Accompanying the Chicago performances of two operatic works with modern Polish Jewish themes, the Lyric Opera’s production of Mieczysław Weinberg’s The Passenger and the premiere of Wlad Marhulets’s operatic realization of Rutun Motan’s graphic novel, The Property, at the Logan Center the New Budapest Orpheum Society launches its new exploration of twentieth-century “Polish Cabaret.” The eight-member ensemble-in-residence of the Humanities Division brings to life the complex traditions of music and poetry that converge at the crossroads of Jewish Poland draw upon Yiddish and Polish, Hebrew and German repertories, unfolding along the paths from the shtetl to the urban ghetto. The genres of song and poetry form a rich counterpart of the folk, popular, and cosmopolitan, sounding the voices too often lost to the Holocaust and its aftermath in Polish. In its Logan Center performance, the NBOS locates Jewish music’s modernity at the Polish crossroads of Yiddish film and Polish poetry, filled with the street songs and political ballads of workers and intellectuals, secular and orthodox alike, all drawing audiences to the historical landscapes from which The Passenger and The Property emerge.