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Profeti Della Quinta, Vocal Ensemble

February 6, 2022, 5:00 pm EST Aventura Arts & Cultural Center $40 – $50

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$50 and $40 per seat.

Tickets for this concert will be sold through TicketMaster and Aventura Arts and Cultural Center’s box office.  Link will be available shortly. 

Ensemble Profeti della Quinta was founded in the Galilee region of Israel by the bass singer and harpsichordist Elam Rotem, and is based in Basel, Switzerland, where its members undertook further studies of early music at the Schola Cantorum Basiliensis. Focusing on repertoire from the 16th and early 17th centuries, the ensemble aims to create vivid and expressive performances for audiences today while, at the same time, considering period performance practices. Another goal of the ensemble is performing and researching hitherto neglected works, such as Emilio de’ Cavalieri’s Lamentations (1600) and Salomone Rossi’s Hashirim asher li’Shlomo (1623), the first publication of polyphony in Hebrew.

In 2011 the ensemble won the York Early Music Young Artists Competition, and has since performed in Europe, Israel, North-America, China and Japan. It gave concerts in prominent festivals and venues such as Oude Muziek Festival Utrecht, Beethovenfest Bonn, London Festival of Baroque Music, the Metropolitan Museum of Art in New-York and the Shanghai concert hall.

The ensemble’s CD recordings are warmly received by the public and critics alike. These include recordings dedicated to the music of Salomone Rossi (two CDs), Luzzasco Luzzaschi, Orlando di Lasso, Claudio Monteverdi, the anonymous composer Carlo G, Phillipe Verdelot and others. Profeti della Quinta is also featured in the documentary film Hebreo: The Search for Salomone Rossi by Joseph Rochlitz, filmed in Mantua, Italy. The ensemble has premiered and recorded two large-scale works composed especially for it by Elam Rotem: the biblical drama Joseph and his Brethren and the motet collection Quia amore langueo. Both works employ Hebrew texts taken directly from the bible, and were composed in the musical language of the early Italian Baroque.

From the Synagogue to the Ducal court

Music by Salomone Rossi, Claudio Monteverdi and others.

Profeti della Quinta

Doron Schleifer, Roman Melish – Countertenor; Lior Leibovici, Loic Paulin – Tenor; 

Elam Rotem – Bass, harpsichord & musical direction; Rui Staehelin – theorbo

Salomone Rossi (c.1570-1630)

Lamnatséah ‘al hagitít   Psalm 8

Elohím hashivénu   Psalm 80:4, 8, 20

Shir hama’alót, ashréy kol yeré Adonái   Psalm 128

Hashkivénu   Evening prayer

Alessandro Piccinini (1566-1638)

Toccata III. chromatica

Salomone Rossi

Cor mio, deh non languire   Madrigal

Udite lacrimosi spirti d’Averno   Madrigal

Rimanti in pace   Madrigal

Carlo Gesualdo (1566-1613)

Occhi, del mio cor vita

Scipione Lacorcia (1585?-1620?)

Ahi, tu piangi


Claudio Monteverdi (1567-1643)

Lamento della ninfa

Girolamo Kapsberger  (1566-c.1638)


Claudio Monteverdi 

Lamento d’Arianna

Claudio Monteverdi

Zefiro torna e’l bel tempo rimena

Salomone Rossi

Yitgadal veyitkadash   Kaddish prayer 

Our program brings together two composers that are rarely presented side by side. This is due to their very different specialties; Claudio Monteverdi is mostly known thanks to his dramatic music, which is considered today as the birth of the opera, while Salomone Rossi is known, if at all, as the Jewish musician who composed an intriguing collection of Hebrew Liturgical music. 

Yet in fact strong connections and similarities tie between the two. They were almost the same age and both served for many years at the Gonzaga court in Mantua, one of the most important musical centres of Europe. Both composed a great number of madrigals, using lyrics by the same poets, in which they explored the expression of poetry in music. Both progressed with time and musical taste, and pioneered the “new” musical style with basso continuo. Moreover, they must have known each other personally and made music together: Rossi played at court where Monteverdi was the “Maestro della musica”, and the two collaborated in composing an Intermedio for the Gonzagas. Rossi’s sister, known as “Madama Europa”, was a singer who performed in Monteverdi’s opera L’Arianna and probably in other works of his as well. 

We invite you to enter the diverse musical soundscape created by these two composers: passionate madrigals alongside dignified Jewish prayers. Rossi, who contributed significantly to this diversity, knew Monteverdi’s music well. Yet we are left wondering: has Monteverdi ever passed by Rossi’s synagogue and heard his colleagues’ unique Hebrew compositions?  

