Company
Editorial
House is an adaptation of the documentary film trilogy of the same name (1980, 1998 and 2005), in which Israeli director Amos Gitaï portrayed a house in West Jerusalem and its residents over several decades.
The house was initially owned by a Palestinian doctor who was forced to leave it when he fled the war that followed the founding of the Israeli state in 1948. It was then appropriated by the Israeli state and handed over to its future residents, Jewish immigrants from Colomb Bechar (Algeria) and subsequently an Israeli economist who decided to convert the single-storey house into a multi-storey villa, recruiting Palestinian workers from the refugee camps near Yatta, in the West Bank. In the different stories told by the current and former residents and the craftsmen who worked on renovating the house, a multi-layered web of perspectives and memories develops that traces the lines of the Middle East conflict through their individual biographies.
For the play House, Amos Gitaï revisits the beginnings of his film work and translates the documentary films for the theatre stage. The debate has lost none of its relevance today.
Multilingual ensemble
Actors and musicians with roots in the Middle East, Iran and France perform together on stage. Music is heard from a variety of cultural traditions along with numerous different languages: Arabic, Yiddish, French, Hebrew, English, Armenian and Turkish. Through the composition of its multilingual ensemble, House attempts to establish a dialogue that presents Israeli and Palestinian narratives side by side on equal terms. With the restrained gesture of an attentive observer, Amos Gitaï juxtaposes contrasting memories and perceptions: relief at the establishment of a Jewish state as a promise of security and despair at the expulsion of Palestinians from their homeland both have their place.
The filmmaker as archaeologist
The trained architect Amos Gitaï (born in Haifa in 1950) made his first film experiments with a Super 8 camera during his deployment in the Yom Kippur War (1973), where he survived a Syrian missile attack on the evacuation helicopter he was sitting in. The first part of the House trilogy (Bait, 1980) was commissioned by Israeli television, but was censored and not broadcast. He then moved to Paris to continue his cinematic work. He later returned to this house, and the people associated with it, and shot two further episodes. The internationally renowned and award-winning director now lives in Paris and Israel and has created over 90 documentaries and feature films. In recent years, Amos Gitaï has also worked as a theatre director, at venues including the Théâtre de la Ville in Paris, the Spoleto Festival in Charleston, USA, the Coronet Theater in London, the Odéon - Théâtre de l’Europe in Paris and the Burgtheater in Vienna. In many of his works, Gitaï examines the contradictions of his Israeli homeland. Here he compares his working practice to that of an archaeologist, painstakingly unearthing one layer after another in order to discover the complexities that underlie the present.
The Archival Aspect of Amos Gitaï’s Cinema
[…] All films are archives, yet the films of Amos Gitaï, be they documentaries or fiction, are more archival than others. This is because he has a unique relationship with history, traces, and transformations over time, although depicting this relationship is not his principal aim in the moment of creation. The clearest examples are the House and Wadi trilogies, which revisit the same locations several years apart. They do so in different ways, employing different production methods and at variable time intervals; 1980, 1998 and 2005 for the first, and 1981, 1991, and 2001 for the second. These two trilogies are archival because each one deals with a place (a house in Jerusalem in the first and a slum in Haifa in the second) and the people who live there or have ties to it. The resulting continuities, manifested by humans and materialized by spaces, accumulate, in exponential fashion, useful knowledge generated by the passage of time. […]
Although there are some exceptions, Gitaï’s cinema often emphasizes connections to places or trajectories through space. Berlin-Jerusalem, The Arena of Murder, Promised Land, Free Zone, West of the Jordan River and others attest to such connections in their titles. This is also true of other films, including those based outside of Israel and Palestine, such as Bangkok-Bahrain, In the Valley of the Wupper, and, although not indicated in the title, Pineapple, Tsili or even in its own way, Roses on Credit to mention five entirely different films. Amos Gitaï’s architectural training might offer one explanation of this spatial grounding. However, even more importantly, this territorial anchoring affords him a variety of opportunities to accumulate and dramatize a slew of real and factual information. Indeed, archive-making is to put things together in such a way that they produce meaning. And what is particularly archival in the cinema of Gitaï is the presence of bodies, voices, and languages.
