock-trial before God sitting in judgment, hearing the cases for and against humankind. Cohen will be pleading for us.

We're in good hands.

Anne Schuster Hunter, Contributing Editor, is a writer and art historian living in Philadelphia.

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Tickets
Use these secure forms to order tickets for Hoshanna!: Hebrew Music of the High Baroque and for the pre-concert talks.* (Please note that the concerts and talks have separate tickets.) Press the "order" button when you're ready to submit your selections, and be certain to print out your receipt to serve as your ticket.
Hoshanna!
Sat Mar 31 - Philadelphia
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  Concert
Preferred Seating
$35
Preferred Seating - Season Pass
free
General Admission
$25
Senior
$20
Full-time Student (Adult)
$10
Youth (8-18)
free

  Pre-concert talk
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Hoshanna!
Sun Apr 1 - Haverford
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Concert - Adult
"Open Doors" free-admission
Concert - Youth (8-18)
"Open Doors" free-admission
Pre-concert talk - all ages
"Open Doors" free-admission
Optional: Additional Contribution

$

All 2006-2007 Greater Philadelphia Concert Series concerts, including the Open Doors free-admission events, require a ticket or Season Pass. You can get passes and tickets online, by mail, over the phone, or at the door. Order yours in advance and avoid the lines!

* Open Doors free-admission concerts are seated on a first-come first-serve basis limited to hall capacity. Advance tickets to Open Doors concerts do not guarantee admission. A Preferred Seating area will be reserved for Season Pass holders at Open Doors concerts until 10 minutes before curtain. Preferred Seating not available at Haverford.

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