Trained as a classical pianist, she was often called a jazz singer, but it was a label she deeply resented, seeing in it only a racial classification. She grudgingly accepted the popular nickname the High Priestess of Soul but gave it little significance. If anything, she claimed, she was a folk singer, and her dazzling, unpredictable repertoire—Israeli folk tunes, compositions by Bertolt Brecht and Kurt Weill, songs by the Bee Gees and Leonard Cohen and George Harrison, traditional ballads, jazz standards, spirituals, children’s songs—is perhaps unmatched in its range.