“Every day in life is beautiful. Every day. It’s beautiful.”
Alice Herz-Sommer’s stellar heath at the age of 109 is not the only thing that makes her special. She is the oldest living pianist and Holocaust survivor, and arguably one of the most optimistic people you may ever meet. This touching preview for the upcoming documentary following her life, “The Lady In Number 6,” shows how music not only saved her life in the camp, but also continues to carry her through each day after the ordeal.
The Germans “beautified” the ghetto, planting gardens and painting houses. Individuals received roles to play and the Nazis staged social and cultural events for the visiting dignitaries. Hints that all was not well included a bruise under the eye of the “mayor” of the “town.” In the Nazi propaganda film, Theresienstadt was cynically described as a “spa town” where elderly German Jews could “retire” in safety. Once the visit was over, the Germans resumed deportations from Theresienstadt, which did not end until October 1944.
And yet still, shining examples like Alice appear, wielding hope as an impenetrable shield:
“I have lived through many wars and have lost everything many times — including my husband, my mother and my beloved son. Yet, life is beautiful, and I have so much to learn and enjoy. I have no space nor time for pessimism and hate.”
“It is only with the heart that one can see rightly” – Saint Exupéry
Deconstructing opera’s mega-material roots is a challenge.
Sharing an opera live with a group of roving wireless-headphone-wearing audience members? Sounds near impossible.
And yet, The Industryambitiously tackled all this and more through its Invisible Cities project in LA’s Union Station.
Composer and librettist Christopher Cerrone’s adapted a 1972 novel of the same name by Italo Calvino. The story depicts a host of fantastical cities the explorer Marco Polo narrates to Kublai Khan – unreal cities of desire, of memory, of the imagination.
You check in and trade your license for a pair of headphones before following a drove of listeners into a large room where an orchestra sits, no singers in sight. The overture sounds forth and even before the final notes of this first movement end, individuals exit through the large glass doors to search for the rest of the opera. There’s no traditional stage here. The train station itself houses the characters, and like a living giant that seems to expand and contract as singers reveal themselves from the shadows.
A man hunched over in a wheelchair, dressed like many of the homeless souls that take shelter in the station, begins to sing. And you realize that the performers are not so much hidden at all. Instead, you did not know what you should have been seeking.
A lofty soprano tone sounds from another room. Many turn to rush to find the source of the music and discover a janitor – with a voice of gold.
You traverse cities of the living, cities of the dead.
You follow in Polo’s footsteps and happen upon a dance core (seven dancers from LA Dance Project) as they guide and affront the viewer through a collection of miniature vignettes.
You wander into a hallway – the station’s old ticket lobby – and see no action, just a mist of light fog…
…Only seconds later to be bombarded by a procession of singers and dancers as the opera’s final scenes culminate around you.
You notice how each person in the room is now a character in the piece as well. An old man in his own wheelchair is not altogether different from the singer at the start.
The piece challenges the viewer to realize that the eye creates what it wishes to see. At every new port – there is a promise of hope, discovery, release. But we bring ourselves with us wherever we go, thus in order to find new things, we must truly see with new eyes.
In honor of today’s terrorfest, it’s time to delve into the archives for some unsettling photos from decades now past.
Enjoy (or reel in horror at) these shots from Narre Tod, Mein Spielgesell (Fool Death, My Playmate), a series of portraits of a love affair between a female model and a skeleton. The set is by eccentric photographer Franz Fiedler, 1921.
Because there will always be one to fifty excuses to find.
Because your mind will rummage around and dig these up, presenting them to you with urgency.
Because you may forget, if only for a moment, that this new pile of worries are a gift from an anxious visitor who didn’t know exactly what to get you – so opted for this, and hoped you’d enjoy something to think about versus nothing.
Because you never liked stagnation anyway.
Because there will be days when your fear will masquerade as sensibility, never removing the mask to reveal its tiny, unsubstantial frame.
Because the voice of your deepest desires speaks in dulcet tones, quiet murmurs that could be drowned out by the cries of a doubtful side of you.
Because you will remember that acknowledging this concern always silences it, like a mother finally attending to a child.
Because you deserve to come alive, to set yourself ablaze with wonder, and never stop seeking.
Because there’s solid ground on the other side, no matter how many obstacles stand in the way.
In reality, heartstrings are just a tad different than those imagined in Brontë’s Jane Eyre:
“Because, he said, “I sometimes have a queer feeling with regard to you – especially when you are near me, as now: it is as if I had a string somewhere under my left ribs, tightly and inextricably knotted to a similar string situated in the corresponding quarter of your little frame. And if that boisterous channel, and two hundred miles or so of land some broad between us, I am afraid that cord of communion will be snapt; and then I’ve a nervous notion I should take to bleeding inwardly. As for you, – you’d forget me.”
Although they’re not connected to another’s frame, these closeups show just how stunning our own heartstrings (tendons and blood vessels) can be. Especially when they’re working overtime to pump life & love all over the body.