{"id":1588,"date":"2019-04-15T11:29:00","date_gmt":"2019-04-15T16:29:00","guid":{"rendered":"https:\/\/uwm.edu\/yiddish-stage\/?p=1588"},"modified":"2023-05-17T11:46:56","modified_gmt":"2023-05-17T16:46:56","slug":"sara-levy","status":"publish","type":"post","link":"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/","title":{"rendered":"The World of Sara Levy"},"content":{"rendered":"\n

IN SEPTEMBER 2014,\u00a0I co-organized, with\u00a0Dr. Rebecca Cypess<\/a>, a musicologist and musician, a multi-disciplinary symposium at Rutgers University, \u201cSara Levy\u2019s World: Music, Gender, and Judaism in Enlightenment Berlin,\u201d which focused on the role of aesthetics\u2014particularly music\u2014in the lives of late eighteenth-century Prussian Jews. Staging two readings (in both Hebrew and Yiddish) of a scene from Aaron Halle Wolffsohn\u2019s hilarious and biting satirical play\u00a0Laykhtzin und fremelay\u00a0<\/em>(Silliness and Sanctimony<\/em>, 1790). The play pits aesthetics and Jewish tradition squarely against one another, with Jewish women the leading culprits in a headlong rush into excessive and ruinous modernization through music. With it, we invited our audiences directly into the salon culture that the symposium explored.1<\/a><\/sup><\/p>\n\n\n\n

Wolffsohn (1756-1835), a maskil<\/em><\/a>, was a member of the first generation of Prussian Jews to attempt to live as modern Europeans. He arrived in Berlin, the capital of both the Prussian Aufkl\u00e4rung <\/em>and the Haskalah<\/a>, in 1785. A gifted author in three languages, Wolffsohn soon became part of the circle around the renowned philosopher Moses Mendelssohn<\/a>, and began to write for the Hebrew Haskalah journal, Ha-me\u2019asef<\/a> <\/em>(The Gatherer), becoming its sole editor in 1794-1797. Dedicated to the early Haskalah\u2019s moderate pathway of modernization, the journal encouraged Ashkenazic Jewry to shed their \u201cobscurantist\u201d piety and to pursue reform in the spirit of \u201creasonable\u201d religion, without succumbing to the blandishments of the pseudo-Enlightenment. Yet Wolfssohn found himself in a state of despair toward the century\u2019s end. The Jewish bourgeoisie appeared to be abandoning the world of their ancestors in their efforts to become modern Germans \u2014 almost as quickly as they discarded the Yiddish vernacular for High German. He pointed his satire directly at them.<\/p>\n\n\n\n

The play, inspired by Moli\u00e8re\u2019s Tartuffe<\/em><\/a>, unfolds in the home of Reb Henokh, a Court Jew<\/a> and recent returnee to devout religious practice, who has hired a certain Reb Yoysefkhe from Poland to tutor his son, Shmuel, in traditional Jewish subjects. The Polish-Jewish tutor, however, is not what he appears to be. With designs on Reb Henokh\u2019s spoiled daughter, Yetkhen, whom he tries to woo\u2014all the while chasing the household maid and being a regular client at a working-class brothel\u2014Reb Yoysefkhe is a hypocritical charlatan. Yetkhen herself is likewise flawed. She is beautiful, intellectually and musically gifted, yet superficial. The rest of the cast of characters do not fare much better from Wolfssohn\u2019s pen: only uncle Markus, the prototypical maskil<\/em>, sage, calm, and reasonable, is exemplary.<\/p>\n\n\n\n

In Act 2, scene 4, Reb Yoysefkhe interrupts Yetkhen when she is playing a keyboard instrument, likely a\u00a0fortepiano<\/a>, to declare his marital intentions \u2014 which her father has previously approved. The scene underscores Reb Yoysefkhe\u2019s hypocrisy as he attempts to sit as closely as he can to Yetkhen while she is playing, and he asks her to sing, clearly contravening the halakhic demands of modest behavior between unmarried men and women. Wolffsohn does not hesitate to eroticize the scene when in response to the tutor\u2019s moves, Yetkhen warns him to back off, lest her powder soil his clothes. He cheerily responds, \u201cDon\u2019t worry, you can get me all powdery if you like,\u201d and later boasts that he knows \u201cwhat to do with a woman.\u201d When Yetkhen understands that Reb Yoysefkhe is her intended, she rebuffs him soundly, calling him \u201ca drunken Polish swine.\u201d Enraged, he strikes her instrument, and Yetkhen cries out, in a Judeo-German that illustrates her acculturation, \u201cmein sch\u00f6nes Klavier ist ganz kaput<\/em>\u201d (\u201cMy beautiful piano is completely destroyed\u201d), closing the scene.2<\/a><\/sup><\/p>\n\n\n\n