Elam Rotem

Psalm 8

Lamnatséach ‘al hagitít mizmór ledavíd.

Adonái adonéinu ma adír shimkhá bekhól ha’árets ashér tená hodekhá ‘al hashamáyim.

Mipi ‘olelim veyonekím yisádta ‘oz lemá’an tsorerékha lehashbít ‘oyév umitnakém.

Ki er’é shamékha ma’asé etsbe’otékha yaréach vekhokhavim ashér konánta.

Ma enósh ki tizkerénu uvén 

adám ki tifkedénu.

Vatechaseréhu me’át me’elohím vekhavód vehadár te’ateréhu.

Tamshiléhu bema’aséi yadékha kol 

sháta tachat ragláv.

Tsoné va’alafím kulám vegám bahamót sadái.

Tsipór shamáyim udgéi hayám 

‘ovér orchót yamím.

Adonái adonéinu ma adír 

shimkhá bekhól ha’árets.

For the chief musician on the gitit a psalm of David.

Lord, our Lord, how mighty is Your name throughout the earth, 

for You placed Your glory over the heavens.

From the mouth of babes and sucklings You ordained the strength, because of Your enemies, to stop the adversary and the avenger.

When I see Your heavens, the work of Your fingers, 

the moon and the stars that You established.

What is man that You should remember him, 

and a mortal that You should care for him.

You placed him a little below the angels, 

with honor and esteem did You adorn him.

You made him rule over the works of Your hands, 

everything You set under his feet.

Sheep and oxen, all these, as well as beasts of the field.

Birds of the skies and fish of the sea, 

whatever crosses the paths of the seas.

Lord, our Lord, 

how mighty is Your name throughout the earth.

Psalm 80:4, 8, 20

Elohim hashivénu veha’ér panékha venivashé’a.

Elohim tseva’ót hashivenu 

veha’ér panékha venivashé’a.

Adonái ‘elohim tseva’ót hashivenu 

veha’ér panékha venivashé’a.

God restore us, brighten Your face and we shall be saved.

God of hosts restore us, 

brighten Your face and we shall be saved.

Lord God of hosts restore us, 

brighten Your face and we shall be saved.

Pslam 128

Shir hamma’alót,

‘Ashréi kol yeré ‘adonái haholékh bidrakháv. 

Yegía’ kappékha ki tokhél; 

‘ashrékha vetóv lakh. 

‘Eshtekhá kegéfen poriyyá beyarketéi veitékha;

banékha kishtiléi zeitím savív leshulḥanékha. 

Hinné khi khen yevórakh gáver yeré ‘adonái. 

Yevarekhekhá ‘adonái mitsiyyón, 

ur’é betúv yerushaláyim kol yeméi ḥayékha. 

Ur’é vanìm levanékha; shalóm ‘al yisra’él.

A song of ascents. 

Blessed are all who fear the Lord,
who walk in obedience to him. 

You will eat the fruit of your labor; 

Blessings and prosperity will be yours. 

Your wife will be like a fruitful vine within your house; 

Your children will be like olive shoots around your table. 

This will be the blessing for the man who fears the Lord. 

May the Lord bless you from Zion; 

May you see the prosperity of Jerusalem
all the days of your life. 

May you live to see your children’s children; Peace be on Israel.


Hashkivénu ‘adonái ‘elohéinu leshalóm 

veha’amidénu malkénu lechayím 

ulshalóm ufrós ‘aléinu sukát shelomákh.

Vehagén ba’adénu vetakenénu be’etsá tová milefanékha vehoshi’énu lemá’an shemékha.

Vehasér me’aléinu oyév déver vechérev vera’áv veyagón va’anachá ushvór satán 

milefanéinu ume’acharéinu.

Ushmór tseténu uvo’énu me’atá ve’ád ‘olám 

ufrós ‘aléinu sukát shelomákh.

Barúkh atá ‘adonái haporés sukát shalom

‘aléinu ve’ál kol ‘amó yisra’él 

ve’ál yerushaláyim.

Make us lie down, Lord our God, in peace. 

Make us rise, our king, for life and for peace. 

Spread over us the shelter of Your peace.

Protect us. Correct us with good advice on Your behalf. 

Save us for the sake of Your name.

Rid us of enemies, plagues, swords, famine, 

despair and sighs. Crush Satan 

before us and behind us.

Guard our going out and our coming in from now and for ever. Spread over us the shelter of Your peace.

Blessed are You, Lord, who spread the shelter of peace 

over us and over all His people Israel 

and over Jerusalem.

