Short history of the play «Barabbas»

by Vladimir Alkhovik

I first began exploring the themes of Barabbas during a time when I was deeply affected by the challenges and transformations that shaped my generation. These reflections led me to write the play as an exploration of historical continuity and the recurring patterns of human behavior. The aim was to create a work that resonates not only with historical realities but also with contemporary issues, posing questions about conflict, reconciliation, and the nature of greatness.

The catalyst for this project was my discovery of a historical reference in Ephraim Chambers’ Cyclopaedia to Josephus Flavius, the renowned Jewish historian. This reference included detailed accounts of Pontius Pilate, the fifth Roman procurator of Judea, and his complex, often controversial governance. Pilate’s reign (26–36 AD) was marked by actions that Philo of Alexandria described as cruel and tyrannical, with frequent executions conducted without trial. Josephus recounted how Pilate’s introduction of Roman imagery into Jerusalem incited public outrage, culminating in dramatic protests and confrontations.

As I delved into these accounts, I was struck by their temporal proximity to the life and ministry of Jesus Christ. This realization inspired the central theme of Barabbas: the human struggle to navigate faith, power, and redemption amidst societal upheaval. Within a month of encountering these historical materials, the framework of the play was complete.

As Friedrich Schiller wrote, “The history of the world is the judgment of the world.” This insight resonated deeply as I sought to portray the enduring moral dilemmas that transcend specific eras and geographies.

Initially, the play faced a period of dormancy. However, a breakthrough came when the idea of adapting it into an opera emerged. This collaboration with the young and exceptionally talented composer Andrei Maksimov transformed the original text into a libretto, blending theatrical narrative with a rich musical dimension. The process required careful refinement: some scenes were rewritten to align with Andrei’s vision, while others were condensed to enhance the dramatic flow. Through this partnership, the opera gained a new vitality, and the story of Barabbas took on profound musical and emotional depth.

Leonard Bernstein once remarked, “This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.” This sentiment guided our efforts as we worked to shape Barabbas into a piece that could resonate both musically and thematically.

The translation of the libretto into English by Helen Daniels was another milestone. Her poetic sensitivity and keen understanding of the music added a further layer of artistry to the work, making it accessible to a broader audience while preserving its emotional and thematic essence.

As the Apostle Paul wrote, “All things are of God, who has reconciled us to himself by Jesus Christ, and given us the ministry of reconciliation” (2 Corinthians 5:17). It is my sincere belief that this work, born of history and art, can inspire dialogue and understanding—a testament to the enduring power of storytelling and music.