2 8789 Couvert V3

Perhaps the most insidious goal of the Nazis’ “Final Solution of the Jewish Question” was the attempt to dehumanize the victims, to rob them not just of their lives and property, but of their dignity as well. In ghetto aft er ghetto, Jews spiritually resisted their oppressors by creating art and culture even in the face of almost certain death. Th ey wrote poetry, published underground newspapers, held illegal classes for their children, produced theatrical performances and concerts, and composed music. One of the most notable examples of this collective defi ance occurred in the ghetto/camp of Terezín — Th eresienstadt — where Jewish artists and musicians lift ed the spirits of their fellow inmates with songs and cabaret numbers that allowed them — for a little while — to forget where they were, and where they might be the next day, or the next week, or the next month. I am proud that the World Jewish Congress is sponsoring this unique reconstruction of the cabaret of Terezín, and hope that all who listen to it will feel linked to those composers, authors, performers and audiences who perished at Terezín, at Auschwitz–Birkenau, and elsewhere during the Holocaust, and whose memory this CD honors. Ronald S. Lauder President, World Jewish Congress THEREsIENSTADT or Terezín, was built as an impressive fortress by the Austrian Empress Ma- ria Teresa to solidify the Hapsburgs’ hold on Bohemia. It later proved a bulwark in their defense against Na- poleon. In 1941, the Nazis decided to turn the fortress into a transit camp for Jews from the German-occupied Czech lands. Th e fi rst transport to the camp arrived on November 24, 1941. Later, when Th eresienstadt housed thousands of Jews, one of its inmates joked in a popular camp ditty “the irony is great. Th e Jews have taken the fortress without fi ring a shot.” Th eresienstadt was used to promote the illusion of comfortable living conditions in the camps of the Reich. In this guise, it had many names: “ghetto for the old,” “ghetto for the privileged,” at the end, even “the town the Führer gave to the Jews.” Aware of the problem of explaining the prisoners did what they did best: entertain. disappearance of vast numbers of Jewish In attics and basements, at fi rst in strict celebrities and intellectuals, the Nazis held secrecy, some of Europe’s most famous them in Th eresienstadt, the “model ghetto.” cabaret stars, with the help of their fellow Along with celebrities, the inmates internees, wrote and performed satires included elderly Jews, gentiles married about captors and inmates alike. to Jews and disabled and distinguished Before long, the Nazis incorporated Jewish veterans of World War One. this extraordinary artistic eff ort into their Although the majority were Czech, there propaganda machine. Th ey distributed were also thousands of internees from musical instruments they had confi scated Germany, Austria, the Netherlands, not long before. An orchestra and a jazz Denmark, Hungary and Slovakia. All told, band, the Ghetto Swingers, were formed. 140,000 passed through the gates of the Adolf Eichmann was among the leading camp. Some 33,000 died there. Another Nazis who journeyed to Th eresienstadt to 87,000 were transported to death camps. savor its art. He had a front-row seat at a concert of Verdi’s “Requiem” conducted Th eresienstadt — the culture by Rafael Schächter, a Prague Jew who was one of Th eresienstadt’s fi rst inmates and Prisoners were housed in cramped worked ceaselessly to perform such works basements, attics, barns and courtyards. as Mozart’s “Magic Flute.” If members of Th e lack of food or decent sanitation led his choir or orchestra were deported east, to outbreaks of typhus and dysentery. Schächter tirelessly trained replacements. Always, there was the terror of transport In October 1944, he was sent to Auschwitz to the death camps. In the midst of these on one of the last transports from intolerable conditions, the celebrity Th eresienstadt. On July 23, 1944, fresh paint, inmates were sent east then, and all but last-minute landscaping and false smiles 1,574 of them were killed. On May 3, 1945 transformed Th eresienstadt into the International Red Cross took over something intended to imitate renowned Th eresienstadt. Five days later, the Red nearby spas. Th e Nazis paraded inspectors Army liberated the 19,000 survivors. from the International Red Cross through these apparently well-appointed facilities, Th eresienstadt becomes contemporary where music rang out at street corners. theater Even jazz — the Ghetto Swingers belting out the St. Louis Blues! Th e fall of Communism brought down Th e fi lm was made to spread to decision the Iron Curtain that had kept and opinion makers