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How does one fit a world of chaos within a frame? this has always puzzled me. Welcome to my website, a poor attempt to share with you some pieces of the eclectic human specimen which is me. I find it difficult to summarize a human being in a few words. Nothing beats the magic of a real smile, a hand shake or a hug, a direct look between curious eyes, and the beautiful imperfection which occurs only through real world encounters.

But we need to start somewhere, so here we are, and let me say- hello 

Feel free to have a look, a listen, maybe drop me a line if you have any thoughts and hopefully one day we shall meet in the real world of smiles and smells and small wonders of humanity and, of course, music. 

* News *

News
sekles .webp

Coming up, two exciting recording projects! This extravagant mustache here is Bernhard Sekles. Another fantastic discovery (like my beloved Alberto Hemsi) of enchanting Lieder which will be presented to you soon ! What a joy it was to record this music. I'm very excited about that one..... 

 

And in a couple of weeks another project takes flight including contemporary and romantic repertoire for the voice, viola and Piano. More on that soon.... 

Gallery
Media

Media

Sarah Nemtsov: SACRIFICE (2016) - opera - aria Tehila Nini Goldstein
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Sarah Nemtsov: SACRIFICE (2016) - opera - aria Tehila Nini Goldstein

SACRIFICE (2016) Oper in 4 Akten IV. Akt 3. Szene: Arie [alive] Tehila Nini Goldstein, Sopran Seth Josel, Steel Guitar ** SACRIFICE (2016) Oper in vier Akten von Sarah Nemtsov für 5 Sänger*innen, 3 Schauspieler*innen, Instrumentalensemble (Keyboard, E-Gitarre, Klavier, Harfe und Drumset), Orchester (2.2.2.2./1.2.2.1/E-Git/Keyboard/Pno/Harfe/3 Perk/6.6.5.4.3), Elektronik, Zuspiel, Video und einen stummen Chor (Statisten) Text: Dirk Laucke Regie: Florian Lutz Bühne (Raumbühne Heterotopia): Sebastian Hannak Kostüme: Mechthild Feuerstein Video: Konrad Kästner Dramaturgie: Michael von zur Mühlen Regieassistenz: Matthias Hüstebeck, Ausstattungsassistenz: Josefine Smid Mitwirkende: Marie Friederike Schöder (Sopran, Gast) - Jana Tehila Nini Goldstein (Sopran, Gast) - Henny Anke Berndt (Sopran) - Frau Vladimir Solodyagin (Bass) - Mann - Gerd Vogel (Bariton - "Azuz") - Nils Thorben Bartling (Schauspieler) - Journalist Holz Sybille Kreß (Schauspielerin) - Journalistin Beermann Frank Schilcher (Schauspieler) - Journalist Krall Statisterie Ernst Surberg (Keyboard und Elektronik, Gast) Seth Josel (E-Gitarre, Steel-Gitarre, E-Bass, Gast) Sebastian Berweck (Klavier, Gast) Matthias Erb (Klangregie, Gast) Staatskapelle Halle Musikalische Leitung: Michael Wendeberg Die Oper SACRIFICE ist eine Auftragskomposition der Oper Halle finanziert durch die Ernst von Siemens Musikstiftung UA: 05.03.2017, Oper Halle – weitere Vorstellungen fanden am 7.,8.,11.03., sowie am 18., 22. und 23.06.2017 statt. Videomittschnitt vom 22.06.2017 Video: David Campesino Audiomitschnitt und Mix: Matthias Erb Zuspiele und Samples für die Oper Sacrifice: Sarah Nemtsov ** Die Oper "Sacrifice" ist verlegt beim G. Ricordi & Co. Bühnen- und Musikverlag GmbH, Berlin - www.ricordi.com Aufführungsrechte des Librettos Sacrifice: Gustav Kiepenheuer Bühnenvertriebs-GmbH, Berlin - www.kiepenheuer-medien.de ** Special Thanks to Florian Lutz, Michael von zur Mühlen, Jascha Nemtsov, Detlef Brandenburg, Frederic Brenner, Tehila Nini Goldstein, Yaron Deutsch, Nabil Hilaneh, Seth Josel, Ernst Surberg, Matthias Erb, David Campesino, Daniela Brendel, Matthias Engler ** Sarah Nemtsov widmete die Oper "Sacrifice" ihrer Mutter, der Malerin Elisabeth Naomi Reuter (1946-2017) **
Tehila Nini Goldstein / F.Cavalli / La Didone / Les Arts Florissants / William Christie
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Tehila Nini Goldstein / F.Cavalli / La Didone / Les Arts Florissants / William Christie

