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Russell is a bass vocalist with operatic training who has turned his attention primarily to Yiddish song over the past decade. During these years he has emerged as a popular performer of Jewish music with an impassioned following and a busy international touring schedule. Russell spoke with great warmth about his recent collaborations with Gaskin.
The Ukrainian-born Belarsky trained as an opera singer in Odessa and immigrated to the United States in In the U. Instead, Belarsky leveraged his classical training to bring a finely controlled approach to his interpretations of Yiddish folk and art songs. The Yiddish art song tradition draws on 19th-century Romantic lieder, inflected by melodic patterns borrowed from Yiddish folk songs and with emotive Yiddish lyrics that referred to the intimacies and specificities of Jewish life in Europe.
As a music student in a conservatory, Russell recalls that he gravitated toward the Brahms song cycle Zigeunerlieder, a collection of songs meant to invoke sounds of Roma folk music. The voice and piano texture, tendencies towards minor tonalities, and a certain liveliness and gravitation towards dance tempos in the compositional style of Zigeunerlieder is reminiscent of the Yiddish art song composers performed by Belarsky.
In the view of some of his colleagues in the Yiddish music world, Belarsky represented a musical sensibility that was overly stuffy. According to this criticism, Yiddish lieder lacked the dance energy and roughhewn folk sensibility that is considered desirable in the klezmer community.
In the view of some of his colleagues in the Yiddish music world, Belarsky represented a musical sensibility that was overly stuffy. According to this criticism, Yiddish lieder lacked the dance energy and roughhewn folk sensibility that is considered desirable in the klezmer community. He was someone I wanted to emulate. Anthony Russell sings Der Gemore Nign, a piece associated with Belarsky Russell was struck by the fact that Belarsky comfortably addressed different segments of the Jewish population in his concert presentations and recordings and was able to comfortably shift musical identities within the Jewish world.
He was able to offer a convincing musical representation of a variety of Jewish communities. A Russian version, an Israeli version, a leftist labor version. Towards this end, Belarsky developed a broad-ranging repertoire that embraced classical song, Yiddish pieces addressing Jewish life in Europe, and cantorial music.
These repertoires offer Russell expansive resources to connect his aesthetics to his sense of himself as a Jewish person. He compared this vein of performance to his years in opera. I was actually in opera. He showed up as the archetypal Jew.