Wolffsohn focused on Yetkhen\u2019s engagement with music because its individual study and performance, its patronage through financial support of composers, as well as the commissioning of pieces, their singing, and the hosting of private and semi-public salons formed an indispensable part of the lives of the Berlin Court Jews in the last quarter of the eighteenth century. Music was an essential component of Bildung<\/a><\/em>, the broad ideal of individual moral improvement and humanistic cultivation, which would foster a more capacious civic sphere that was a hallmark of late eighteenth-century enlightened Europeans. Both ideologically motivated maskilim <\/em>and the acculturating members of the social elite considered aesthetics crucial to their negotiations with European culture.<\/p>\n\n\n\n

As Wolfssohn\u2019s play shows, their negotiations were gendered, both in the different ways in which Jewish men and women could\u2014and did\u2014partake in European culture, and in the symbolic value attached to their participation, and how it was interpreted. In the eyes of the\u00a0maskilim<\/em>, traditional Jewish education was an obstacle to\u00a0Bildung<\/em>. Its curriculum focused too heavily on the Talmud, and it depended upon Yiddish, which they considered a shameful\u00a0zhargon<\/em>\u00a0or bastardized dialect of German, as the oral conduit for sacred Hebrew scripture. Its goals were to form\u00a0talmidei hakhamim\u00a0<\/em>(male Torah scholars), not members of the\u00a0Gebildeteb\u00fcrgertum.\u00a0<\/em>Daughters posed a different set of problems. In traditional homes, girls in Ashkenazic Jewish society learned religious essentials mimetically through their domestic relationships with their mothers, aunts, cousins, and sisters. When\u00a0maskilim\u00a0<\/em>waged a full-throated attack on the limits of a talmudic-centered education for boys, they also sought to include Jewish daughters in their modern pedagogical efforts. Yet when the elite Court Jewish families supplemented their daughters\u2019 education, they generally did so in order to rear them to be cultivated bourgeois housewives. Jewish daughters were schooled not only in the \u201cgentile\u201d arts of writing, speaking, and reading in German and French, but in dancing and singing; in studying and commissioning musical work; and in enjoying and performing music. Keyboard lessons were a required part of their education.<\/p>\n\n\n

\n
\"\"
Cover of Rebecca Cypess and The Raritan Players\u2019\u00a0In Sara Levy\u2019s Salon,\u00a0<\/em>Acis, 2017, CD.<\/figcaption><\/figure>\n<\/div>\n\n\n

Our book<\/a>\u00a0focused on the world of Sara Levy (1761-1854), the fifth daughter of the prominent Court Jewish family, the Itzigs, who made their home in Berlin in the second half of the eighteenth century. Daniel Itzig, Sara\u2019s father and the principal supplier of the Prussian mint, was able to create a lifestyle commensurate with elite gentiles of his period. The Itzigs adopted the mores, values, and social practices of the surrounding culture. They built an extraordinary home, collected art, became patrons of music, and insisted that their children become proficient at the keyboard. Daniel Itzig hired Johann Philipp Kirnberger, a student of and advocate for the famed Baroque composer Johann Sebastian Bach, for Hanna and Bella, his two eldest daughters. Sara\u2019s younger sister Fanny, later a famous Viennese salonni\u00e8re in her own right, was an instrumentalist who helped establish the\u00a0Gesellschaft der Musikfreunde<\/em><\/a>, and later created the music hall that became home to the Vienna Philharmonic Orchestra. She and her husband Nathan Arnstein gave Mozart domicile in their home in 1781. Sara Levy studied with Wilhelm Friedemann Bach, son of J. S. Bach, and became an accomplished keyboardist. She commissioned progressive and noteworthy compositions from both Friedemann and his brother Carl Philipp Emanuel, and she owned a massive collection of music manuscripts and printed editions of music from her own day and from the previous generation. She became a patron of both the\u00a0Sing-Akademie zu Berlin<\/em>, a bourgeois choral society to which she donated music, including instrumental pieces, solo works, chamber music, symphonies, and keyboard concertos, many by the Bach family. The collection is today one of the most important archival repositories of the Bach tradition. She also supported a Jewish orphanage in Berlin, and was a well-known salon hostess.3<\/a><\/sup><\/p>\n\n\n\n

