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"My childhood was filled with music and singing and a passion for traditional Yemenite songs, picked up from my mother."

The Madonna of the East.

Ofra Haza (עפרה חזה) (born Bat-Sheva Ofra Haza, Hebrew: בת-שבע עפרה חזה, November 19th, 1957 – February 23rd, 2000) was an Israeli singer and actress, well-known for combining traditional Yemenite melodies with techno music. During the course of her career, she earned many platinum and gold discs.

Born to Yemeni-Jewish parents in Tel Aviv, Israel, Ofra was a gifted singer who began her career at only 12 years old under the management of Bezalel Aloni. In 1983, she represented Israel at the Eurovision song contest in Munich, where she came in second-place to Luxembourg with the song "Chai". Her international breakthrough came in 1984, with the release of Yemenite Songs, an album consisting of traditional Yemenite-Jewish songs with arrangements that combined traditional Middle Eastern percussion with classical instruments and modern dance beats. She would receive even further recognition in 1988, following a release of a remix of "Im Nin'Alu" from her album Shaday, which won the New Music Award for Best International Album of the Year.

In 1992, she became the first Israeli artist to receive a Grammy nomination with her album Kirya, an achievement that no other Israeli artist has matched.

While she was well known for being quite elegant and classy, she would not be afraid to get a little risqué with the songs, "Frecha" and "Mami" being prime examples. Haza would also collaborate with various singers from various countries. She also showcased her talents in several movies, most famously in 1998 in The Prince of Egypt, where she lent her voice for Moses' biological mother, Yocheved, in English, Hebrew, and in 17 other languages. Her voice was also featured in the soundtracks of the 1990 film Wild Orchid, and the 1994 film La Reine Margot.

In July 1997, Ofra Haza married Israeli businessman Doron Ashkenazi, severing her ties with Aloni shortly afterwards. Five months later, in December of the same year, she would release her final studio album Ofra Haza. She continued recording music until 1999, mainly for movie soundtracks and collaborations with other artists, and she would eventually start working on a new album, which would sadly never come to fruition.

On February 23rd, 2000, Haza died due to AIDS at the age of 42. After her death, Israeli radio stations played her music non-stop, and the entire country mourned for her. How exactly Haza contracted AIDS in the first place is still up for debate, and about a year later, Doron Ashkenazi would die of a drug overdose.

Today, Haza is fondly remembered for popularizing Mizrahi culture in her native country, and she continues to be remembered abroad as a cultural icon of Israel.


Discography:

With the Shechunat Hatikvah Workshop Theatre

  • Ahava Rishonanote  (1974)
  • Vehutz Mizeh Hakol Besedernote  (1976)
  • Atik Noshannote  (1977)

As a solo artist

  • Al Ahavot Shelanunote  (1980)
  • Bo Nedabernote  (1981)
  • Pituyimnote  (1982)
  • Li-yeladimnote  (1982)
  • Chainote  (1983)
  • Shirey Moledetnote  (1983)
  • Bayt Hamnote  (1984)
  • Yemenite Songs (1984)
  • Adamahnote  (1985)
  • Shirey Moledet 2note  (1985)
  • Yamim Nishbarimnote  (1986)
  • Shirey Moledet 3note  (1987)
  • Shaday (1988)
  • Desert Wind (1989)
  • Kiryanote (1992)
  • Kol Haneshamanote  (1994)
  • Ofra Haza (1997)


Tropes Include:

  • A Cappella: "Love Song", which contains lyrics from the Song of Songs from the Old Testament.
  • Affectionate Nickname: Her parents named her "Bat-Sheva" but her sisters hated that and started calling her "Ofra".
  • Appropriated Appellation: "Shir Hafrecha," which literally means "The Bimbo Song," a tongue-in-cheek, ironic take on the frecha stereotypenote .
  • Badass Israeli: Can qualify as this due to serving in the IDF for a time.
  • Chronological Album Title: All three of her Homeland Songs albums.
  • Cover Version: She recorded an impressive cover of "Kashmir" by Led Zeppelin.
  • Fourth-Date Marriage: Basically how Ofra's parents got together.
  • Friend to All Children: She LOVED children with all her heart and truly wanted to become a mother. In fact, seven years after her death, part of the public park in the Hatikva Quarter was named "Gan Ofra", or "Ofra's Park", in her honour.
  • Give Me a Sign: Her songs, "Give Me A Sign" and "Show Me".
  • The Ingenue: Ofra really was this. Kind, humble, and very religious in her beliefs.
  • Ink-Suit Actor: Yocheved's appearance in The Prince of Egypt was based on her real-life looks after the animators met Haza and were stunned by her beauty.
  • Live Album: Haza's performance at the Montreux Jazz Festival in July 1990 was recorded for her album At Montreux Jazz Festival.
  • Living a Double Life: Avi Shilon described Haza's life as this: "On one hand, she was a star who spoke several languages and hobnobbed with the rich and famous; on the other, whenever she returned to her old neighborhood, she would become submissive, tacitly agreeing to serve as a target for insults and not daring to stand up to the Yemenite community's traditional codes, which her family tried to impose upon her".
  • Massive Numbered Siblings: Ofra was the youngest of nine children.
  • Melismatic Vocals: A quintessential part of the Yemenite musical style, which she impressively demonstrates in "Im Nin'alu".
  • Omniglot: Haza was fluent in Hebrew, Arabic, and English.
  • One-Woman Wail: A gorgeous example of this trope, prominently featured in The Prince of Egypt. "Galbi", "Kashmir", and "Latet" are also among the many proofs of this.
  • Rags to Riches: As said by Israel's prime minister, Ehud Barak, "Ofra emerged from the Hatikvah slums to reach the peak of Israeli culture. She has left a mark on us all."
  • Single Woman Seeks Good Man: Ofra was looking for a "Prince Charming on a white horse" before marrying Doron.
  • What Beautiful Eyes!: Her eyes are quite beautiful to look at.
  • World Music: The main genre of music she was focused in. She became especially well-known for her interpretations of Yemenite-Jewish melodies, and sang in Hebrew (both standard and Yemeni), Arabic, and English.

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