At what age did you begin playing a musical instrument?
I began playing the cello when I was 4 years old but abandoned it after 2 years. I returned to music when I was 14 years old by playing the guitar, which I played as though it was a bass guitar, until I got a real one of those. I started playing the double bass when I was 16.

At what age did you understand that you wish to pursue a musical career?
I felt a deep connection to music from the very beginning and I knew it was going to be the main thing which I will dedicate my life to.

Name an unforgettable moment with the IPO
My unforgettable moment is from our last concert in Barcelona during our last festival tour with Zubin. It was a tour, which to describe by the word “intense” is an understatement. Zubin, even at his age, dealt with the situation wonderfully, conducted sitting down, but with full power. We played Mahler’s 3rd Symphony in Barcelona, a grand scale piece not only with incredible musical climaxes, but also with respect to the fact that it requires a huge orchestra, two choirs and a soloist. From the very first note it felt like a farewell concert from Zubin, who always brings a unique powerful energy, especially in grand pieces like this one. During the climax of the last movement, exactly after an entire hour of music which is a buildup towards that moment, Zubin got up from his chair and from that point onwards conducted us standing on his feet. It was as if he recreated something we all thought we would never see again. It was an incredible and moving moment.

What do you love to do off stage?
Off stage (but also on it) I love my daughter Lia very much and my wonderful wife Nitzan. I love playing at home while exploring different technical and theoretical subjects in bass playing, and experiment with new repertoire. I enjoy playing on my PlayStation and watching different series as an escape from music and the daily reality. I really love baking Yemenite breads and pastries and I’m getting better at it, at least that’s what the lucky people who got to taste them said.

What is the special significance of the IPO to you/Why did you want to be part of the IPO?
The IPO is many things for me. On one hand some of my closest friends are in the orchestra and even those who aren’t as close are sort of family relatives; on the other hand it is a workplace after all (quite different than other workplaces but still…). From another perspective, playing in general and in the orchestra in particular is so meaningful for me that sometimes it feels as if it’s a holy spiritual act. I come to the music with such respect and awe, with complete devotion and self-sacrifice, only to be able to play the music as it deserves to be played and in the way I aspire it to be heard. And when that happens (as well as when it doesn’t), nothing gives me more satisfaction then sharing it with my friends in the orchestra, analyzing together the feelings and experiences, each one from their own spot on stage, preferably drinking a post-concert beer.

Did you acquire any new skills during the pandemic?
My new hobby during this period is all about baking: sourdough bread, Jachnun and Kubaneh (Yemenite pastries), and many other pastries.

How can we keep classical music and live performances relevant in the digital era?
I believe that there is a profound value in recorded music, and have experienced some unforgettable moments just listening, both to music I already knew and acquired a new perspective on and music I never heard before.
However, recorded music cannot provide a replacement for the silence which is the utmost magical aspect of a live concert. Silence created by thousands of people in one shared space, all trying their best to avoid making any noise so they would be able to hear only the music. This tension between the silence, into which and perhaps out of which music is created, this tension between the quiet of a seated audience, who could start a commotion in one second, is an irreplaceable situation which in my opinion allows the listener a deep and meaningful experience; sinking into the live sound while flowing in another dimension created by the music.