Giovanni Battista Guarini (1538-1612)

Cor mio, deh, non languire,

Che fai teco languir l’anima mia. 

Odi i caldi sospiri: a te gl’invia

La pietate e’l desire.

S’io ti potessi dar morend’aita,

Morrei per darti vita. 

Ma vive, ohimè, ch’ingiustamente more

Chi vivo tien ne l’altrui petto il core.

My heart, oh, do not languish,

For you make my soul languish with you.

Hear my hot sighs: they are sent to you

By pity and desire.

If I could give you help by dying,

I would die to give you life.

But, alas, lives the one, who unjustly dies

For keeping his heart alive in another’s breast.

Guarini (from Il Pastor fido, III 6)

Udite, lacrimosi

Spirti d’Averno, udite

Nova sorte di pene e di tormento.

Mirate crudo affetto

In sembiante pietoso:

La mia donna crudel più de l’inferno.

Perchè una sola morte

Non può far satia la sua ingorda voglia.

E la mia vita è quasi

Una perpetua morte:

Mi comanda ch’io viva,

Perchè la vita mia

Di mille mort’il dì ricetto sia.

Hear, watery 

Spirits of Avernus, hear

A new fate of pain and of suffering.

Behold a cruel affection

In a merciful face:

‘Tis my lady, more cruel than Hell.

For a single death

Cannot satisfy her gluttonous desire.

And My life resembles 

A perpetual death:

She commands me to live,

In order for my life

To be a harbour for a thousand deaths per day.

Livio Celiano (1557-1629)

Rimanti in pace,” alla dolente e bella

Fillida, Tirsi, sospirando, disse:

“Rimanti; io me ne vò, tal mi prescrisse

Legge, empio fato e sorte aspra e rubella.”

Ed ella, hora da l’una e l’altra stella

Stillando amaro umore, i lumi affisse

Nei lumi del suo Tirsi, e gli traffisse

Il cor di pietosissime quadrella.

Ond’ei, di morte la sua faccia impressa,

Disse: “ahi, come n’andrò senza il mio Sole

Di martir in martir, di doglie in doglie?”

Ed ella, da singhiozzi e pianti oppressa,

Fievolmente formò queste parole:

“Deh, cara anima mia, chi mi vi toglie?”

“Stay in peace,” said Tirsi, sighing,

To the sorrowing and beautiful Fillida.

“Stay; I must go, thus I’ve been ordered by law,
by wicked destiny, by a harsh and stubborn fate.”
And she, distilling a bitter liquid now from the one,
Now from the other star, fixed her beams

On the beams of her Tirsi, and pierced

His heart with most merciful darts.

At that point he, with death stamped on his face,

Said: “alas! without my sun, how will I survive,

Going from pain to pain, from sorrow to sorrow?”

And she, oppressed with sighs and tears,

Feverishly formed these words:

“Oh my dear soul, who takes you away from me?”

Occhi del mio cor vita
Voi mi negate, oimè, l’usata aita.
Tempo è ben di morire, a che più tardo?
A che serbate il guardo?
Forse per non mirar come v’adoro?
Mirate almen ch’io moro.

Eyes, life of my heart,

You are denying me the customary help, alas! 

The time is right for death; why tarry longer? 

For what do you reserve your gaze?

Perhaps to avoid seeing how I adore you?

At least see me die!

Ahi, tu piangi mia vita

Tu piangi e piang’ anch’ io –

Ch’egli è quel che tu vers’il pianto mio.

Mirami in volto pur, se intender fai

Muta doglia, e vedrai

Per pieta, per amore,

Morir l’anima mia nel tuo dolore.

Ah, you cry, my life,

You cry and I cry too –

For the tears that you cry are my own tears.

Look at my face then, you will understand 

A mute pain, and you will see,

For the sake of pity and of love,

How my soul is dying in your pain.

Ottavio Rinnucini (1562-1621)

Lamento della ninfa 

Non havea Febo ancora

recato al mondo il dí,

ch’una donzella fuora

del proprio albergo uscí.

Sul pallidetto volto

scorgeasi il suo dolor,

spesso gli venia sciolto

un gran sospir dal cor.

Sí calpestando fiori

errava hor qua, hor là,

i suoi perduti amori

cosí piangendo va:

“Amor”, dicea, il ciel

mirando, il piè fermo,

“dove, dov’è la fè

ch’el traditor giurò?”


“Fa’ che ritorni il mio

amor com’ei pur fu,

o tu m’ancidi, ch’io

non mi tormenti più.”

Miserella, ah più no, no,

tanto gel soffrir non può.

“Non vo’ più ch’ei sospiri

se non lontan da me,

no, no che i martiri

più non darammi affè.