Francesco Cavalli (1602-1676) was probably the greatest opera composer in seventeenth-century Venice, where the new musical form found a particularly promising home. Cavalli made an enormous contribution with over forty works for the stage. Premiered in Venice in 1641, La Didone is based on Virgil's Aeneid. The subject is familiar: the doomed love of Dido, queen of Carthage, and Aeneas, the hero who fled Troy and later founded Rome. CASTING Les Arts Florissants William Christie Anna Bonitatibus | Dido Kresimir Spicer | Ænas Claire Debono | Venus, Iris, a young woman Tehila Nini Goldstein | Creusa, Juno Katherine Watson | Cassandra, a young woman Mariana Rewerski | Anna, La Fortuna, a young woman Xavier Sabata | Iarba Terry Wey | Ascanius, Amore, a hunter Valerio Contaldo | Coroebus, Aeolus, a hunter Joseph Cornwell | Hecate, Neoptolemus Maria Streijffert | Hecuba Mathias Vidal | Illion, Mercury Francisco Javier Borda | Sinon, Neptune Victor Torres | Anchises, an old man Clément Hervieu-Léger | Stage director Éric Ruf | Stage design Caroline de Vivaise | Costumes Bertrand Couderc | Lighting Valérie Nègre | Artistic collaboration Pierre Judet de la Combe | Collaboration to the dramaturgy Rita de Letteriis | Linguistic advice Opera in three acts with prologue, sung in Italian, after a libretto by Giovanni Francesco Busenello. Premiered in Venice at the San Cassiano Theatre, on March 1st, 1641. The théâtre de Caen opens its 2011/2012 season with Francesco Cavalli's La Didone, an Italian opera composed in the 17th century. The recreation of this work is a mission entrusted to Les Arts Florissants, with William Christie's conducting, who will then conduct the opera at the Théâtre des Champs-Élysées. The mezzo soprano Anna Bonitatibus and the tenor Kresimir Spicer will respectively sing Dido and Æneas. Premiered in 1641 in Venice, La Didone takes its inspiration from Virgilius' Æneid. On the advice of Venus, Æneas leaves Troy, attacked by the Greeks. When he arrives on the shores of Carthage, he meets the Queen Dido and the two young people fall in love. But the gods remind Æneas of his destiny: the creation of Rome. The hero continues on his journey. A stalwart of the Comédie Française, Clément Hervieu-Léger has collaborated with Patrice Chéreau for Così fan tutte (Festival d'Aix-en-Provence, Opéra de Paris) and Tristan und Isolde (Teatro alla Scala de Milan). La Didone is his first opera staging.
About

About

Some personal history

 

Born in NY to a Yemenite Israeli mother and an American father, I spent the most important years of human formation living in Israel in a small village in the Judaean mountains.

Being born into a vivid and lively family, I was fortunate to have music and art all around me. My mother, a unique Judaica artist taught us attention to detail and appreciation for beauty and nature. My cousin, Noa (Achinoam to us) quickly grew into an international superstar and I, as a kid, was her #1 fan. Singing her songs and seeing endless times the radiant performer she was (and still is) on was a HUGE inspiration and lesson in life. My maternal grandmother sang through every stage of life. cooking, knitting, mourning.. and my paternal grandmother was in fact a classically trained singer who gave up her dream to raise her children. Inspiration and music were omnipresent. The only problem was, well, that I was as shy as a hermit crab on his worst hair day. ever. 

So choir was the natural step for a shy music addict who needs to sing but can't stand being seen or heard. The Ankor Choir in Jerusalem introduced me to classical music at its core. Singing in harmony. blending voices. WOW. What a world I started discovering.. events such as singing in the girls choir in Turandot with the Israeli Phil and Zubin Mehta, or a trip to Berlin in 1992, right after the wall came down, to sing with the Berlin Phil and Claudio Abbado a piece by Luciano Berio !!! You see, for me this was equivalent to a fantastic class trip. I was completely oblivious of the giants I was encountering on my way. So many legends and glorious music- was hooked for life.

Choir and high school ended, Army began. After being posted for a short while at the border with Lebanon and leaning much about life (what to do when you're being bombed or how to check rolled up pitas for weapons or drugs anybody?) I was later trained as a teacher/commander and was given the task of teaching history and English to soldiers on their way back to civil life . Shyness didn't help.. But my voice started making a change. I discovered the power of the voice. My first solo stage was in fact in uniform. No music. Just presence, eyes, compassion, inspiration and the verb "to be". 

Once my military service ended the moment of truth arrived and I needed to learn how to use this instrument, choose a path and it was clear that music was the only way. 

In Tel Aviv university I studied with the late Mira Zakai (may she rest in peace) who taught me how to be a Mentsch and true to my art. Efrat Ben Nun taught me the first steps of how to use my voice. Next stop- NY, where I met the terrifying guru of voice and soul Patricia McCaffrey. She broke me and put me back together. I was almost ready to begin..

Next step- Berlin! Abbie Furmansky helped connect all the dots, John Norris threw in a new understanding of the full body of a singer, William Christie somehow by sheer miracle gave me my first huge break, and here we are today, Berlin, my home of 15 years. 

These days I share my life and family with the brilliant baritone Tomáš Král  and we do our best to raise with love and joy the two energy balls named Uriel and Lavie. Our most precious creations, our loves.. 

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