Date

Mar 18 2022
Expired!

Time

6:00 PM - 9:00 PM

Indianapolis Opera – Production of Brundibar & Vedem

Brundibar & Vedem

a children’s opera by Hans Krása and an oratorio by Lori Laitman

Historical context of Brundibar

When the Nazis came to power in the 1930s, Jews from Germany and surrounding countries sensed the impending danger and began sending their children to Prague in an effort to protect them. Prague, relatively distant, was a city full of culture and education. As hundreds of children arrived each month, the Prague orphanages quickly exceeded capacity. In 1938, Czech composer Hans Krása and librettist Adolf Hoffmeister wrote the opera Brundibar for a government competition that was later cancelled due to political developments. In 1941 rehearsals of the opera began at the Jewish orphanage in Prague as a vehicle for children to perform and entertain the thousands of other children in the city’s orphanage system.

The opera was brought to Theresienstadt (Terezín), a town approximately 60 km from Prague. There it was performed 55 times by the children in the concentration camp under the direction of Jewish music teachers, including the composer. Theresienstadt was neither a ghetto-neighborhood within the city, nor a concentration-extermination camp. It was a “model” camp constructed by the Nazi command to deceive the outside world into thinking the Jews were being treated humanely. In reality, Theresienstadt was a gateway to the death camps, and performances of Brundibar were part of this deception. In 1944, the Nazis filmed a performance of Brundibar for their propaganda film, “The Führer Presents the Jews with a City.” Nearly all of the children who performed in the opera were eventually deported to Auschwitz and murdered in the gas chambers. Hans Krása sadly met the same fate.

What the opera is about

Brundibar’s history is brutal, but the opera itself is a parable of hope and justice with no reference to the horrific time and place of its creation or the venue of its forced performances. Based on a play by Aristophanes, it tells the tale of a poor family whose children seek money to buy milk for their sick mother. They decide to imitate an organ-grinder, called Brundibar, and raise the necessary funds by singing on the street corner. When they do, Brundibar and a policeman chase them away. During the night spent on a bench, a dog, a cat, and a sparrow promise them help. In the morning, neighborhood children join them in forming a chorus and singing a beautiful lullaby that is generously rewarded by donations from the passers-by. In an unguarded moment, Brundibar steals their money, but after a brief chase he is caught and the children sing a song of victory. The opera is easily comprehensible due to its melodic, expressive and accessible music.

Comedic aspects of the action are palliative and appealing.  Although there are no direct allusions to the Holocaust in the opera, the children prevail over the villain Brundibar, who has a mustache much like Adolf Hitler.  This story mirrors the struggle of the Jews to triumph over their oppressors, and truly the children viewed Brundibar as Hitler in their performances.

About Our Production

Each school year, Indianapolis Opera’s Education Department presents a children’s opera, performed by the Resident Artists, to thousands of students throughout Indiana. In addition to this regular educational programming, the 2021-2022 season’s presentation of Brundibar is a unique opportunity for collaboration of the Resident Artists with the Indianapolis Children’s Choir (ICC).  15 to 20 members of the ICC will sing alongside the Resident Artists, who will perform some of the principal roles of Brundibar. The fully staged opera will include a live chamber orchestra (piano, clarinet, violin, cello, flute) and be presented in March 2022 as part of our main stage season at the Toby Theater at Newfields (Indianapolis Art Museum).  WFYI will be capturing the performance.  This film version will then be shared with the community, first premiered at Congregation Beth-El Zedeck, and then it will be distributed to schools and organizations free-of-charge, along with study guides for teachers and other supplemental materials for audiences.  Additionally, we will be arranging several outreach performances in support of this project which will be augmented by lectures on the history and cultural significance of the opera.

Historical Context of Vedem

Because the opera’s performance lasts only 50 minutes, we are expanding the experience for our mainstage audience by pairing Brundibar with the oratorio Vedem by preeminent living female composer from the United States, Lori Laitman. Commissioned by Music of Remembrance in 2010, it tells the story of the boys of Theresienstadt and their underground newspaper of poetry and essays called “Vedem,” Czech for “In the Lead.” The libretto crafts “a moving verse drama that entwine[s] six of the original Vedem poems. It allow[s] [Laitman] to musically capture not only the tragic aspects of the boys’ lives, but their humanity—their worries, their spirited response to adversity, their yearnings and their humor” (from Lori Laitman’s website). This oratorio is scored for mezzo-soprano, tenor, children’s choir, and chamber orchestra, and will serve as a beautiful companion piece for the public performances, due to its excellent artistic quality, integrated subject material and similar vocal/orchestration requirements. To further integrate these two works, we will present Vedem as a framing device by placing Brundibar in the middle of the oratorio, at the point in the oratorio text that refers to “a model ghetto” where “the happy Jews performed an opera,” and the boys exhort the visiting Red Cross dignitaries not to leave before they learn the awful truth about life in the camp.

