— The journey – musically, dramatically and emotionally – that every amateur chorus who have been involved in «PUSH» has been an overwhelmingly powerful experience. I have had the experience of conducting most of the productions, so I have been able to share so much with them. With a committed rehearsal period, on and off over many months, a chorus has a chance to absorb the music, feel its intention and then play out the story on stage as a bonded group, says Howard Moody, the versatile musician and renowned composer of the opera «PUSH». The Norwegain setup for the opera premieres on Friday on June 7th at Teatersalen in Brumunddal, with Ringsaker Operakor.
Every year Ringsaker Operaen puts on a full-stage performance with professional soloists and artistic leaders. This year it is Howard Moody’s «PUSH». Ringsaker Operaen says that their main driving force is the volunteers. To see this project through, some 150 people have given up their time to ensure spectacular costumes, lighting, scenography, make-up, and props. Both the foyer and entrance area are decorated by their own interior designers. And their choir, Ringsaker Operakor, plays a key role. Howard Moody has been the conductor and Nina Lilleengen og Eivor Braastad has been the directors of the opera, under the opera director of Ringasker Opera Kari E. Bekken.
«PUSH» by Howard Moody is an opera inspired by the true story of Simon Gronowski, who in 1943 was pushed off a train to Auschwitz by his mother, when he was 10 years old. Despite the dark parts of world history, we must continue to believe in the goodness of man. As Simon says today «Ma vie n’est quo miracles» (My life is only miracles).
We have had the great pleasure of being behind the scenes and to have seen the dress rehearsal. I was both greatly impressed and not least moved by the performance, not least by the performance and the persistent effort Ringsaker Opera has made in advance of this production
We’ve had a little chat with the director and the creator of «PUSH» about what drives him, how it is like to work with «amateurs» and his view on the future.
First of all, for those who don’t know who Howard Moody is, in short who are you?
I put it in my pocket, shook his hand and promised that I would write my next opera inspired by his story. And so began «PUSH»…
— I am a composer, a conductor and a keyboard player. I get involved with so many different styles and forms of music making, that the label “musician” is probably the best description for anyone who wants a single word!
«PUSH» is built on the experiences of Simon Gronowski, when did you meet him and what made the strongest impression on you?
— I met Simon Gronowski in 2014 after he had heard an opera of mine performed at La Monnaie in Brussels. Whilst telling me his story, he said “ma vie n’est que miracles” («Mitt liv er bare mirakler» red.anm.). I was so moved by his gratitude and optimism for life, that I asked him to write the phrase down on a scrap of paper. I put it in my pocket, shook his hand and promised that I would write my next opera inspired by his story. And so began «PUSH»…
This play deals with a dark chapter in history, but nevertheless an important one that should not to be forgotten. What made you sit down and write the opera setup «PUSH»?
— I have always been haunted and shocked by the Holocaust from an early age. I also notice the story repeating itself every day in different guises throughout the world. Simon gave me the courage to tackle themes of displacement through music. He absolutely supported the idea that theater is not necessarily culturally specific, so when I was writing the opera, I was influenced by past history as well as by current affairs throughout the world, so that productions of the piece can be set in any time or place.
What makes the biggest impression on you, personally, when you are involved as a director and work with «amateurs» such as Ringsaker Operaen?
— Music brings people together like nothing else – no division, no competition. Critically, «PUSH» is written for an amateur chorus but together with professional soloists, orchestra and production team. This cocktail of experience is so critical.
— The journey – musically, dramatically and emotionally – that every amateur chorus who have been involved in «PUSH» has been an overwhelmingly powerful experience. I have had the experience of conducting most of the productions, so I have been able to share so much with them. With a committed rehearsal period, on and off over many months, a chorus has a chance to absorb the music, feel its intention and then play out the story on stage as a bonded group.
— Music brings people together like nothing else – no division, no competition. Critically, «PUSH» is written for an amateur chorus but together with professional soloists, orchestra and production team. This cocktail of experience is so critical. The professionals are required to give even more than they would only surrounded by others who have been trained in a similar way, and this story demands complete authenticity from everyone. The power of a chorus truly becoming “the voice of the people” is the most extraordinary thing on stage for me. Many of my operas, (unlike most of the existing opera repertoire) put the people into the center of the action.
For me, making music anywhere in the world is as “big” as the response to whoever is actually in the room, whether performers or audience. That human electricity can rarely be transmitted in the same way through the media. Brumunddal is blessed with the most enlightened and proactive opera producer imaginable in Kari Elisabeth Bekken. As soon as she discovered «PUSH» she contacted me. The next thing was to meet her in Brussels and visit the places where the original story took place. Her consciousness and passion for the Arts is so infectious, even if it takes months for people to realize how she is working. It is inspiring to come somewhere where a completely uncompromising Arts organization is created by the people who live in it, all of whom believe in the potential of theater to tell the truth.
What is it like as both a director and the creator of «PUSH», which is an intense and gripping story, and what is the driving force behind all this?
— For me, it is all about wanting to be part of sharing and creating the new, the surprising, the dangerous, the ugliness and the beauty of the world through music and theater.
If you were asked what you think about the future and about the fact that we humans have not learned from the past, what would your response be?
— My thoughts go to Simon Gronowski who, despite the tragedy of losing his family in the Holocaust, came to a point in his life where he felt an importance to share his desire for reconciliation and forgiveness by telling his story. However, there has to be an honest accountability in that process. Yes, I am an optimist, and if my humble process of sitting in a room on my own in silence for days on end in order to compose music and write libretti helps that along in the smallest way, or just playing music for its own sake, then I can feel part of an ongoing conversation that we all have to have with ourselves and with each other.
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