around the world Czechoslovakia and the other Soviet the impression of carefree Jews living at bloc nations cut off from the rest of a special spa, or resort. Kurt Gerron, a Europe. Th e well–known Austrian actor famous German actor and director, was an and director Alexander Waechter was inmate in Th eresienstadt and was forced traveling from Vienna to Berlin, and to complete the fi lm before being sent to his route took him through Terezín. Auschwitz. His fi lm survived, cruel proof Slowly, he realized this was the infamous of Nazi propaganda. Th eresienstadt that he had heard about By fall of 1944, the inmates of from childhood — the place where his Th eresienstadt had outlived their great-uncle “Remy” had died. Alexander propaganda value. Th e last transport Waechter began to delve into the history to Auschwitz–Birkenau was completed of Th eresienstadt, a history unknown on October 28 that year — nearly fi ve to most Austrians, whose dual role as months aft er D–Day. More than 18,000 perpetrator and victim of Nazi crimes went largely unexamined for decades aft er you hear on this recording) toured around the war. New York and New Jersey, survivors in In October 1992, Waechter told the audience brought the performers that story in Chansons und Satiren aus unpublished memoirs and on one occasion Th eresienstadt, a tragic but also ironic a missing verse or two! production for three performers — man, woman and pianist. Opposite him was “Th is was a show that had to be Tania Golden, a young Viennese actress created. Th e material would not allow and singer. Sergei Dreznin, a Russian itself to be forgotten or cast aside. When Jewish pianist and composer, was the the lights go down, the audience soon musical director. All the lyrics and poems fi nds that they are newly arrived inmates came straight from Th eresienstadt’s at Th eresienstadt, attending one of barracks, and original melodies written the camp cabaret shows. And, like the in the camp were carefully restored. In actual camp audiences, they laugh, cry, keeping with Viennese tradition, many of tap their feet and are entertained. But, the numbers performed in the camp were beneath this simple cabaret facade lurks well–known hits of the day, adapted to the the true, deeper appeal of the show: Th e grotesque realities of Terezín. Dreznin voice of human perseverance. Th e spirit wrote several melodies to existing poems, of hope.” as did Gerhard Bronner, the “patriarch” of - Th omas Neile, the author (together with Vienna cabaret aft er its near–decimation his wife, Caren) of the English version. by the Nazis, who murdered or exiled nearly all the overwhelmingly Jewish Mr. Waechter’s original Vienna cabaret stars. production inspired a wave of similar shows including Chansons und Satiren aus English version Th eresienstadt in Memmingen, Germany, Hurray to Life in Tel–Aviv, Voices From An English version called KAMP!, Th eresienstadt in Oslo and Just As If… at inspired by Bronner, was fi rst produced the 78th Street Th eater Lab in Manhattan. and presented in December 1994 by Michael Maurer in Boca Raton, Florida, Th e French version Cabaret Terezín with Dreznin as musical director. Th e followed in 2008; directed by Isabelle audience included survivors of the Georges and produced by Josette Milgram, Holocaust. Th ey gave the show a standing it enjoyed a successful run in Th eatre ovation. Later, when KAMP! featuring Marigny in Paris, and is still touring in Amelia DeMayo and Curt Buchler (whom France. 6 Text: Leo Straus Just like sand slips through your fi ngers 1. Come right in! All those cares will disappear But one fi nal question lingers Friends and comrades, don’t be shy now How do we get out of here? Has the rat race got you down? Is the sky fresh out of pie now? Schlesinger Come right in. And stick around. 2. Maria Th eresia the Empress Does the landlord want the rent, folks? Maria Th eresia the Empress Does he tail you like a hound? Told her architects one day Is the rent already spent, folks? You will build me a strong, solid fortress Come right in. And stick around. To keep the Northern hordes at bay. Does your life drag? Does your wife nag? “Make the walls double high, double thick Do those tiny cares abound? Dig the moat double deep, double quick.” Well, before you wave the white fl ag And so the garrison was built Come right in. And stick around. Defying all who would invade her So well had the architects obeyed her. First the plumbing, then the numbing Pain, your head begins to pound Napoleon, they say Are you sick and tired of slumming? Stayed half a league away Come right in. And stick around. No foes could prevail No armies assail Are you living in some basement? Until this very day.

Load more