Italian Opera for the Yiddish-Speaking Masses

Yiddish-speaking immigrants in early twentieth-century America might seem an unlikely audience for grand operas in Italian.

An indefatigable democratizer, Oscar Hammerstein wanted to provide opera for the masses – in his words, to “give first-class opera at prices within the reach of everybody.”

Mikhail Medvedieff’s foray into the New York Yiddish scene both opera and Yiddish theater after a successful European career.

In her 4th part of the “Italian Opera for the Yiddish-Speaking Masses” series, Daniela illuminates how the impresario and educator, Josiah Zuro, finds innovative ways of attracting Italians, Jews and Americans to attend opera performances, uniting these groups through a common love of the genre.

Why promote Italian opera via mame-loshn? How much did the less assimilated Jewish public really engage with opera?