Women of Valor was a truly successful collaboration between composer Andrea Clearfield, conductor Noreen Green, a pair of vocalists, and the musicians of the orchestra. In every way, Ms. Clearfield conveyed the passion of these women of valor. The audience heard the great final performance, of course, but it was also a special pleasure rehearsing with the orchestra. Mezzo-soprano Gail Dubinbaum and soprano Hila Plitmann were magnificent; their voices soar and shine, and on this occasion were intensely moving. Especially thrilling was the movement entitled “Miriam,” with the marriage of orchestra and voice reaching new heights. The dance rhythms made it difficult to sit still! The dramatic ending of “Jael” left us all in a heightened state of feeling, and “Jocheved” was both rapturous and romantic. 

At the second rehearsal, I noticed actress Valerie Harper seated next to me. Now, Ms. Harper has been in my living room for many years (on TV, that is), and I felt that she was an old friend. She is so gracious and delightful off camera that it’s easy to feel that way about her. It seemed that everyone was very enthusiastic to have her join us for the concert. Her narration was mesmerizing, particularly in the rather poetic “Hannah.” 

As always, Noreen Green’s enthusiasm, energy, and kind spirit, aided by our ever-wonderful concertmaster Mark Kashper, created a warm family atmosphere, an ideal environment in which to make music. The added excitement of playing our first concert in Royce Hall only added to the mix. I do want to mention that Women of Valor gave several sections of the orchestra a chance to stand out, such as our terrific bass section, led by Jack Cousin; a very strong brass section; and an interesting percussion section with many unusual instruments added to set the piece’s biblical tone. 

Solos by Barry Gold and Mark Kashper were lovely. Mark plays with a luscious  tone and impeccable musicianship, so it was a special treat to hear his virtuosic performance of Tsippi Fleischer’s “Strings —  Bow and Arrow.” In addition, Meira Warshauer’s “Like Streams in the Desert,” a piece we had played a week earlier for the Sephardic children’s concerts, was heard in its full, rich capacity. 

I have only been with the Los Angeles Jewish Symphony for a little over a year. Every time we come together to make music it is a positive and creative experience — not to mention a chance to hang out with good friends and fine players.