Bearing witness to the proximities and distances between Palestinians and Jews since his documentaries House and Wadi at the beginning of his professional film career in the early 1980s, Gitaï has always taken great care to cast individuals of different origins and backgrounds and to make heard the languages and intonations of this region of the world, which has been referred to as the Middle East since the advent of our self-assured and dominating occidentocentrism. This is not motivated by well-meaning ecumenism; by a desire for rainbow casting or to meet quotas for racial (or gender) representation, which has become so common. Rather it is a question of bringing awareness to that which distinguishes, of conserving traces of the way in which people move, speak, or remain silent, whether it be a child from Ramallah, a native of Tel Aviv, a young Jewish-American progressive, or an old peasant from the hills of Nablus. And this too constitutes archival material.
Amos Gitaï likes to compare, and even more or less equate, fiction films and architecture, and documentaries and archeology. While these parallels make intuitive sense, they are up for debate. Michel Foucault emphasized the constructivist, proactive dimension of archeology, and it can be stated that in this sense, overall, the cinema of Amos Gitaï is an archeology of knowledge using the particular methods of cinema. It could also be said that all his films, documentaries included, have a deep relationship with architecture. These are films that build and create as much as they bring to light the more or less concealed actual state of things. This brings to mind the old cinema adage that must never be forgotten: the line between fiction and documentary is a blurry one. One particularly obvious example of this is Rabin, The Last Day (2015), which could not have existed without monumental efforts in the area of documentary research. On the subject of Rabin’s assassination, this film, which blurred the line between documentary and fiction, bringing to mind Orson Welles’ phrase “It’s all true” does much more than accumulate information buried on shelves and hard drives. It builds an archive on Rabin’s assassination, an archive as political and emotional as it is factual, or journalistic in the narrowest sense, through the filmmaker’s work of composition on the basis of his accumulated materials. […]
We must look beyond the mere task of producing a cinematographic investigation combining heterogenous elements – including from the perspective of the “truth regime” – that is worthy of being called an “investigation” while following rules that differ from the police investigation, the journalistic investigation or the ethnographic investigation, each of which has its own legitimacy and procedures. Amos Gitaï’s relationship with the archive is particularly remarkable because he is one of the very rare filmmakers, or even artists in the broader sense of the term, to approach cinema as an archive producer, and to consider the use of his own archives beyond their simple conservation or future value in the usual sense of the term. While artworks always deserve to first be considered in their singularity, their autonomy, film by film, in the unique case of Amos Gitaï, there is an enormous amount to discover by considering his approach as a whole, which includes the totality of his creative work as well as strategies designed for his archives, strategies that are just beginning to take shape and for which much remains to be invented, particularly with respect to the use of digital tools. Prior to being entrusted to various institutions, these archives had already appeared in the films of Amos Gitaï. In his productions, he always recycles images and sounds from his earlier films. This is not only a trademark in the sense of an aesthetic coherence, but a construction in the long term where each film, in addition to its singular stakes and qualities, is also a component of a broader project for understanding the world, reminding us that an archive worthy of that name is not only a collection of traces and documents, but an act of formation intended to produce more than the sum of its parts. […]
Jean-Michel Frodon, Amos Gitaï and the challenge of archive, Collège de France, 2021
Amos Gitaï
Writer and director
Amos Gitaï was born in 1950 in Haifa, Israel. Son of an architect trained at the Bauhaus, Munio Weinraub, who fled Nazism in 1933, and of an intellectual and teacher, Efratia Gitaï, a non-religious specialist in biblical texts, born in Palestine at the beginning of the 20th century, he is part of the first generation born after the founding of the State of Israel, a generation also formed by the great protest youth movements of the 1960s. Gitaï, who was still only an architecture student, was injured during the Yom Kippur War (1973), when the medical evacuation helicopter he was in was hit by a Syrian missile. These biographical, family and generational elements, as well as the trauma experienced during the war and a feeling of victorious life will inspire all of his future work.