Perché di lui mi struggo,

tutt’orgoglioso sta,

che si, che si se’l fuggo

ancor mi pregherà?

Se ciglio ha più sereno

colei, che’l mio non è,

già non rinchiude in seno,

Amor, sí bella fè.

Ne mai sí dolci baci

da quella bocca havrai,

ne più soavi, ah taci, 

taci, che troppo il sai.”

Sí tra sdegnosi pianti

spargea le voci al ciel;

cosí ne’ cori amanti

mesce amor fiamma, e gel.

The nymph’s Lament 

The Sun had not brought

The day to the world yet,

When a maiden

Went out of her dwelling.


On her pale face

Grief could be seen,

Often from her heart

A deep sigh was drawn.


Thus, treading upon flowers,

She wandered, now here, now there,

And lamented her lost loves

Like this:


– O Love – she said,

Gazing at the sky, as she stood –

Where’s the fidelity

That the deceiver promised? –


Poor her!

– Make my love come back

As he used to be

Or kill me, so that

I will not suffer anymore. –


Poor her! She cannot bear

All this coldness!


– I don’t want him to sigh any longer

But if he’s far from me.

No! He will not make me suffer

Anymore, I swear!


He’s proud

Because I languish for him.

Perhaps if I fly away from him

He will come to pray to me again.


If her eyes are more serene

Than mine,

O Love, she does not hold in her heart

A fidelity so pure as mine.

And you will not receive from those lips

Kisses as sweet as mine,

Nor softer. Oh, don’t speak!

Don’t speak! you know better than that! –


So amidst disdainful tears,

She spread her crying to the sky;

Thus, in the lovers’ hearts

Love mixes fire and ice.

Ottavio Rinuccini (1562-1621)
Lamento d’Arianna

Lasciatemi morire.

E chi volete voi che mi conforte

in così dura sorte, in così gran martire?

Lasciatemi morire.

O Teseo, o Teseo mio,

si che mio ti vo’ dir che mio pur sei,

benchè t’involi, ahi crudo,

a gl’occhi miei.

Volgiti Teseo mio,

volgiti Teseo, o Dio,

volgiti indietro a rimirar colei

che lasciato ha per te la Patria e’l regno,

e in queste arene ancora,

cibo di fere dispietate e crude

lascierà l’ossa ignude.

O Teseo, o Teseo mio,

se tu sapessi, o Dio,

se tu sapessi, oimè,

come s’affanna

la povera Arianna;

Forse, forse pentito

rivolgeresti ancor la prora al lito.

Ma con l’aure serene

tu te ne vai felice, ed io qui piango.

A te prepara Atene

liete pompe superbe, ed io rimango,

cibo di fere in solitarie arene.

Te l’uno e l’altro tuo vecchio parente

stringeran lieti, ed io più non vedrovvi,

o Madre, o Padre mio.

Dove, dov’ è la fede

che tanto mi giuravi?

Così nell’ alta fede

tu mi ripon degl’ Avi?

Son queste le corone

onde m’adorn’ il crine?

Questi gli scettri sono,

queste le gemme e gl’ori?

Lasciarmi in abbandono

a fera che mi strazi e mi divori?

Ah Teseo, ah Teseo mio,

lascierai tu morire

invan piangendo, invan gridando aita

la misera Arianna

ch’a te fidossi e ti diè gloria e vita?

Ahi, che non pur rispondi,

ahi, che più d’aspe è sordo a miei lamenti!

O nembi, o turbi, o venti

sommergetelo voi dentr’a quell’onde!

Correte orche e balene, 

e delle membra immonde

empiete le voragini profonde!

Che parlo, ahi, che vaneggio?

Misera, oimè, che chieggio?

O Teseo, o Teseo mio,

non son, non son quell’ io,

non son quell’ io che i feri detti sciolse;

parlò l’affanno mio,

parlò il dolore,

parlò la lingua si, ma non già il core.

Arianna’s Lament

Let me die.

And who do you think can comfort me

in such a harsh fate, in such great suffering?

Let me die.

Oh Theseus, oh my Theseus,

yes, I still call you mine for mine you are,

although you flee, cruel one,

far from my eyes.

Turn back, my Theseus,

turn back, Theseus, o God,

turn back to see again the one,

who for you has left her fatherland and kingdom,

and who, staying on these shores,

is a prey to cruel and pitiless beasts,

leaving her bones denuded.

Oh Theseus, oh my Theseus,

if you knew, oh God,

if you only knew

how much poor Arianna suffers,

perhaps, overcome with remorse,

you would return your prow shorewards again.