While other members of her family became Protestant Christians, Sara Levy remained faithful to her origins. Unusually, for her circle, Sara Levy was able to combine her participation in and dedication to German and European culture with an uninterrupted commitment to Jewish affairs in a way so many of her contemporaries, including many of her friends, were unable to achieve. For Levy, deep engagement with music\u2014even with a tradition dominated by Christian motifs\u2014did not threaten her Jewishness.<\/p>\n\n\n\n

Our symposium engaged the philosophical, theological, aesthetic, theatrical, political, social, and sonic influences on Levy\u2019s life. It generated several recital-lectures, a CD produced by Rebecca Cypess of music from the\u00a0Sing-Akademie<\/em>\u2019s archive, and a book,\u00a0Sara Levy\u2019s World: Gender, Judaism, and the Bach Tradition in Enlightenment Berlin<\/em><\/a>. Both the symposium and the book examined Levy\u2019s life through their own subjectivity and not through the lens of a maskilic parody. Although Wolffsohn\u2019s stunning play invited his contemporaries and later generations to understand the anxieties of\u00a0maskilim\u00a0<\/em>living in late eighteenth-century Prussia, it did not give women like Sara Levy their due. Preoccupied as he was with the radical pace of modernization among many of Levy\u2019s contemporaries, Wolffsohn could not appreciate the singular role Levy and her family played in German musical history. Nor could he fully understand that she shared, with him, a worldview that was both Jewish and European. Superficial she was not.<\/p>\n\n\n\n

\n\n\n\n

Notes<\/h2>\n\n\n\n
    \n
  1. On the play, see Joel Berkowitz and Jeremy Dauber, eds. and trans.,\u00a0Landmark Yiddish Plays: A Critical Anthology\u00a0<\/em>(Albany: State University of New York Press, 2006), 10\u201318 and Shmuel Feiner,\u00a0The Origins of Jewish Secularization in Eighteenth-Century Europe<\/em>, trans. Chaya Naor (Philadelphia: University of Pennsylvania Press, 2010), 219\u2013220. On Halle Wolffsohn, see Jutta Strauss, \u201cAaron Halle-Wolfson: ein Leben in drei Sprachen, Musik und \u00c4sthetik im Berlin Moses Mendelssohns,\u201d in\u00a0Musik und \u00c4sthetik in Berlin Moses Mendelssohns<\/em>, Anselm Gerhard, ed. (T\u00fcbingen: Max Neimeyer Verlag, 1999), 57\u201376.<\/li>\n\n\n\n
  2. Aaron Halle-Wolfssohn, \u201cLeichtsinn und Fr\u00f6mmelei: Ein Familien Gem\u00e4lde in Drei Aufz\u00fcgen,\u201d in\u00a0Lustpiele Zur Unterhaltung Beim Purim-Feste\u00a0<\/em>(Breslau, 1796), 33\u2013111; Berkowitz and Dauber,\u00a0Landmark Yiddish Plays<\/em>, 97.<\/li>\n\n\n\n
  3. On Jewish women in late eighteenth-century Berlin, see Deborah Hertz,\u00a0Jewish High Society in Old Regime Berlin\u00a0<\/em>(New Haven: Yale University Press, 1988); Deborah Hertz,\u00a0How Jews Became Germans: The History of Converstion and Assimilation in Berlin\u00a0<\/em>(New Haven: Yale University Press, 2007); Natalie Naimark-Goldberg,\u00a0Jewish Women in Enlightenment Berlin\u00a0<\/em>(London: The Littman Library of Jewish Civilization, 2012); Steven M. Lowenstein,\u00a0The Berlin Jewish Community<\/em>. On Sara Levy, see Peter Wollny, \u201cSara Levy and the Making of Musical Taste in Berlin,\u201d\u00a0Musical Quarterly<\/em>\u00a077, no. 4 (1993): 651\u2013688 and Christophe Wolff, \u201cA Bach Cult in Late-Eighteenth Century Berlin: Sara Levy\u2019s Musical Salon,\u201d\u00a0Bulletin of the American Academy<\/em>\u00a058, no. 3 (2005): 26\u201339.<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

