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Much more symbolic: there is rarely an opportunity to see a giant like Esther Ofarim in action

Ofarim, a singer with a surprising voice, tremendous charisma, theatrical performance and endless charm, provided a mesmerizing experience in a rare performance in Israel with Yoni Rechter.

In a world full of people who fake success and ability or buy them, there is nothing more powerful than looking at a real stage artist.

Impressions from a perfect concert

Nadav Menuhin

20/04/2022

Wednesday, 20 April, 2022, 10:50 Updated: 11:13

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Huge.

Esther Ofarim (Photo: Yossi Tzabker)

The Holon Theater was crowded last night, and it was impossible to find a place in the nearby cafe or the benches on the second floor.

Towards the main performance of the evening, even the buffet almost emptied of merchandise, and the overcrowding around it broke records.

This crowd did not come because Margie or Noa Kirl came to the city, but in honor of the traditional "Singing Days" festival in Holon and its main attraction - a performance by singer Esther Ofarim, one of the great symbols of Hebrew singing for generations, whose performances in Israel in recent decades are rare.

The crowd, made up almost entirely of senior citizens and older in spirit, did not intend to let this opportunity slip away.

Ofarim was a big star in Israel in the 60s and 70s, but also had great success throughout Europe.

For many years now, the center of her life has not been here, but she has not really been forgotten, and last night's show - which was also shared by Yoni Rechter, himself one of the top musicians in Israel - is evidence of this.

But it is not only nostalgia that has driven the evening - because Ofarim, above all, is much more than a symbol of the past - she is a one-of-a-kind singer, with a surprising voice, tremendous charisma, theatrical performance and endless magic.

It was mesmerizing: a person rarely gets to see a real virtuoso in front of him in action - a performer who is so good at what he does, so impressive, so masterful of the basics.

In a world full of people who fake success or buy it, there is nothing more powerful than looking at the power of pure talent and unparalleled professionalism.

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Exciting duets.

Ofarim and Rechter (Photo: Yossi Tzabker)

As mentioned, Ofarim has not lived in Israel for many years, and at the same time is a symbol of Israeliness.

Accordingly, her repertoire consists of some of the best-known Hebrew songs, alongside classics from around the world, and in between these and many more songs about foreignness, loneliness and wandering.

In a long performance (about 20 songs), this selection adds up to a long and exciting journey.

She was surrounded by six musicians, including Rechter himself on the accompanist standard, and he rarely joined in the singing.

Sometimes a large ensemble is meant to make up for it, to fill the void that a singer has a hard time filling - but that was far from the case in this show.

Next to the singer's high and melancholy voice, the modest arrangements, and even the minimalist ones in part, did not try to overshadow at all - but only to support a little.

Tremendous charisma.

Ofarim (Photo: Yossi Tzabker)

From the very beginning, the classics "Maybe" and "Night Night" - of which Ofarim is the ultimate performer - invite emotions about a distant past that has disappeared.

Her voice, added to the beautiful effect of time, resonates and rings.

Need nothing more than that.

Still, the audience always joins.

Probably when she sang Leonard Cohen's "Hallelujah," and everyone pledged together to stand before the God of Poetry with nothing but this psalm on their lips.

The first part of the evening ends with more classics, including "Somewhere over the rainbow", "She's leaving home" and also Rechter's "Tears of Angels" and 14 octaves, which suddenly seemed more innocent than ever.

In this song, Ofarim was confused by the lyrics at the opening of the song, but thanks to Rechter who joined her, the performance was complete.

Then Ofarim left the stage, and evacuated her to Rechter and the band, which only then began her exile in all its beauty.

After an instrumental piece called "A Midsummer Night's Dream," Rechter sang "Three at Night in the City" composed by Gidi Gov and "Standard Love Song" composed by Arik Einstein.

These are great songs though, but I was surprised by the choice of them instead of songs from Rechter's solo career, and maybe that was his way of emphasizing that the focus this evening is not on him, but on the singer who will be back soon.

An unforgettable evening.

Ofarim (Photo: Yossi Tzabker)

Ofarim returned with "relaxation" - an ancient song that never miraculously flowed, and continued in a beautiful sequence: "Second Bird" which she recorded with Rechter for the project "Order of the Hour" ("I saw a beautiful bird"), the exciting duet "Give me a hand" which was one of the highlights of the evening , A spectacular rectal arrangement of the song "What Do Your Eyes Say" - by this time the band was already more relaxed - and finally the classic "Who Will Give Chicken".

It was possible to detail the nuances, depth and wonder of each of them - but it does not seem necessary, because the experience itself is a whole.

These are familiar and beloved songs, but no moment in them was worn.

Ofarim sang each of them as if they were one-time, and with obvious pleasure.

Later there will also be versions of "Alabama song", "Mad about the boy" and another song by Leonard Cohen, "Like a bird on wire".

It's a familiar and wearily plowed song.

Ofarim gave him his most beautiful performance I have ever heard.

Despite the hopes, Ofarim did not perform her favorite "Autumn" or "Cinderella Rockefale".

Although she will end the show, to the delight of the audience, to the sounds of "Landmarks", she also did not part without "There Were Nights" - her ultimate song, and with which she is most identified.

Jacob Orland's sad ballad, which describes a love story cut in the alleys between Degania and Kinneret, has over the years also become a lament for the passing of time, youth ending and the changing world, easy and material when the singer in her ninth decade and most of the audience already embrace grandchildren.

But when all of these sing together about the nights that will carry another end of their days, they may also have thought about this perfect concert, and the rare opportunity to see on stage one of the greatest of them all.

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• Esther Ofarim

• Yoni Rechter

• Holon Music Festival

• Holon