Krishna's musical formation has always lived between opera and synagogue. The modal language of cantorial chant — classical hazzanut — shaped her ear before she understood it analytically, and that lineage runs through this program. It begins with hazzanut itself, then moves into Jewish-adjacent opera and oratorio — Mendelssohn's Joshua, Saint-Saëns' Samson et Dalila, Handel's Judas Maccabaeus — where biblical narrative enters the Baroque and Romantic canon.

The arc continues through art song shaped by Jewish melodic sensibility — Hemsi's settings and Ravel's Deux mélodies hébraïques — alongside Yiddish art and theater song, which shows how the Jewish voice adapted to new stages without losing its inflection or dramatic intensity, tracing the continuity between synagogue, salon, and concert hall, before culminating in Bernstein and Gershwin, where Jewish modality and early jazz converge in a distinctly American idiom.