After completing a doctorate in architecture at the University of Berkeley (California), Amos Gitaï devoted his first film, House (1980), to the construction of a house in West Jerusalem. This documentary, immediately censored in Israel, left a lasting mark on the filmmaker’s conflictual relationship with the authorities of his country, a relationship soon poisoned by the controversy aroused by his film Field Diary (1982). Gitaï then moved to Paris and made several films, fictions and documentaries, including Esther (1986), Berlin Jérusalem (1989) and Golem the spirit of exile (1991). Amos Gitaï returned to Israel in 1993, the year the peace accords led by Yitzhak Rabin were signed in Washington. He made his trilogy of cities with Devarim filmed in Tel Aviv (1995), Yom Yom in Haifa (1998) and Kadosh in Jerusalem (1999). Four of his films will be presented in competition at the Cannes Film Festival (Kadosh, Kippur, Kedma, Free Zone), nine others at the Mostra in Venise (Berlin Jérusalem, Eden, Alila, Promised Land, Ana Arabia, Rabin the last day, A tramway in Jérusalem, Letter to a Friend in Gaza and Laila à Haïfa). In 2010, he published the Correspondence of Efratia, his mother, read by Jeanne Moreau at the Odéon – Théâtre de l’Europe in Paris and on France Culture. In April 2018, the filmmaker donated all of his printed and digital archives on Yitzhak Rabin to the French National Library, a collection of nearly 30,000 documents. In 2018, the show Yitzhak Rabin, chronicle of an assassination, created at the Avignon Festival in 2016, was presented at the Philharmonie de Paris, notably with soprano Barbara Hendricks. The following year, at the Spoleto Festival in Charleston, USA, Amos Gitaï created an eponymous theatrical and musical show based on his film Letter to a Friend in Gaza, then presented at the Théâtre de la Ville in Paris and the Coronet Theater in London. In 2020, he created Interior Exiles at the Théâtre de la Ville. Elected in 2018 professor to the chair of “Artistic Creation” at the Collège de France, Amos Gitaï gives a series of nine lessons on cinema followed by a conference in June 2019. The following year, he is Visiting Professor at Columbia University, School of the Arts (Master of Fine Arts). Amos Gitaï has been awarded with numerous prizes, including the Roberto Rossellini Prize (2005), an Honorary Leopard in Locarno for his entire body of work (2008), the Robert Bresson Prize (2013), the Paradjanov Prize (2014). He is an Commandeur des Arts et Lettres and a Chevalier de la Légion d’honneur. Complete retrospectives of his work have been presented in numerous institutions around the world: Center Pompidou, Cinémathèque française, Bibliothèque nationale de France, Cinémathèque de Jerusalem, Museum of Modern Art in New York, Lincoln Center New York, British Film Institute of London, Reina Sofia Museum (Madrid), Mostra de São Paulo, National Cinema Museum (Moscow), and Japan Film Institute (Tokyo).
Bahira Ablassi
Performer
Born in Jaffa, Bahira Ablassi began his career in 2020 in the film Laila in Haifa by Amos Gitaï, presented in the main competition at the 77th edition of the Venice International Film Festival.
Ghassan Ashkar
Performer
I was born in Jaffa, graduated from an acting school in Tel Aviv. I participated in several TV series such as: Trapped in the Net, The Youth and more. I participated in films such as: Interchange 48, Bella, 200 meters and more. Theatre performances such as: Palestine Year Zero, The Kiss, and Land Mine. I won the Best Actor Award 2021 Acre Festival for the presentation of Land Mine, the Actor Award 2022 at the Cartago Festival (Tunisia) for the presentation of Land Mine, and the Best Actor Award 2023 Teatronto Tel Aviv Monodrama for the presentation of The Kiss.
Benna Flinn
Singer
Benedict Flinn is an English tenor who sings in several choirs in Europe, among which Tenebrae, English Voices, the Choir of St John’s College, Cambridge and the adult choir of the Maîtrise Notre Dame of Paris. He has recorded over twenty records and sings solo during BBC radio shows. In 2020, he performed as a soloist, alongside the soprano Mary Beyan, with Cambridge University’s Symphonic choir, directed by Richard Wilberforce. House is his first theatre commitment in France.
