Over the last ten years, an increasing number of high profile performances featuring the music of classical Arab musical legends such as Oum Kalthoum, Mohammad Abdul Wahab, and Farid Al-Atrash have packed prestigious Israeli concert halls for diverse Israeli audiences. Such musical developments represent a historical shift in Israeli cultural politics, for in spite of the country’s large Mizrahi and Arab populations, Middle Eastern musical traditions were marginalized and almost entirely excluded from dominant musical media for several decades. While Palestinian-Israelis are glad that Israelis have finally begun to embrace Arab music and their performance of it, they are not always pleased with how their promoters require that they present it. The Arab Orchestra of Nazareth (comprised almost entirely of Palestinian-Israelis) is managed by a staunchly left-wing Israeli Ashkenazi Jew, one of Israel’s biggest promoters of Arab music. He often “persuades” the orchestra—sometimes against their will—to collaborate with well-known Jewish Mizrahi singers in performances of music by classical Arab composers. These performances are then celebrated in festivals such as “The Culture of Peace” or others promoting peace and coexistence. In this paper, I will discuss the recent Israeli interest in Arab classical music and the ways in which many of these performances have concomitantly taken on multiple and divergent meanings in Israel for Palestinian-Israelis, Mizrahim, and peace activists. I will describe Israeli culture brokers’ successful and not so successful attempts to balance these sometimes incongruous audiences and performers, and will theorize on the meaning of such performances amidst the highly explosive political environment in Israel today.