    Sara Levy studied with Wilhelm Friedemann Bach, son of J. S. Bach, and became an accomplished keyboardist. She also supported a Jewish orphanage in Berlin and was a known salon hostess.<\/p>\n","protected":false},"author":32,"featured_media":1593,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","uwm_wg_additional_authors":[]},"categories":[22,14,37,44],"tags":[],"class_list":["post-1588","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-central-europe","category-musicians","category-religion","category-the-jewish-enlightenment"],"yoast_head":"\nThe World of Sara Levy - Digital Yiddish Theatre Project<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The World of Sara Levy\" \/>\n<meta property=\"og:description\" content=\"Sara Levy studied with Wilhelm Friedemann Bach, son of J. S. Bach, and became an accomplished keyboardist. She also supported a Jewish orphanage in Berlin and was a known salon hostess.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/\" \/>\n<meta property=\"og:site_name\" content=\"Digital Yiddish Theatre Project\" \/>\n<meta property=\"article:published_time\" content=\"2019-04-15T16:29:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-05-17T16:46:56+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/Cypess.Sinkoff.front-1.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"900\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"streich@uwm.edu\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"streich@uwm.edu\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/\"},\"author\":{\"name\":\"streich@uwm.edu\",\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/#\/schema\/person\/acb308ee9146d2d003cc0dfb2a5f08f9\"},\"headline\":\"The World of Sara Levy\",\"datePublished\":\"2019-04-15T16:29:00+00:00\",\"dateModified\":\"2023-05-17T16:46:56+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/\"},\"wordCount\":1707,\"image\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/Cypess.Sinkoff.front-1.webp\",\"articleSection\":[\"Central Europe\",\"Composers & Musicians\",\"Religion\",\"The Jewish Enlightenment\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/\",\"url\":\"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/\",\"name\":\"The World of Sara Levy - Digital Yiddish Theatre Project\",\"isPartOf\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/Cypess.Sinkoff.front-1.webp\",\"datePublished\":\"2019-04-15T16:29:00+00:00\",\"dateModified\":\"2023-05-17T16:46:56+00:00\",\"author\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/#\/schema\/person\/acb308ee9146d2d003cc0dfb2a5f08f9\"},\"breadcrumb\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/#primaryimage\",\"url\":\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/Cypess.Sinkoff.front-1.webp\",\"contentUrl\":\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/Cypess.Sinkoff.front-1.webp\",\"width\":600,\"height\":900,\"caption\":\"Cover of Rebecca Cypess and Nancy Sinkoff, eds., Sara Levy's World: Gender, Judaism, and the Bach Tradition in Enlightenment Berlin (Suffolk: Boydell and Brewer, 2018).\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/uwm.edu\/yiddish-stage\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"The World of Sara Levy\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/#website\",\"url\":\"https:\/\/uwm.edu\/yiddish-stage\/\",\"name\":\"Digital Yiddish Theatre Project\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/uwm.edu\/yiddish-stage\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/#\/schema\/person\/acb308ee9146d2d003cc0dfb2a5f08f9\",\"name\":\"streich@uwm.edu\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/secure.gravatar.com\/avatar\/e399a19731b1091c871f2856bb4a1f9b8a25f546316420cdffcf604a3babdcea?s=96&d=mm&r=g\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/e399a19731b1091c871f2856bb4a1f9b8a25f546316420cdffcf604a3babdcea?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/e399a19731b1091c871f2856bb4a1f9b8a25f546316420cdffcf604a3babdcea?s=96&d=mm&r=g\",\"caption\":\"streich@uwm.edu\"},\"url\":\"https:\/\/uwm.edu\/yiddish-stage\/author\/streichuwm-edu\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"The World of Sara Levy - Digital Yiddish Theatre Project","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/","og_locale":"en_US","og_type":"article","og_title":"The World of Sara Levy","og_description":"Sara Levy studied with Wilhelm Friedemann Bach, son of J. S. Bach, and became an accomplished keyboardist. She also supported a Jewish orphanage in Berlin and was a known salon hostess.","og_url":"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/","og_site_name":"Digital Yiddish