Irène Jacob
Performer
Both a cinema and a theatre actress, Irène Jacob gained worldwide recognition in 1991 when she was awarded the Best Actress award at the Cannes Film Festival for her role in Krysztof Kielslowski’s film: La Double Vie de Véronique. Having made her beginnings under the direction of Louis Malle in Au revoir les enfants, she played several roles leading an international career with Michelangelo Antonioni and Wim Wenders, Theo Angelopoulos, Agnieszka Holland, Paul Auster, Jonathan Nossiter, Hugh Hudson but also Krysztof Kielslowski in Trois Couleurs: Rouge. In France, she worked with Nadine Trintignant, Claude Lelouch, Serge Le Péron, Pascal Thomas, Riad Sattouf, and even Jacques Deray, vice president of the Institut Lumière. She is featured in the American series The Affair and The OA. On theatre stages, she has performed at the Théâtre des Bouffes du Nord, at the Théâtre de l’Atelier, in the West End, at the Théâtre National de Chaillot, at the Théâtre de la Ville and under the direction of Irina Brook, Patrice Leconte, Richard Nelson, Jérôme Kircher, Philippe Calvario, Jean-François Peyret, David Lescot, Oriza Hirata, Roland Auzet, and Katie Mitchell. She performed in Retour à Reims staged by Thomas Ostermeier. In 2021, she performed in Yitzhak Rabin: Chronicle of an Assassination, staged by Amos Gitaï at the Théâtre du Châtelet and in London at the Coronet Theatre. Her affinity with music led her to musical roles for the Opéra-Comique, the Opéra de Lyon and the Lincoln Center: Perséphone by Stravinski, Jeanne au Bûcher (Joan of Arc at the Stake) by Honegger, Babar by Poulenc, L’Arlésienne (The Girl from Arles) by Bizet. She recorded several songs with Vincent Delerm, co-wrote two albums with Naïve, and Universal Jazz with her brother Francis Jacob. In 2021, she wrote the musical show Où es-tu?, with Keren Ann. In 2019, she published her first novel: Big Bang, with Albin Michel. The following year, she was also appointed president of the Institut Lumière. In 2023, she performed in the Franco-British show Liaison for Apple TV+ and in 7e CIEL by Alice Vial for OCS.
Alexey Kochetkov
Musician
Alexey Kochetkov is a violinist, composer and music producer. Over the past few years, he specifically explored the links between violin and electronic music, in particular through the 5 String Theory – the Theory of Everything projects in which he pushes back the limits of violin playing thanks to electronic augmentation and the Ajam Quartet, a trans-cultural acoustic ensemble which associates traditional music from the Middle East and from Europe. Alexey Kochetkov also composes music for cinema and theatre, namely for Amos Gitaï and with the Gravity & Other Myths Circus company.
Micha Lescot
Performer
Directly after graduating from the Conservatoire national supérieur d’art dramatique (Paris National Academy of Dramatic Arts) in 1996, Micha Lescot worked with Roger Planchon, notably in La Tour de Nesle, adapted from Alexandre Dumas, and in Le Triomphe de l’amour (The Triumph of Love) by Marivaux. He also performed in stagings by Philippe Adrien, Jacques Nichet, Denis Podalydès, David Lescot, and Jean-Michel Ribes in Musée haut, musée bas (awarded the Molière for the Best theatrical newcomer). Éric Vigner directed him in several shows: Où boivent les vaches by Roland Dubillard, Jusqu’à ce que la mort nous sépare, and Sextett by Rémi De Vos. He met Luc Bondy in 2008 for La Seconde Surprise de l’amour (The Surprise of Love) by Marivaux. They pursued their collaboration with Les Chaises (The Chairs) by Ionesco (Best Actor prize awarded by the Syndicat de la critique in 2011), Le Retour d’Harold Pinter, Le Tartuffe (The Imposter) by Molière, and Ivanov by Anton Tchekhov, a role for which he received again the Award for Best Actor by the Syndicat de la Critique in 2015 and for which he was nominated for Best Actor in a Public Theatre play at the 2015 Molière ceremony. In 2017, he performed in Bella Figura, a play written and staged by Yasmina Reza. He also formed a duo with Jérôme Deschamps in Bouvard et Pécuchet at the Théâtre de la Ville in Paris. In 2019, he performed in The Collection by Harold Pinter, staged by Ludovic Lagarde. He also performed on the stage of the Théâtre du Rond Point in the show Départ volontaire by Rémi de Vos, staged by Christophe Rauck. In 2021, he portrayed Charles in the play by Bernard-Marie Koltès, staged by Ludovic Lagarde. In 2022, he embodied Richard III in the play by William Shakespeare staged by Christophe Rauck, played at the Festival d’Avignon and at the Nanterre-Amandiers Theatre. In cinema, he has worked with, among others, Claire Denis, Albert Dupontel, Dante Desarthe, Noémie Lvovsky, Bertrand Bonello, Léa Fazer, Sébastien Betbeder, and Alexis Michalik. In 2022, he played in Les Amandiers by Valeria Bruni-Tedeschi, for which he was nominated at the Césars ceremony for Best Actor in a Secondary role.
