How to manage the process with grace, joy and good sense.

A practical guide that gives parents and teens the "how-to" information they need to navigate the bar/bat mitzvah process and grow as a family through this experience. For the first time in one book, everyone directly involved offers practical insights into how the process can be made easier and more enjoyable for all. Rabbis, cantors and Jewish educators from the Reform, Conservative and Reconstructionist movements, parents, and even teens speak from their own experience. What's it all about? Preparation for Parent and Child Tutoring, stress, expectations, enjoyment, planning for children with special needs Negotiating the ceremony and celebration Designing a creative service, heightening the spiritual exercise, special issues related to divorced and interfaith families, planning a party that neither breaks the bank nor detracts from the inherent spirituality of the event."

This volume focuses on the story of Judith as presented by composers, librettists and playwrights over four centuries. Helen Leneman analyzes numerous examples of music, librettos and the librettists' views of Judith - strongly influenced by societal attitudes of their time - and how these works in turn suggest unexpected ways of understanding biblical women and their stories. Music adds nuances, colors and emotions, becoming a subtext that suggests character and emotions. Leneman presents in-depth analyses of the librettos and music of 16 operas and oratorios based on the book of Judith that span 300 years (1694-1984), in addition to two influential plays that inspired several librettos in the nineteenth century. Exploring works by such varied composers as Vivaldi, Mozart, Parry, Honegger, Serov, Chadwick and von Reznicek, Leneman reveals the ways in which each adaptation expands, distils or reinterprets Judith's character and story. In this first ever extensive study of musical settings of the Book of Judith, Leneman enables the biblical heroine to transcend her source.

This volume focuses on the story of Judith as presented by composers, librettists and playwrights over four centuries. Helen Leneman analyzes numerous examples of music, librettos and the librettists' views of Judith - strongly influenced by societal attitudes of their time - and how these works in turn suggest unexpected ways of understanding biblical women and their stories. Music adds nuances, colors and emotions, becoming a subtext that suggests character and emotions. Leneman presents in-depth analyses of the librettos and music of 16 operas and oratorios based on the book of Judith that span 300 years (1694-1984), in addition to two influential plays that inspired several librettos in the nineteenth century. Exploring works by such varied composers as Vivaldi, Mozart, Parry, Honegger, Serov, Chadwick and von Reznicek, Leneman reveals the ways in which each adaptation expands, distils or reinterprets Judith's character and story. In this first ever extensive study of musical settings of the Book of Judith, Leneman enables the biblical heroine to transcend her source.

This volume examines the stories of Genesis in music, showing how musical settings can illuminate many of the Bible's most noted tales. Helen Leneman studies oratorios, operas and songs (as well as their librettos) to shed light on how Genesis has been understood and experienced over time. Examining an extensive range of musical settings of stories from the book of Genesis, Leneman offers an overview of chiefly 19th and 20th century musical engagements with this biblical text. Leneman first discusses how Eve's inner thoughts are explored by noted French composers Jules Massenet and Gabriel Faure. The text then enters the deep waters of Noah's flood in examination of several compositions, including two unusual settings by Igor Stravinsky and Benjamin Britten, as well as more conventional settings by Saint-Saens and Donizetti. Two major 19th century oratorio settings of Abraham's story by lesserknown German composers Martin Blumner and Karl Mangold provide fascinating illuminations of the Abraham narratives, whereas parts of Rebecca's story are found in works by Cesar Franck, Ferdinand Hiller, and most unusually, by a French woman composer, Celanie Carissan. Finally, Leneman shows how Joseph's story was set in numerous oratorios (including by Handel) but that one of the most important works based on his story is an opera by 18th century French composer Etienne Mehul. In addition to discussing these larger 19th century works, Leneman also examines several interesting atonal 20th century works based on the stories of Eve and the Flood, shedding new light on the history of the interpretation of the Book of Genesis.

This is Leneman's second foray into the interdisciplinary study of the Bible and music, following her The Performed Bible: The Story of Ruth in Opera and Oratorio (2007). In Love, Lust, and Lunacy she shows how these themes have captured the imagination of librettists and composers of many eras to set the narratives of the books of Samuel to music. Leneman convincingly illustrates music's ability to suggest emotions and character traits that can only be read between the lines of a text, through an in-depth discussion of 16 operas and oratorios from the eighteenth to the late twentieth century-including works of Handel, Nielsen, Parry, Honegger, Milhaud and lesser-known composers. The musical analyses can be understood on different levels by both specialists and non-specialists, providing a new perspective for biblical scholars along with a new appreciation of the biblical texts for musicians and music lovers. Librettists and composers working with the Saul and David stories were alert to the complexity and ambivalence of the biblical portraits, and filled in the blanks left by the biblical writer in stirring and compelling ways. Their gap-filling may sometimes contradict traditional versions or interpretations of the biblical text, but their musical creativity often makes the words and actions of the biblical characters more convincing and compelling. In the musical works reviewed here there are portrayed three-dimensional figures-not only David and Saul, but also Samuel, Michal, Bathsheba, the Woman of Endor and others, personages barely glimpsed between the lines of the biblical text but imagined in different ways by readers in every generation.

The Bible and Western culture is a burgeoning area of interest in recent scholarship, but comparatively little has been written on the Bible and music. Leneman's is a groundbreaking work, making some pioneering forays across an important interdisciplinary divide. The Performed Bible is an in-depth study of the librettos and music of 12 operas and oratorios on the story of Ruth from the last two centuries, establishing the potential of music, as a kind of midrash, for transforming a Bible text, its narrative and its characterization. The book includes detailed analyses of musical segments, the author being a cantor and professional musician in whose Jewish tradition biblical texts are chanted, not read. This fresh and insightful work will no doubt prove attractive to biblical scholars, to musicians and to music lovers generally.

This volume examines the stories of Genesis in music, showing how musical settings can illuminate many of the Bible's most noted tales. Helen Leneman studies oratorios, operas and songs (as well as their librettos) to shed light on how Genesis has been understood and experienced over time. Examining an extensive range of musical settings of stories from the book of Genesis, Leneman offers an overview of chiefly 19th and 20th century musical engagements with this biblical text. Leneman first discusses how Eve's inner thoughts are explored by noted French composers Jules Massenet and Gabriel Faure. The text then enters the deep waters of Noah's flood in examination of several compositions, including two unusual settings by Igor Stravinsky and Benjamin Britten, as well as more conventional settings by Saint-Saens and Donizetti. Two major 19th century oratorio settings of Abraham's story by lesserknown German composers Martin Blumner and Karl Mangold provide fascinating illuminations of the Abraham narratives, whereas parts of Rebecca's story are found in works by Cesar Franck, Ferdinand Hiller, and most unusually, by a French woman composer, Celanie Carissan. Finally, Leneman shows how Joseph's story was set in numerous oratorios (including by Handel) but that one of the most important works based on his story is an opera by 18th century French composer Etienne Mehul. In addition to discussing these larger 19th century works, Leneman also examines several interesting atonal 20th century works based on the stories of Eve and the Flood, shedding new light on the history of the interpretation of the Book of Genesis.