The oratorio Vedem provides historical context for the opera Brundibar, which will help our mainstage audience to vicariously experience what the populace endured during this tumultuous time while providing a full experience for our patrons who are accustomed to lengthier productions. We have also obtained a traveling art exhibit from the Institute for Holocaust Education called From the Children, About the Children, For the Children: Art and Writing on the Holocaust. This exhibit is a collection of children’s artwork, poetry and selections from the underground newspaper, Vedem. This powerful and educational Holocaust exhibit speaks to the emotions that young people experienced as they confronted the Holocaust. The exhibit consists of 16 hanging cloth panels, custom designed study guides with art and writing based activities, a Terezin PowerPoint presentation, and books & curricula for classroom use.

Education

The educational component of Brundibar is central to presenting this opera. Bullying is a rampant problem in today’s schools and society, and just as The Holocaust did not happen by accident, neither does bullying. It is essential to teach that when prejudice, hatred, and bullying are encouraged, allowed, or ignored, the results can be catastrophic. The Holocaust provides an observation stage for squarely confronting the dangers of being silent, apathetic, and indifferent to the oppression and pains of others—whether on the world stage or in our communities, schools, and classrooms.

In Theresienstadt, theatre and music became metaphors for personal and collective resistance to tyranny. The children who performed Brundibar and audiences who watched suffered unimaginably brutal living conditions, but those performances offered some hope for the future even though, for most of them, that future never came. For brief moments, they felt as if they had their “normal selves back” (Terezín Remembrance). Ela Weissberger, who played the role of the cat, recalls, “When we sang, we forgot where we were. We forgot hunger, we forgot all the troubles that we had to go through. When we sang Brundibar, we didn’t have to wear the Jewish star on our clothing.” The Nazis did not know that the Victory Song at the opera’s end had a double meaning. According to Weissberger, “In our eyes, Brundibar was Hitler. . . . We wanted a victory over a terrible man” (A Conversation with . . . Ela Stein Weissberger).

As part of that theatrical tradition, Brundibar continues to be presented all over the world as an effective vehicle to tell a historical tale that is vital today. The English-language children’s book by Maurice Sendak and Tony Kushner brought this story out of obscurity, and the Sendak opera production was presented in Chicago, Berkeley, and New York.

The educational goal of Brundibar & Vedem is twofold. First, it will give student performers a full theatrical experience in the classical vocal arts, while teaching discipline, accountability, and problem solving through artistic exploration and increased musical knowledge. Students will gain an understanding of the many layers and components of putting together a full musical work by personally participating in all steps of preparation. Musical development and active participation in this opera project will allow students to further discover creative self-expression and develop better communication skills. Audiences will learn the historical and cultural significance of Brundibar and Vedem, while enjoying lively and unique music, as well as a powerful message of triumph over adversity.

Second, the children who watch Brundibar will learn about a historical event that affected the entire world through a safe and relatable medium. To present the opera in its fullest context, and to best transmit its anti-bullying message, IO will provide appropriate teaching materials, and guidance for additional exploration in the classroom setting, both before and after the performance. Part of this outreach will include dialogue and careful partnership with school personnel. Study guides that conform to state academic standards will be provided for teachers to supplement their curricula.

Collaborations

The scope and impact of this project can be strengthened as we engage in various collaborations with other artistic and educational organizations.

  • The collaboration with the Indianapolis Children’s Choir in choosing singers and preparing them musically for the performance already has been described.

 

  • We are excited to collaborate with Lori Laitman in presenting her oratorio Vedem, with contextual subject material, and similar vocal and instrumental framework as part of our mainstage offering. We look forward to bringing this prominent female American composer to Indianapolis to give lectures surrounding the performances of her work.

 

  • Last year, we partnered with the Jewish Community Center and Indianapolis Arts Council to bring a Terezin-themed exhibit to the Indianapolis Artsgarden during the three months leading up to opera, and we hope to do so again, so that both school audiences and our mainstage patrons can augment their experience with a visual artistic display. We have secured “From the Children, About the Children, For the Children: Art and Writing of the Holocaust,” a traveling art exhibit from the Institute for Holocaust Education that tells the story of the experiences of children in Theresienstadt, including their art, poetry, and excerpts from the secret newspaper, Vedem that they created. This exhibit of 16 hanging panels explores the children’s feelings of isolation, fear, hunger, and humiliation as they navigated this tumultuous experience.