Nathan Mercieca
Singer
Nathan Mercieca started singing as a boy chorister in the London Oratory School Schola, with whom he recorded the soundtracks to, among others: The Lord of the Rings and Finding Neverland. He went on to study at Gonville & Caius College, Cambridge, where he was Senior Choral Exhibitioner, and subsequently completed postgraduate studies at the Guildhall School of Music and Drama with Theresa Goble.
Operatic roles include: Peisander (cover) in Monteverdi’s The Return of Ulysses (Royal Opera House), “JL” in John Ramster’s staging of Handel’s Messiah (Merry Opera), Xerse in Cavalli’s Il Xerse at the Grimeborn Festival (Ensemble OrQuesta), and Sorceress/Spirit in Purcell’s Dido and Aeneas (Armonico). A keen exponent of contemporary opera, he created several roles: all the male parts in Clare Elton and Lila Palmer’s These Wondering Stones (Barbican Centre/Museum of London), CJ in Warboy & Stewart’s Fierce Love (Tête-à-Tête), and Daryl/the Devil in Muelas+Ward’s A&E (Tête-à–Tête). He workshopped the role of Yoël in Na’ama Zisser’s Mamzer/Bastard (Royal Opera House), and recorded the role of Jack in Mark Bowler and Gareth Mattey’s chamber opera Little England.
His solo concert appearances include: Handel’s Messiah at Wigmore Hall (Irish Baroque Orchestra/Peter Whelan), Purcell’s “Hail, Bright Cecilia” at St John’s Smith Square (Wond’rous Machine/Joel Sandelson), and operatic arias by Handel remixed by live DJ at the London Handel Festival (Festival Voices/Greg Batsleer). With Solomon’s Knot he recorded a solo voices disc of the Motets of JS and JC Bach, performing the project at Wigmore Hall, the Aldeburgh Festival, and the Concertgebouw Bruges.
Pini Mittelman
Performer
After graduating in performing arts from the Beit Zyi School in Ramat Gan, Israël, in 1980, Pini Mittellman played in Morning of Fools by Yitshak Ben Ner (elected monodrama of the year), Hymnos by George Shvieda, an award-winning show at the 1986 Acco Theatre Festival, Hamlet directed by Steven Berkoff, and also The Soldier Shveikn by Jaroslav Hashek. In cinema, he played in On a Narrow Bridge by Nissim Dayan, After the Holidays by Amnon Rubenstein and several films by Amos Gitaï, such as Kippour and Rabin, The Last Day. On television, he appears in the TV show Café Paris and the dramatic Israeli shows Siton, HaBurganim (The Bourgeois), HaPraklitim (The Lawyers), and HaMachon (The Institute).
Kioomars Musayyebi
Musician
Kioomars Musayyebi is a musician and Teheran Arts University graduate. He studied santur (an instrument belonging to the family of table zithers) with the Master Faramarz Payyevar and musical theory with the film composer Farhad Fakhredini. For many years, he has been working as a santur player and composer for several Iranian musical groups with which he performs in Iran and abroad. He also produces music for cinema, advertising, and radio. Between 2001 and 2008, he participated in two creations of the stage director Pari Saberi at the Vahdat Hall in Teheran. Since 2011, he works as a professor, composer, and stage artist in Germany alongside musicians from all over the world as well as international groups such as the Transorient Orchestra, Nouruz Ensemble, and Orchester der Kulturen. In 2018 and 2019, he created the show A Letter to a Friend in Gaza by Amos Gitaï which was presented in Paris and London. In 2015, he was honored by the Hildesheim University for his teaching of santur in the World Music Centre.
Menashe Noy
Performer
Born in Tel Aviv, Menashe Noy graduated in cinematographic and television studies from the University of Tel Aviv. As an actor, he participated in several popular shows such as The Kameri Quintet, HaBurganim, Parashat HaShavua, and also Papadizi, Year Zero, Sweets by Josef Pitchadze. In cinema, he played in Gett: The Trial of Viviane Amsalem by Ronit Elkabetz and Shlomi Elkabetz, Divine Intervention, and The Time that Remains by Elia Suleiman. On stage, he has performed at the City Theatre of Haïfa, at the Jaffa Theatre and also at the Cameri in Tel Aviv.
