There is something very captivating in Tsippi. She sees something
in front of her eyes and then does all she can to make it happen.
Doron Tavori, while preparing "At the End of the Ways" for the
There’s a new sound here…Tsippi Fleischer doesn’t
need Berio anymore, she is uninhibited, like a true master in vocal
matters. As opposed to Penderecki, Boulez, Stockhausen, who wrote
for huge ensembles, she interprets Uri Zvi Grinberg’s great
shout by choosing an intimate form of expression: the work is for
two only – the human voice and the cello; the scream of man
against the divine being.
Tsiyona Peled did an extraordinary piece of work – in contrast
to Tsippi she chose to be colorful in the extreme. We see Kosovo
and concentration camps in color. She created a virtual dance that
gives substance to the music, physicality bursting out and not exactly
from human beings…
We have here a new genre of requiem.
Hanoch Ron, at the premiere event with video version, November
Lewinsky College, Tel Aviv
Fleischer is one of Israel's less conventional and more invigorating
and groundbreaking composer.
There is something rejuvenating and engaging in this new piece.
At the End of the Ways is a dramatic cry for a better world,
a sort of cathartic release from a tradition and belief that strangle
the Jews and an attempt to become free of a past that has not been
able to calm the Jewish people but has rather smothered this nation
in death and destruction. I find At the End of the Ways to
be a most mesmerizing new creation; it needs to be experienced in
order to grasp its full impact and ingenuity alike, not to mention
its far from soothing message. This piece represents a new genre
that is obviously going to be developed and expanded in the future,
in varied ways.
Michael Aizenstadt, from his review after the world premiere
of "At the End of the Ways", Jerusalem Post, 14 November
Tsippi Fleischer's Sense of Time and Place
Fleischer does not for a moment disregard time and place
- they are intrinsic to her personal and collective, existential,
political and cultural being - the "here and now" in which
she lives and creates. The extensive diversity which marks her works,
this multi-vocal compilation of place and of nation, the rich mosaic
of traditions, languages, musical scales, rhythms, landscapes, and
so on - all these combine to stress the dynamic, open-ended, ultra-polyphonic
"here and now" that is ever sensitive to the "other",
or, one might say, the utopian "here and now" of a lover
of culture, and of mankind.
The field of vocal elements is broad and heterogenic. Tsippi Fleischer
walks through this field, her field and ours, the Israeli field,
gathering and binding together bouquets of sounds. She plucks them
by their very roots.
Dr. Gideon Ofrat, speaking on the occasion of the launch of
the CDs (the double album) "Lieder" (Art Songs), Tel Aviv,
This CD set is imposing, including two discs [...] and three separate booklets of notes and translations – one each in English, German, and Hebrew. [....] The large and varied number of performers, venues, and events at which these were recorded attests to Fleischer's stature as a leading and distinguished composer, both in her homeland of Israel and in international circles. Reflecting her education and continuing fascination with languages and cultures, the works include texts in eight different languages: Hebrew, Arabic, Aramaic, Yiddish, German, English, French, and Russian.
[....] As I continued to listen, I was repeatedly amazed at the variety of sonic landscapes Fleischer is able to create, both with manipulations and combinations of vocal sounds, as well as with limited and unusual instrumental forces, continuously in the service of expressing the emotional impact of the text.
The booklets accompanying the CD set are beautifully prepared and quite thorough. [...] For each work, a descriptive overview is provided, along with a photo and biographical details about the poet or librettist, a translation of the text, and, in the case of Hebrew, Arabic, or Aramaic texts, a phonetic transliteration. In most cases additional detailed notes and personal insights from Fleischer's journal are given. For a few works, the opening measures of the musical scores are included. [...]
the tonal and emotional impact of the music was more than enough for me to intuit the content and meaning. Yet [...] knowing the background and the translation definitely enhances the meaning of the music. And, especially important in the case of those works, which can only be heard as recording in this aural museum [Saga-Portrait, At the End of the Ways, Electro-Acoustic Cycle], Fleischer has thoroughly "curated" this collection of her most recent vocal works so that they may be studied and understood as a vital contribution to twenty-first-century music.
Janet Morrow King, IAWM Journal, vol. 16/2 (2010)