Theatre Project","article_published_time":"2019-04-15T16:29:00+00:00","article_modified_time":"2023-05-17T16:46:56+00:00","og_image":[{"width":600,"height":900,"url":"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/Cypess.Sinkoff.front-1.webp","type":"image\/webp"}],"author":"streich@uwm.edu","twitter_card":"summary_large_image","twitter_misc":{"Written by":"streich@uwm.edu","Est. reading time":"9 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/#article","isPartOf":{"@id":"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/"},"author":{"name":"streich@uwm.edu","@id":"https:\/\/uwm.edu\/yiddish-stage\/#\/schema\/person\/acb308ee9146d2d003cc0dfb2a5f08f9"},"headline":"The World of Sara Levy","datePublished":"2019-04-15T16:29:00+00:00","dateModified":"2023-05-17T16:46:56+00:00","mainEntityOfPage":{"@id":"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/"},"wordCount":1707,"image":{"@id":"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/#primaryimage"},"thumbnailUrl":"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/Cypess.Sinkoff.front-1.webp","articleSection":["Central Europe","Composers & Musicians","Religion","The Jewish Enlightenment"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/","url":"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/","name":"The World of Sara Levy - Digital Yiddish Theatre Project","isPartOf":{"@id":"https:\/\/uwm.edu\/yiddish-stage\/#website"},"primaryImageOfPage":{"@id":"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/#primaryimage"},"image":{"@id":"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/#primaryimage"},"thumbnailUrl":"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/Cypess.Sinkoff.front-1.webp","datePublished":"2019-04-15T16:29:00+00:00","dateModified":"2023-05-17T16:46:56+00:00","author":{"@id":"https:\/\/uwm.edu\/yiddish-stage\/#\/schema\/person\/acb308ee9146d2d003cc0dfb2a5f08f9"},"breadcrumb":{"@id":"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/#primaryimage","url":"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/Cypess.Sinkoff.front-1.webp","contentUrl":"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/Cypess.Sinkoff.front-1.webp","width":600,"height":900,"caption":"Cover of Rebecca Cypess and Nancy Sinkoff, eds., Sara Levy's World: Gender, Judaism, and the Bach Tradition in Enlightenment Berlin (Suffolk: Boydell and Brewer, 2018)."},{"@type":"BreadcrumbList","@id":"https:\/\/uwm.edu\/yiddish-stage\/sara-levy\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/uwm.edu\/yiddish-stage\/"},{"@type":"ListItem","position":2,"name":"The World of Sara Levy"}]},{"@type":"WebSite","@id":"https:\/\/uwm.edu\/yiddish-stage\/#website","url":"https:\/\/uwm.edu\/yiddish-stage\/","name":"Digital Yiddish Theatre Project","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/uwm.edu\/yiddish-stage\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/uwm.edu\/yiddish-stage\/#\/schema\/person\/acb308ee9146d2d003cc0dfb2a5f08f9","name":"streich@uwm.edu","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/e399a19731b1091c871f2856bb4a1f9b8a25f546316420cdffcf604a3babdcea?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/e399a19731b1091c871f2856bb4a1f9b8a25f546316420cdffcf604a3babdcea?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/e399a19731b1091c871f2856bb4a1f9b8a25f546316420cdffcf604a3babdcea?s=96&d=mm&r=g","caption":"streich@uwm.edu"},"url":"https:\/\/uwm.edu\/yiddish-stage\/author\/streichuwm-edu\/"}]}},"acf":[],"_links":{"self":[{"href":"https:\/\/uwm.edu\/yiddish-stage\/wp-json\/wp\/v2\/posts\/1588","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/uwm.edu\/yiddish-stage\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/uwm.edu\/yiddish-stage\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/uwm.edu\/yiddish-stage\/wp-json\/wp\/v2\/users\/32"}],"replies":[{"embeddable":true,"href":"https:\/\/uwm.edu\/yiddish-stage\/wp-json\/wp\/v2\/comments?post=1588"}],"version-history":[{"count":3,"href":"https:\/\/uwm.edu\/yiddish-stage\/wp-json\/wp\/v2\/posts\/1588\/revisions"}],"predecessor-version":[{"id":1597,"href":"https:\/\/uwm.edu\/yiddish-stage\/wp-json\/wp\/v2\/posts\/1588\/revisions\/1597"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/uwm.edu\/yiddish-stage\/wp-json\/wp\/v2\/media\/1593"}],"wp:attachment":[{"href":"https:\/\/uwm.edu\/yiddish-stage\/wp-json\/wp\/v2\/media?parent=1588"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/uwm.edu\/yiddish-stage\/wp-json\/wp\/v2\/categories?post=1588"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/uwm.edu\/yiddish-stage\/wp-json\/wp\/v2\/tags?post=1588"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}