Danielle O'Neill
Soloist
Danni is a 2021 Masters graduate soprano with distinction from the Royal Academy of Music with part scholarship. She is taught by Raymond Connell. At RAM, Danni was awarded the Michael Head Prize for English Song, notably performed a solo cantata BWV202 with Rachel Podger and received a DipRAM for an outstanding final recital.
Danni recently made her Wigmore Hall solo ensemble debut with Solomon’s Knot and professional opera chorus debut in Lille and Luxembourg Opera Houses performing Purcell’s Dido and Aeneas and Handel’s Semele with the Concert D’Astree and Emmanuelle Haïm. Choral work includes: performances with prestigious ensembles such as The Sixteen, Polyphony, Gabrieli Choir, Academy of Ancient Music, BBC Singers, Recordare Chamber Choir, The Marian Consort, and is a regular soprano at St Paul’s Knightsbridge.
Recent solo engagements include: Bach’s Matthew Passion with the Hanover Band, Holst’s Choral Symphony at Thaxtead Festival, Second Woman/Witch with Helsinki Baroque Orchestra - Musiikkitalo, premiere of Cecilia McDowall’s Bird of Time with Ealing Choral, Telemann Cantata at Baroquestock, London Early Opera’s Hogarth’s Garden, Handel’s Dixit Dominus for Southwell Festival in Southwell Minster, Peasblossom in RAO’s A Midsummer Night’s Dream, Minerva Baroque at Handel & Hendrix House, and Nanetta in Verdi’s Falstaff for the RAO Opera Scenes.
Laurence Pouderoux
Performer
Soprano Laurence Pouderoux is a singer whose multiple interests lead her to put her voice at the service of an ever-expanding repertoire.
Winner of the 2e prize at the Concours International de Chant Baroque de Froville, her tastes naturally led her to early music, particularly that of 17th century Italy, which she studied with Rosa Dominguez. She discovered plainchant and medieval polyphony with Sylvain Dieudonné, conductor of the Ensemble Pérotin le Grand, with whom she collaborates on numerous productions. At the same time, she tackles other musical worlds, such as the extremely virtuoso coloratura roles of Lakmé (Léo Delibes), Ophelia (Hamlet, Ambroise Thomas) and the Queen of the Night (Die Zauberflöte, W A Mozart).
She pursues a master's degree in opera singing with Alain Buet at the CNSMDP, graduating with flying colours in June 2023. Her interest in chamber music led her to join Anne Le Bozec's class, with whom she studied French mélodie and Lied. She is also deeply attached to the choral repertoire, which gave her her first taste of music in the Notre-Dame-de-Paris choir school under the direction of Lionel Sow, and she performs works ranging from Gregorian chant to contemporary works in collaboration with prestigious ensembles such as the Pygmalion ensemble, Le Concert Spirituel, the Chœur de Radio France and soon the Concert d'Astrée choir, and under the direction of Raphaël Pichon, Emmanuelle Haïm, Hervé Niquet, Kent Nagano, Mikko Frank, Fabio Biondi, Martina Batič, and John Nelson.
Minas Qarawany
Performer
Born in Galilee, Minas Qarawany spent his childhood at the foot of Mont Hazon and moved to Tel Aviv for his law and business studies before studying theatre at the Beit Zyi school in Ramat Gan, Israel. In cinema, he has featured in films such as Rhinoceros by Amos Gitaï, Scene number 4 by David Noy, Wenek by Bisan Tibi, and La Coupe de cheveux la plus forte du Néguev by Muhammad Abu Ahmed. In theatre, he has participated in the creation of several plays such as Conversations après un enterrement by Yasmina Reza staged by Igor Barzin, Dogville by Lars von Trier staged by Anat Fishman Leni, Orlando – As You Like it by William Shakespeare staged by Etti Resnik, Krum – Krum by Hanokh Levin staged by Alon Tiran, and currently Welcome by Noam Gil in the Théâtre de Tmuna in Tel Aviv. On television, he appeared in the shows Fauda by Omri Givon and Transparent by Eli Ben David. Minas Qarawany has received several prizes among which the prize of the Edna Gazit grant, the Ohela HaLevi competition for Hebrew songs, and that of the musical shows Yaakov and Tamar Rosen.