 

  • We are renewing discussions with members of the various Jewish organizations in Indianapolis, such as synagogues, the Jewish Federation of Greater Indianapolis Education Department, the Jewish Community Relations Council, various Jewish schools and the Jewish Community Center, to enlist their input and support.

 

  • We previously contacted Mayor Joe Hogsett, who was excited to add his involvement on a citywide level. We will also connect with public and private schools in the area to coordinate their participation in our education outreach.

 

What reviewers are saying

“This is more than an opera,” we were told in an introduction to Hans Krasa’s Brundibar, and it’s absolutely true. The circumstances of this opera’s early performances have a power and significance far beyond the work itself. . . . Brundibar may not be the work that Krasa would most have liked to be remembered by, but it remains a potent memorial to him and to the children of Terezin.” Erica Jeal, review of Jeunesses Musicales production of Brundibar in London, 2000.

“The noxious voices of bullies — and worse — ring out through history. But as the unlikely survival of this opera suggests, the joy and beauty that music and art express can outlast evil even when they cannot defeat it.” Charles Isherwood, review of Sendak production of Brundibar in New York, 2006.

Brundibár is an uplifting piece of music, all the more so because it lifts against such inordinate odds. The music is largely upbeat and cheerful. It tells a simple fairytale plot . . . about triumph over the one true evil of the world: the tyrants of intolerance—the very villains that held the real-life children enslaved. The opera was a rebellious fantasy for the children, who easily understood its transparent allegory and symbolism.” Brad Bynum, review of Nevada Opera production of Brundibar, 2008.

“Under the title The Theresienstadt Project, the Cincinnati Chamber Opera presented a double-bill of Hans Krása’s Brundibar and Viktor Ullmann’s Der Kaiser von Atlantis . . . The two operas were produced with flair and finesse by Shawn Mlynek and Autumn West, who seem to have all the right ingredients at their fingertips: taste, imagination, a wonderful pool of gifted singing actors, and the growing support of the community for these worthy and out-of-the-ordinary offerings.” Rafael De Acha, review of Cincinnati Chamber Opera production of Brundibar, 2014.

“One can witness Laitman’s composing prowess in the mastery with which she accompanies the vocal lines, changing the color of instrumentation to fit the words, the feelings, the changes of the narrative. . . . One of the most memorable is the sad and simple waltz “Vedem”. It seems that the music wants to be more cheerful, but cannot. Laitman’s style is very American, and especially reminds me of the songs of Samuel Barber.” Oleg Ledeniov, review CD Vedem Music of Remembrance, Lori Laitman, 2010.

“We have hundreds of thousands of young people coming through this museum, and this exhibit will resonate directly with all of them. Our museum speaks to empowering young people to stand up and find their voice. Especially in the face of adversity, persecution and maltreatment.” Liebe Geft, Director Simon Wiesenthal Center’s Museum of Tolerance.

Brundibar & Vedem

Outreach & Community Engagement

Our mainstage production of Brundibar & Vedem will occur in March 2022 as a culmination of a multi-month education and outreach effort, coordinated between the Indianapolis Opera, other artistic partners, and various faith-based organizations. This project is much more than simply a performance of a historically significant opera, but rather an opportunity to involve the community in coming together to combat anti-Semitism and Holocaust denial during the 77th anniversary celebration of Yom Hashoah and the liberation of Nazi concentration camps.

Jewish Federation of Greater Indianapolis Holocaust Education Programming

  • We will work intimately with the Jewish Federation of Greater Indianapolis (JFGI) Education Department and coordinate with their various programming throughout this 2021-2022 In our previous plans, they chose to focus their programming around a Brundibar-influenced theme of “Voices of Youth in the Holocaust-Models of Resilience, Resistance, and Being an Upstander.” The JFGI has also provided educational materials to enrich our entire project, providing them to schools and families who may want to learn more about Terezin and these children’s stories.
  • We attended a JFGI-sponsored lecture given by Inge Auerbarcher, a survivor from Terezin, at Marian University on Thursday, September 19, 2019. At this lecture, we introduced our Brundibar & Vedem project, and the continued educational offerings that will accompany it. This is the first of several community programs that we will work together on producing.

