East Tennessee premiere of Brundibar "haunting and uplifting"

The highly anticipated East Tennessee premiere of the children’s opera Brundibar took place Saturday night on stage at the Oak Ridge High School. It was altogether unforgettably haunting and uplifting. The simple tale of two siblings trying to make enough money to buy milk for their sick mother and of a bully organ grinder (Brundibar), who thwarts their effort, features an assortment of characters who wind up finding happiness, and believing that good can triumph over evil.

Hans Krasa’s score and Adolph Hoffmeister’s libretto reflect this positive message in a playful, abundantly entertaining way. Members of the Sound Company’s children’s choir and their directors Katy Wolfe Zahn, Terry D. Alford and Mariana Garciagodoy gave it all they had, along with Maestro Dan Alcott and the Oak Ridge Symphony Orchestra. So why aren’t we happy?

The tragedy of the opera is in its origin and setting. That would be 1944 in a Nazi-controlled Czech camp where Jewish children entertained before they were “sent away.” Not just once but 55 times did various children and the composer perform the opera, which was used for propaganda to convince a concerned Red Cross team that the camp was a “model ghetto.” We rejoice with the children who performed Saturday night to the large receptive crowd, and we hope they stopped for treats on their way home. But in our hearts we know that the Jewish children of yore did not likely stop for treats on their way to the gas chambers. So no matter how much music, how much talent, and how much expertise were displayed Saturday night, the opera’s history engulfed the atmosphere, and that is good because that history should never be forgotten. Let’s hope this generation of children will live to see the mythical Golden Age, when humans can live in peaceful communion.

As for the execution of the music itself, the large cast of schoolchildren and the principal players did a super job. Owing to amplification problems  we could not always understand their words, but the overall message never escaped us. Other times we felt like applauding memorable songs, but we asked ourselves, “Do we do this in a children’s opera?” So, to Maggie Kohlbusch (sister) we say a belated, "Bravo!" What a mighty voice for one so small. To her DeVonte Majors (who played her brother), we say great job both in acting and singing. A sparrow (Kate Fulcher), a cat (Savanah Ward) and a dog (Briley Wright) had much to do in shaping the outcome of the story and for providing the audience with fine acting and singing. We marveled at Briley Wright’s ease of movement even while woof-woofing. And then, of course, we have to pay tribute to mustached Brundibar, the symbolic Hitler. Good job, Adam Bell. Finally, the orchestra, led by the always-impressive Dan Allcott, illuminated the score beautifully. Composer Hans Krasa clearly had something to say, and the kids and the orchestra clearly conveyed it.

In addition to Brundibar, the first half of the program was devoted to three pieces composed by Jewish composers. Krasa’s Overture for small orchestra was quirky but colorful. We liked the pulse, especially Terry Alford’s nimble work at the piano. He made his contribution such an integral part of the orchestration that it’s hard to imagine the piece without it. It was also fun to anticipate the little instrumental solos that began to pop up like daffodils in a field of rhythmic doodling.

Slade Trammel was at the piano for Ernst Bloch’s Concerto Grosso, No.1, one of Bloch’s finest short works. The first movement was particularly compelling what with its drama and marked rhythmic precision. The piano obbligato was excellent. The next three movements, including the exciting fugue, flowed with meat and variety. We were able to hear the finesse of our string players and to observe for the umpteenth time the fine nuances that Maestro Allcott is able to coax out of his players.

A favorite of ours was the middle piece (Alan Hovhaness’ Psalm and Fugue, op. 40a). We likened the Psalm to a hymn played on the organ, so rich and lush came the notes. As each new voice entered to harmonize with the melody, the sound opened up, much like pulling out more stops on an organ. Allcott is a master with dynamics and the building of climaxes. It was a joy to hear the easy-on-the-ears fugue moving in small steps until the big climax made us suspect some other string players were hiding behind the curtain and supplementing the sound. Whatever, we loved it.

Once again regional communities worked together to bring this important concert to life. Though sponsored by UT-Battelle, fundraising parties along with a special grant honoring the late Fran Sturm made possible the East Tennessee premiere of Brundibar. As Maestro said at the beginning of the evening, this “is a concert of the spirit.” The spirit was there, heart, body and soul. Valentines to all involved.