"The Kingdom is something man holds within". The world premiere of Barabbas in Switzerland
The biblical story is reimagined in Switzerland. The rebel Barabbas, whom the Roman procurator Pontius Pilate freed from execution "for the sake of celebration" in Jerusalem, becomes the hero of the opera. What makes this new interpretation of an old tale so intriguing?
The project, titled Barabbas, is presented to the world by graduates of the opera department at the Bern Academy of Arts. The music was composed by Andrei Maksimov, while the libretto, written by Vladimir Alkhovik, was translated into English by Helen Daniels. The production showcases Mira Alkhovik's talent as an opera director. The premiere took place in April in Biel, Switzerland, with the chamber student orchestra conducted by Maestro Igor Andreev.
Violins, viola, cellos, flutes, clarinet, double bass, piano, and percussion played together like close friends. The musicians and their instruments were positioned at the stalls level, in front of the stage. The performers sang from the stage, the balcony, or even in the aisles between the rows. The close proximity of the performers and the synergy between the mundane and the sacred heightened the tension. This brilliant performance, rich in subtexts, awakened the audience’s emotions and imagination for a full two hours.
The narrative is rooted in seemingly ancient events, but the stylized costumes of the characters, along with quirky and modern objects, brought us into the present day. Dressed in T-shirts and trainers and equipped with the latest technology, TV screens, and police truncheons, the characters blurred the line between past and present. The signs of the times were all mixed together, creating a magical fusion of eras.
The libretto’s concept sets the action in the early years when Roman Emperor Tiberius appointed Pontius Pilate as the governor of Judea. Portrayed by bass-baritone Gabriel de Jesus, the procurator comes across as a cautious, hesitant, and reserved ruler. He desires his entourage and subordinates to remain quiet and submissive to Rome’s authority. However, people often hold different perspectives and values.
People tend to unite around causes, ideas, and beliefs. To achieve common goals, they use the resources at their disposal: knowledge and skills, bread and circuses, sticks and carrots, time and territory. To move forward into the future, it is wise for those united to share thoughts and methods and to adhere to plans. A reliable guarantee of one’s own freedom and life is usually found in respecting the rights and freedoms of others.
Smooth on paper, but they forgot about the ravines, and walking on them
In the Roman Empire, as in our own times, "what is permitted to Jupiter is not permitted to an ox." Those loyal to Rome display eagles and other imperial symbols. Such innovations in Judea, however, are not to everyone’s liking: how long will the imperial spirit be tolerated? In a lively discussion at the tavern, the young people passionately debate how to "tear down all of Rome." Simon (tenor Ian Sherwood) suggests enlisting the support of the Galilean (tenor Oscar Rey), remarking that "the crowds stand faithful by his side." Barabbas (baritone Félix Le Gloahec), the conspiratorial leader, approves of the plan.
The chief critic of Rome’s tyranny is a charismatic figure with a fiery gaze, adept at using modern technology to spread his ideas by recording video appeals. His team echoes his sentiments with conviction: "For our freedom, for our freedom, how loud is the song in our hearts. For the people, Barabbas will set us free!"
On stage, young men and women energetically empty wine bottles, repurposing them for "Molotov cocktails." The alcohol goes to their heads, stirring their youthful fervor—making the dangers ahead seem less daunting to these revolutionaries.
Pilate's entourage is vibrant and full of intrigue, with a variety of characters revolving around him. For instance, Decimus, who commands a hundred Roman soldiers, might seem at first glance to embody the roughness of military discipline—a life that stifles nobility of feeling and the capacity for deep thought. But not in this case. Portrayed by baritone Andrei Maksimov, Decimus reveals a thoughtful and responsible nature, with feelings that are both strong and profound. Love, in particular, serves as a key to unveiling his character.
"Seek a woman, and you will find one." The brave centurion becomes captivated by Simon's sister, Maria (soprano Mira Alkhovik). Drawn to the Galilean's humanistic worldview, Maria seeks to share her ideals with Barabbas, Simon, and the audience, singing: "The Master told me that the Kingdom is something man holds within, and only trust in God's great wisdom will free me from the life of sin!"
However, trying to engage the rebellious and godless Barabbas in such a conversation is like speaking to a brick wall. He dismisses these thoughts as fit only for slaves, completely rejecting the ideals she cherishes.
In contrast to the straightforward and short-sighted rebel, the Roman Decimus is drawn to the Galilean's new teachings through Mary. Amid challenging military circumstances, it is Decimus who makes the decisive choice: disobeying an order from his superior, he spares Barabbas, who has been defeated in battle. This act sets off a complex chain of events. What might have happened if the title character had been killed in action? Ah, if only one could know... And how much does understanding a point of no return in the past influence the present and the future?
What is meant to be will happen: he who is destined for crucifixion will not be pardoned. Pilate, however, is torn by doubts. It remains unclear who holds the greatest influence over him. Is it the harsh and unyielding Roman law? His merciful wife, Claudia (soprano Alexandra Lewis), and their daughter (soprano Anna Beatriz Gomes)? Pilate strives to maintain a high standing with the people, find favor with the chief priests, and reconcile with his own conscience. So, who poses the greater threat to the Roman throne and the governor of Judea—a man of his word or his actions? And upon whom should the responsibility for the verdict be placed?
The biblical plot is boldly adorned with meaningful symbols, conveying excitement, anger, tenderness, the bitterness of loss, doubt, hope, and eternal love across two acts. The parallel universes of the two warring sides periodically intersect on stage, mirroring real life. Then the shackles fell, and the veil was lifted. Is there still a place for prophets among us? The life-affirming finale gently suggests to the audience that the truth is out there.
At the world premiere of Barabbas on April 14 in Biel, I heard no dull music. Composer Andrei Maksimov explains: "The music of the opera does not stick to one style; it embraces many, reflecting one of the key ideas of my work—to capture the essence of the present times." The impulsiveness and expression of the well-crafted vocal music, combined with the skill of the talented performers, delivered a harmonious and relevant performance that evoked deep empathy and reflection in the audience.
The themes of freedom and rebellion against the seemingly incomprehensible and dangerous, as well as the themes of family and love, remain just as vital at the start of the third millennium as they were at the dawn of the first. One hopes that the heaviest and bloodiest catastrophes are nearing their end. Justice, respect for the feelings and thoughts of others, conscience, and responsibility might yet keep humanity from descending into new conflicts.