 

Jewish Community Center

  • In January – February 2020, an exhibit rented from the Institute for Holocaust Education, called From the Children, About the Children, For the Children: Art and Writing of the Holocaust was housed at the Jewish Community Center. In 1942, a group of teenage boys set out to defy the Third Reich’s ban on free speech and undermine the propaganda machine behind the regime’s biggest hoax by launching what would become the longest-running underground magazine inside a Nazi camp. Vedem, which means “In the Lead” in Czech, unflinchingly documented life within the walls of the Terezin Ghetto, a Czech “show camp” that the Nazis designed specifically to fabricate a false narrative that they were creating a good life for their captives, and obscure their plans for mass extermination for the Jews. Most of the children involved in writing these newspapers perished in Auschwitz or other extermination camps before the war’s end, but their writings were thankfully preserved and later published. This exhibit features a collection of children’s artwork, poetry and selections from the newspaper Vedem. The JFGI is planning events and lectures that coordinate with the exhibit, and are training docents to help guide audience members through the exhibit while it is there, and after it moves to other Indianapolis locations.
  • The Jewish Community Center hosted an event produced by JFGI, called “Facing History & Ourselves” on January 26-27, 2020 in conjunction with International Holocaust Remembrance Day, to which they invited all 5th-8th graders in the Jewish community. This program integrated a Facing History & Ourselves program, a mosaic project based on the art from children at Theresienstadt, and an exploration of the From the Children Holocaust Exhibit. This learning activity focused on empowering youth to recognize their ability to use their voice to commemorate the memories of children who died in the Holocaust and stand up against anti-Semitism and bigotry in our world today. There was also a professional development workshop focused on exploring the voices of young people during the Holocaust – what factors contributed to their identity, what choices they made, and what students today can learn by studying the Holocaust with an eye towards better understanding ordinary people and human behavior.
  • We have been in communication with several Terezin survivors regarding coming to Indianapolis during the April timeframe, in order to participate in a moderated discussion about their experiences in the camp. The three survivors whom we are inviting are Frank Grunwald of Indianapolis, Inge Auerbacher of New York, and Sidney Taussig of Palm Beach, Florida. Sidney’s health is in decline, but we are still looking for ways to involve Frank and Inge. We are still optimistic that these visits may Including these first-hand accounts of a child’s time in Terezin will greatly enhance our education and outreach efforts, bringing enhanced depth and realism to our audience.

 

Indianapolis Arts Council

  • We scheduled community outreach events to take place in conjunction with From the Children Holocaust Exhibit at the Artsgarden in downtown Indianapolis. The Arts Council of Indianapolis presented this exhibit for six weeks in March and April 2020. We are working on rescheduling a performance, The Eve of Liberation, in which Resident Artists will perform excerpts from our production at the Artsgarden, and invite at least one speaker to give a lecture to dovetail with the exhibit as well. The Arts Council was previously interested in hosting additional community engagement events during the time that they have the exhibit, so we will continue to finess those

Beth-El Zedeck

  • Our collaboration with the Jewish community in Indianapolis involves various groups. We have a strong relationship with the leadership at Congregation Beth-El Zedeck: Rabbis Dennis and Sandy Sasso, Cantor Melissa Cohen, and Executive Director Shari Lipp-Levine. They previously opened their building to us for a free community performance of Brundibar in the sanctuary on Sunday, April 19, 2020, to which we invited families of all faiths to attend. This coming spring, in lieu of a performance, Beth-El Zedeck will host the premiere screening of Brundibar for the same target audience. Families will be invited to tour the exhibit, From the Children Holocaust Exhibit, located in the auditorium following the screening. We hope that this event will be a powerful experience for families, facilitating discussion about this important and timely topic.

Carmel Holocaust Remembrance Day Ceremony

  • We were invited by the city of Carmel, IN to participate on their annual Holocaust Remembrance Day Ceremonies on Friday, April 24, 2020, and Friday, April 16, 2021 at the Tarkington Theater. As part of these ceremonies, we presented excerpts from Vedem. This is a community event that draws participation from local schools and various speakers with expertise in the field of Holocaust remembrance. Audience members are invited to participate free of charge, and commemorate these events together as a community.

School Outreach for Brundibar

  • WFYI will capture the performance on film, which we will make available as a free video on-demand for middle schools in Indiana. This will allow us to reach thousands of students in the state of Indiana who would not otherwise be able to attend a performance. We will supply the teachers with a free study guide to enhance their classroom discussions of the Holocaust and the propaganda camp of Terezin. As the Indiana legislature recently passed a law requiring enhanced Holocaust education, this video and study guide can fulfill that requirement in an engaging and powerful way.

Residency with Vedem composer

  • As part of our educational efforts, Lori Laitman, the composer of Vedem, will come to Indianapolis in late March to complete a mini-residency with us. We plan to revive plans of Ms. Laitman giving a master class at Butler University, as well as lectures or “talk-back” sessions at the Toby during the mainstage run of the opera, to give greater context of the show to our audience members. She will also participate in a VIP meet and greet, where the exhibit, From the Children, About the Children, For the Children: Art and Writing of the Holocaust, will also be on display.

 

The performances of Brundibar & Vedem will not simply be a night of art, music, and theater. Rather, they will be educational and inspirational by helping our audience to vicariously experience what the prisoners of the camps went through over 77 years ago.

The event is finished.