But with the serene winds

you sail on happily, while I remain here weeping.

Athens prepares to greet you

with joyful and superb feasts and I remain,

a prey to wild beasts on these solitary shores.

You will be happily embraced

by your old parents 

and I will never see you again,

oh mother, oh my father.

Where is the faith you

swore me so much?

Is this how you place me

on my ancestors throne?

Are these the crowns

with which you adorn my hair?

Are these the sceptres,

the diamonds and the gold?

To leave me abandoned

for the beasts to tear up and devour?

Ah Theseus, ah my Theseus,

would you let me die,

weeping in vain, crying in vain for help,

the wretched Arianna,

who trusted you and gave you glory and life?

Ah, that you do not even reply,

Ah, that your are deaf to my laments!

Oh clouds, oh storms, oh winds,

submerge him in those waves!

hurry, whales and orcas,

and fill up the profound gulfs

with these unworldly limbs!

What am I saying? ah, what am I raving about?

Wretched me, what am I asking?

Oh Theseus, oh my Theseus,

It is not, it is not I,

It is not I who hurled these curses;

my anguish spoke,

the pain spoke,

my tongue spoke, but not my heart.

Zefiro torna, e ‘l bel tempo rimena

E i fiori e l’erbe, sua dolce famiglia,

E garrir Progne et pianger Filomena,

E primavera candida e vermiglia.

Ridono i prati, e ‘l ciel si rasserena;

Giove s’allegra di mirar sua figlia;

L’aria e l’acqua e la terra è d’amor piena;

Ogni animal d’amar si riconsiglia.

Ma per me, lasso, tornano i più gravi

Sospiri, che del cor profondo tragge

Quella ch’al ciel se ne portò le chiavi;

E cantar augelletti, e fiorir piagge,

E ‘n belle donne oneste atti soavi –

Sono un deserto, e fere aspre e selvagge.

Zephyr returns and with him fair weather, 

and the flowers and grass, his sweet family, 

and Procne’s warbling and Philomel’s plangent song, and spring in all its white and crimson display. 

The meadows laugh, the sky is serene; 

Jove delights in watching his daughter; 

air and sea and earth are full of love; 

every animal turns again to love. 

Yet for me, alas, return those heaviest 

of sighs, drawn from the depths of my heart 

by her who has taken its keys to heaven; 

and despite birdsong and fields of flowers 

and the honest, gentle acts of fair maidens –

I am but a desert, and savage desperate beasts.

Kaddish prayer

Yitgadál veyitkadásh sheméih rabá be’almá 

divrá khir’utéih veyamlíkh malkhutéih, beḥayeikhón vyomeikhón 

uvḥayéi dekhól beit yisra’él 

ba’agála uvizmán karív, ve’imrú amén.

Yitbarákh veyishtabáḥ veyitpa’ár veyitromám veyitnasé veyithadár veyit’alé veyithalál 

sheméih dekudshá berikh hu.

Le’éila le’éila min kol birkhatá shiratá tushbehatá veneḥamatá da’amirán be’almá, 

ve’imrú amén.

Titkabál tselotehón uva’utehón 

dekhól beit yisra’él kodám avuhón devishmayá, ve’imrú amén.

Yehé shelamá rabá min shemayá 

veḥayím tovím ‘aléinu ve’ál kol yisra’él, 

ve’imrú amén.

‘Osé shalóm bimromáv, hu berahamáv 

ya’asé shalóm ‘aléinu ve’ál kol yisra’él, 

ve’imrú amén.

Magnified and sanctified be His great name in the world 

He created according to His will, 

and may He establish His kingdom during your life 

and during your days and during the lives of all the House of Israel speedily and shortly, and say amen.

Blessed and praised and glorified and elevated and exalted 

and extolled and honored and celebrated 

be the name of the Holy One, blessed be He.

High above, high above all blessings, songs, praises 

and consolations that we offer in this world, 

and say amen.

May acceptance be granted to the prayers and petitions 

of all the House of Israel by their Father who is in heaven, 

and say amen.

May there be much peace from heaven and a good life 

for us and for all Israel, 

and say amen.

May He who makes peace on His heights, 

Himself, in His mercy, make peace for us and for all Israel, 

and say amen.

RK is able to present its 2021-2022 “Bach to Live Concert” series because of the generous contributions of dedicated music lovers like yourself and with the support of the following sponsors.

Your support and donations are greatly appreciated. Thank you.


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February 6, 2022
5:00 pm EST
$40 – $50
Event Category:


RK Cultural Productions


Aventura Arts & Cultural Center
3385 NE 188th St
Aventura, FL 33180 United States
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