Released hostage Agam Berger joins orchestra that once played for her release

When released hostage Agam Berger played the violin with the Lu Yehi Orchestra in Jerusalem on Tuesday, it was an opportunity to close at least one circle, said Dor Veksler, one of the creators of this social musical initiative.

“We closed a circle with Agam and her family,” said Veksler, recalling that the orchestra’s first performance was in October 2024 in Tel Aviv, when Agam was still held captive in Gaza.

At the time, the orchestra, an intergenerational, multicultural social-musical initiative that brought together musicians, teachers and students from across the country, promoting values of equality, unity, humanity and the creation of a better society through music, performed “Lu Yehi,” (If Only), the wistful 1973 anthem by the late Naomi Shemer, in an arrangement by the orchestra’s conductor, Michael Wolpe.

“That was the first time we played it,” said Veksler, “and we felt like the song reached Gaza.”

Berger has since returned home, freed in January during a ceasefire-hostage release deal. The orchestra, which plays for the release of the hostages, was able to mark a moving milestone when she picked up her instrument alongside them this week.

“She learned Michael’s arrangement, she played with us and it was extremely emotional,” said Veksler.

Released hostage Agam Berger (center) playing ‘Lu Yehi’ with the Lu Yehi Orchestra on April 8, 2025, in Jerusalem (Courtesy)

The communal orchestra opened Tuesday’s concert with an uplifting performance of “Lu Yehi” with Berger, followed by Debussy’s “Clair de Lune,” also arranged by Wolpe, in support of hostage and fellow musician Alon Ohel, still held in Gaza.

The musicians accompanied a video recording of Ohel, an accomplished pianist, playing the Debussy piece.

“It was one of the most moving and chilling moments I have ever experienced — as a musician and as a person,” said Veksler.

The Lu Yehi Orchestra accompanies a video of hostage Alon Ohel playing Debussy’s ‘Clair de Lune,’ during a performance on April 8, 2025, in Jerusalem (Courtesy)

The orchestra, organized by Veksler, Wolpe and Ravit Hananel, is a volunteer effort, with some 200 musicians taking part. Musicians can show up for an event when they’re available, as 60 did on Tuesday in Jerusalem’s Gilo neighborhood.

There are no rehearsals, as it’s fairly impossible to organize with the participating musicians living across the country.

Veksler lives in the north, in Abirim — although he and his family were evacuated to the center until recently due to the war with Hezbollah — while conductor Wolpe lives in Jerusalem.

Violinist Michael Greilsammer, who also lives in Jerusalem, said he saw something about the orchestra on Facebook and loved the idea of joining a multi-generational musical group with a mix of professional and amateur musicians that is dedicated to the hostages.

“The musical and social experience was truly extraordinary,” said Greilsammer, adding that the hall was packed to capacity, with a mixed crowd of religious, secular and ultra-Orthodox audience members.

And every person in the audience hummed and sang along throughout, added Veksler.

At this performance, said Veksler, they added several other pieces, including Michael Jackson’s “Earth Song,” another favorite of Ohel, arranged by Veksler, and “Shir L’lo Shem,” (Song Without a Name), which the hostage has reportedly been humming in captivity to keep himself calm, according to released captives who were held with him.

The Lu Yehi Orchestra playing ‘Shir L’lo Shem’ on April 8, 2025, in Jerusalem (Courtesy)

They added Leonard Cohen’s “Hallelujah,” a favorite of Berger’s, and finished with “Jerusalem of Gold,” arranged by Veksler with an in-person introduction by Lali Shemer, daughter of songwriter Naomi Shemer.

“That was because we were in Jerusalem,” said Veksler.

The Lu Yehi Orchestra performs ‘Jerusalem of Gold’ on April 8, 2025, in Jerusalem (Courtesy)

Musicians are sent the notes for the arrangements before the performance. On the day, they practice together and then hold an open rehearsal that audience members can attend, although some of the participating musicians may be hearing the arrangement for the first time.

“We had 20 musicians who just joined on Tuesday,” said Veksler.

“When we arrive somewhere, we usually work alone for about an hour and then have an open rehearsal,” he said. “The audience gets to experience the craziness and dynamic of a rehearsal, and it’s something we wanted to include.”

The orchestra is still getting organized and is setting up a YouTube channel and other social media channels.

For now, said Veksler, their hope is to play at the President’s Residence, but above all, they want all the hostages to return home, and to find other reasons to perform.

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