The story during the children’s opera “Brundibar” is an uplifting lesson for all — that by speaking up together, one can overcome obstacles like the village villain for whom the opera is named. The story behind “Brundibar” is a compelling tragedy — that the children who sang in the original cast were inmates of Theresienstadt concentration camp. They sang “Brundibar” 55 times before most of the children were sent to their deaths at Auschwitz.
But perhaps the most engrossing thing to emerge from “Brundibar” was the childrens’ courage, singing such lovely music and thinking such lovely things in the face of such harsh realities, even though Theresienstadt was relatively clean because it was used for propaganda. After one such visit, the Red Cross was fooled into believing that extermination camps did not exist.
But “Brundibar” survived…gloriously. Famed children’s book author (“Where the Wild Things Are”) and artist Maurice Sendak heard the opera and was told of its history. He then approached Pulitzer Prize-winning playwright and screenwriter Tony Kushner (“Angels in America”) to create a new production.
Using Hans Krása’s original score, Kushner translated the lyrics and Sendak designed the scenery for
Chicago Lyric Opera in 2003. The production was used by the daringly innovative Opera Theater of Pittsburgh in its production of “Brundibar” this past weekend, one of many events circulating around Pittsburgh Ballet Theatre’s “Light:The Holocaust & Humanity Project.”
Of course Sendak’s design elements were at once wondrous and wicked. Similarly exhilarating was director Jonathan Eaton’s decision for an all-children cast. Students from Pittsburgh CAPA portrayed both children and adults, a feat in itself and in keeping with the original intent. Students also served as stage crew and gifted musicians from Pittsburgh Youth Symphony were in the pit.
All children. All committed. The singers were light-hearted and vocally nimble, particularly Taylor Huerbin’s lilting Aninku and her “brother,” the naturally outgoing Aggie Nyama. Tessa Kaslewicz (Sparrow), Hannah Litterni (Cat) and Ariella Diamond (Dog) provided substantial support in the victorious outcome.
Of course, this was an American ensemble, not laboring under the Hitler regime, but still dealing with a world that can still be a considerable obstacle course of life. Eaton had the children capture the essence of the original cast, who relished that brief escape into a land of fantastical music without bringing in the horrific circumstances. It was a wise choice and this cast reached its pinnacle in the lovely strains of the culminating lullaby. He also presented an interview with Sendak, conducted and filmed by PBT’s executive director Harris Ferris. It was a good companion piece, to be sure. But as Eaton warned, it was not for the very young.
Not so with “Brundibar,” much in keeping with Sendak’s reality-based fantasies, but highly suitable for ages eight and up. The message was clear and strong, even if Brundibar threateningly concludes with, “Bullies don’t give up completely. One departs, the next appears, and we shall meet again, my dears!”
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