When dancer Adva Yermiyahu and flamenco guitarist Manuel Cazas first began developing Alma Galbi, their idea grew from a shared curiosity: could Haza’s Yemenite music and flamenco rhythms, both rooted in deep musical traditions, interact in a meaningful way?
Twenty-five years after the singer’s passing, the production has evolved into a fusion of Yemenite heritage and flamenco artistry, reflecting the ongoing collaboration of a couple now navigating life as new parents.
“We’re actually three now,” Yermiyahu says with a laugh over the phone. “Because it’s Manuel, me, and the baby.” She adds that the rehearsal process is often dictated by domestic logistics, requiring them to rush into the studio whenever a babysitter becomes available.
On December 6, Jerusalem’s Confederation House will host the Israeli premiere of Alma Galbi (“Soul of My Heart”). The production explores Haza’s legacy through a Spain-Israel collaboration that integrates dance, song, and guitar. By blending Haza’s Yemenite melodies with the rhythmic complexity of Andalusian flamenco, the show offers a performance that is technically rigorous and emotionally resonant. Yermiyahu notes that it serves as a fitting conclusion to a year dedicated to the late singer’s memory.
The creative partnership between Yermiyahu and Cazas, who serves as musical director, has been ongoing since 2018. “I rely on Manuel’s musical direction for most of my work,” she explains. Born in Hervás, Cáceres, Cazas began playing guitar at sixteen and later moved to Madrid to immerse himself in the flamenco scene. Over the years, he has performed with figures such as Pansequito and Luis el Zambo and collaborated with dancers such as Rocío Molina and Manuel Liñán. His ensembles, including Flamenco Vibra, explore the intersection of flamenco, jazz, and world music.
'Flamenco has the power of fusion with every music with deep roots'
Cazas has also composed original works for flamenco productions and collaborated internationally, combining traditional flamenco with contemporary influences. His work often emphasizes rhythmic intricacy and expressive nuance, highlighting flamenco’s capacity for dialogue with other musical traditions.
Cazas approaches Haza’s repertoire with both reverence and inquiry. “Flamenco has the power of fusion with every music with deep roots,” he explains. “Ofra Haza has a lot of roots, too. That’s why this felt so natural. It was as if her music was waiting for flamenco all along.”
He emphasizes that the goal is not imitation but dialogue: “To take this high level from the Yemeni tradition and the high level from flamenco creates a very deep connection. I think it’s the first time this has been mixed in the world.”
His approach is meticulous. Each of Haza’s songs is adapted into flamenco palos, distinct rhythmic frameworks that give each piece a particular emotional character. “After listening to the original melody, I can assign different songs to various flamenco styles, such as Seguirilla or Soleá,” he says. “The resulting music is very creative because I discover a lot of possibilities. Some palos express introspection, others intensity; it’s a dialogue between the rhythm and the story of the song.
For example, Le’orech HaYam (“Along the Sea”), one of Haza’s greatest hits, is transformed from a standard four-beat melody into a twelve-beat flamenco rhythm, with lyrics sung in Spanish and Hebrew. Yermiyahu notes that when they work in the studio, the two musical traditions reveal surprising similarities. “It’s not that different. There are similar tones, similar roots,” she explains. She recalls feeling emotional during rehearsals: “Sometimes I cry. It’s a ‘double double’ effect, flamenco already has raw power, and Haza’s history gives it another layer.”
Ofra Haza bridged traditional Yemenite Jewish liturgical melodies with Western pop and electronic music, becoming one of Israel’s earliest symbols of world music. Hits such as Im Nin’alu, Yad Anuga, and Le’orech HaYam carried her cultural roots to an international audience. Yermiyahu emphasizes that this fusion adds historical resonance: “Flamenco also goes into world music. This is a very special connection.” Cazas agrees: “Flamenco is so open… it almost mixes everything. And now we even see it goes with pop.”
The performance features an ensemble led by singer Tula Ben Ari, who shares Haza’s Yemenite heritage and has lived in Spain for many years, acting as a bridge between the melodic soul of Yemen and the rhythmic complexity of Andalusia. Traditional flamenco singer Yehuda “Shuki” Shweiky and jazz percussionist Daniel Dor add layers of rhythm and nuance, complementing Cazas’s guitar and Yermiyahu’s dance.
Cazas elaborates on the creative freedom within the collaboration: “Each song becomes a conversation. I listen, I assign the palos, then the singer adapts the rhythm. The percussionist, the dancer, they all become part of the dialogue. Flamenco is so open, it almost mixes everything.” Yermiyahu describes the production as “one of the most communicative productions we’ve done,” noting that the musical connection resonates deeply with the audience.
Tickets for the Jerusalem premiere are limited, and the creators hope Alma Galbi will tour across Israel. Supported by the Confederation House, the show serves as both a tribute and an experiment in cultural fusion. “This show is a tribute, but it’s also a dialogue across time, culture, and emotion,” Cazas reflects.