"Ani kavati et moshavi" on evening of Aharon Raza'el and Yedidyah Meir • Interview I show

When I heard about 'Fixing a Chavrusa', the performance of Aharon Razael featuring Yedidya Meir , I realized that I have a lot of questions .

Aharon Razel , a colorful character by all accounts, maintained over the years a strong musical tone - as the hue tapered from one song to the other and from album to album. Even when the contents changed color, Aharon did not diversify, but honed his style with a strong and forceful statement.

The current hit from his school is 'I set my seat in the Beis Midrah'. The song , in today's political era, slams vehemently that even despite the honor Aharon feels for all those who work in missions in the world - he chooses to set his seat precisely in the Beis Midrash .

The question is since when does Aharon sing about public and political struggles ? And especially now, with the Israeli public is willing to accept him with his songs to the heichal hakodesh (vice versa) of the Army Radio?

I also wanted to ask him about his personal development in the world of music. As one who started out tentatively and shyly, who in his everyday life remains a common man who collects hitchhikers, slowly reveals self confidence on stage and the tempo of his songs.

How did he do it?

And how is the connection with Yedidya Meir, the music ends man, who attaches himself with his entire being to a new tune of R' Yirmiah Deman, and connects with the same intensity to the songs of other artists - such as Eviatar Banai or Aharon Raza'el ?

A summary of 15 years

Well: I headed for the Cultural Center in Yad Binyamin for the first performance, my head full of questions, and others of the like, which I wanted to lay before the couple.

After a brief and sweet Dvar Torah by Rabbi Yitzhak Neria, a 'Razael style' medley heralded defeat. Not defeat for the show or the Raza'el - Meyer pair, and not to any one of them. I am the one who smelled defeat.

It's as if the initiators of the show read the pile of questions swinging in my brain, opened with a medley which leapt abruptly from album to album and conducted a summary of 15 years of work - and thus made my questions redundant .

Already at the outset Yedidyah Meir took the stage and opened the evening with the first answer to my question - and I think to myself, 'Wait, let me ask', or how else will I do my journalism work. And so, throughout the evening, the couple dissolved the tangle of my questions and answered them almost one by one.

I was drawn into the show in which a lot of energy has gone into choosing the songs. It's not easy for an artist to choose one song from an entire album and a tune from his variety of works. After all, for each song he feel love, every song deserves to be sounded.

And there is also an extra: at every show, Aharon hosts another artist. At his debut show he hosted his elder brother Yonathan (how else) who was good to explain the family's experience which plays through the music notes.

Watch video: Interview and Performance

Where are the energies from?

Only one question I managed to improvise and ask Aharon after the show: where are the energies from?

But when Aharon sat down next to Yedidya in a small room, exhausted and almost fell asleep - I gave up on the question.

I posed several easy questions to the pair, for which I already knew the answers. I asked the solutions for your sake.

But I must admit, on stage the answers ring in another sound, the musical melody is completely different.

All you ever wanted to know about Aharon Razael and the little secrets (Did you notice the 'Talmudic' texst, printed on the album cover ) behind the production of the album , 'Kavati et moshavi' – in the show below.

Believe me, it sounds different in 'live'.

My recommendation , run today and tomorrow , because at the time of writing these lines, it is not sure this show will continue beyond the three dates which were set .

Photography: Yaakov Cohen, Behadrey Haredim

'בחדרי' גם ברשתות החברתיות - הצטרפו!