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ORCHESTRA TUNES UP | 0:00:05 | 0:00:09 | |
APPLAUSE Ssh! | 0:00:18 | 0:00:20 | |
MUSIC STARTS | 0:00:24 | 0:00:26 | |
WOMAN SINGS | 0:00:26 | 0:00:29 | |
In the Spring of 1944, | 0:00:31 | 0:00:34 | |
the Nazis attend an unusual performance of Verdi's Requiem. | 0:00:34 | 0:00:39 | |
The choir and their conductor | 0:00:42 | 0:00:45 | |
are all prisoners in the concentration camp Terezin. | 0:00:45 | 0:00:49 | |
The inmates of Terezin channel the darkest of human experience | 0:00:53 | 0:00:57 | |
into an explosion of art and music, | 0:00:57 | 0:01:01 | |
and they would use it to defy the Nazis. | 0:01:01 | 0:01:05 | |
Doing a performance was not entertainment. | 0:01:05 | 0:01:08 | |
It was a fight for life. | 0:01:08 | 0:01:11 | |
It was something which made us strong. | 0:01:15 | 0:01:19 | |
It is the reason why we are calling it cultural resistance. | 0:01:19 | 0:01:24 | |
It has given us a resistance against our fate. | 0:01:24 | 0:01:27 | |
We just tried to reach something that's bigger than we are. | 0:01:30 | 0:01:35 | |
And let's hope that we are singing to God, | 0:01:35 | 0:01:39 | |
and God can't help but hear us. | 0:01:39 | 0:01:40 | |
Now, a new choir brings the Requiem back to Terezin... | 0:01:45 | 0:01:50 | |
..and the story of this artistic uprising to life. | 0:01:52 | 0:01:56 | |
Here they were, surrounded on an hourly basis by man's worst, | 0:01:56 | 0:02:01 | |
and these Jewish prisoners and the creative people here | 0:02:01 | 0:02:05 | |
were determined to remind everyone of man's best. | 0:02:05 | 0:02:09 | |
And I brought the Verdi here | 0:02:15 | 0:02:17 | |
because I want to assure these people that I've heard them. | 0:02:17 | 0:02:22 | |
Now we have to tell the people of the unmarked graves... | 0:02:23 | 0:02:29 | |
that we've heard them. | 0:02:29 | 0:02:32 | |
SINGING | 0:02:32 | 0:02:35 | |
LOW CHATTER | 0:03:15 | 0:03:17 | |
In a small town in the Czech Republic, | 0:03:28 | 0:03:30 | |
a warehouse is being prepared for a reawakening. | 0:03:30 | 0:03:35 | |
Tomorrow, an American conductor will stage a special performance, | 0:03:37 | 0:03:41 | |
a tribute to a prison chorus and to another conductor, | 0:03:41 | 0:03:46 | |
Rafael Schachter, who led them in an extraordinary rebellion. | 0:03:46 | 0:03:51 | |
This is the first time that the story of Schachter | 0:03:52 | 0:03:55 | |
and his chorus and its connection to the ghetto concentration camp | 0:03:55 | 0:03:59 | |
of Terezin has come home to the place where it was born. | 0:03:59 | 0:04:03 | |
It belongs here. | 0:04:04 | 0:04:06 | |
On this very ground, these people walked and they lived as prisoners. | 0:04:06 | 0:04:11 | |
Within these walls, | 0:04:15 | 0:04:17 | |
a camp of Jewish prisoners stood eye to eye with their Nazi captors | 0:04:17 | 0:04:21 | |
and fought back with music, | 0:04:21 | 0:04:25 | |
performing one of the world's most difficult choral compositions, | 0:04:25 | 0:04:29 | |
Giuseppe Verdi's Requiem Mass. | 0:04:29 | 0:04:32 | |
For over ten years, conductor Murry Sidlin has dreamed | 0:04:33 | 0:04:37 | |
of bringing his own chorus here... | 0:04:37 | 0:04:39 | |
Thank you so much. | 0:04:39 | 0:04:40 | |
..to re-ignite their spirit. | 0:04:40 | 0:04:43 | |
Ever since I learned what happened here, | 0:04:43 | 0:04:46 | |
and the extraordinary artistic statement | 0:04:46 | 0:04:49 | |
that Schachter and his chorus decided they were going to make, | 0:04:49 | 0:04:55 | |
I thought that it would be the right thing | 0:04:55 | 0:04:59 | |
to honour not only him but all those who sang and all those who listened, | 0:04:59 | 0:05:03 | |
and to reawaken all these walls with the sounds of the Verdi, | 0:05:03 | 0:05:08 | |
which have not been heard here for a long, long time. | 0:05:08 | 0:05:11 | |
Thank you. You can go ahead now, please. | 0:05:13 | 0:05:15 | |
OK, we need the F now. Here we go. | 0:05:17 | 0:05:20 | |
SHE SINGS | 0:05:20 | 0:05:22 | |
The story of this Defiant Requiem | 0:05:40 | 0:05:44 | |
begins as Jewish life in Czechoslovakia comes to an end. | 0:05:44 | 0:05:48 | |
Prague, 1941. | 0:05:53 | 0:05:56 | |
Musician Rafael Schachter is preparing for a journey. | 0:06:06 | 0:06:10 | |
Where he is going...he has no idea. | 0:06:10 | 0:06:13 | |
Hitler's Nazi empire has swallowed up the city, | 0:06:15 | 0:06:19 | |
one of Europe's most vibrant cultural capitals. | 0:06:19 | 0:06:22 | |
The Nazis crush the city's creative community, | 0:06:24 | 0:06:28 | |
and Schachter and his fellow Jewish artists find themselves shut out, | 0:06:28 | 0:06:32 | |
branded as outsiders. | 0:06:32 | 0:06:34 | |
It started that we had to wear the star. | 0:06:36 | 0:06:39 | |
If you were found without it, you would be punished by being deported. | 0:06:39 | 0:06:43 | |
My father was kicked out of his office | 0:06:43 | 0:06:45 | |
within days of the German invasion, | 0:06:45 | 0:06:48 | |
without pension or any compensation to support his family, | 0:06:48 | 0:06:52 | |
and all financial assets were frozen. Inaccessible to Jews. | 0:06:52 | 0:06:57 | |
At 29 years old, Rafael Schachter has established himself in Prague | 0:07:00 | 0:07:05 | |
as a talented pianist and conductor. | 0:07:05 | 0:07:07 | |
But under the Nazis, Jews are banned from the arts, | 0:07:09 | 0:07:13 | |
ejected from schools, and confined to their homes by an evening curfew. | 0:07:13 | 0:07:18 | |
Robbed of his art and his income, | 0:07:20 | 0:07:22 | |
Schachter struggles to make a living as a piano teacher. | 0:07:22 | 0:07:26 | |
He was my music teacher since I was about eight years old. | 0:07:27 | 0:07:31 | |
Well, he was supposed to teach me to play piano. | 0:07:32 | 0:07:38 | |
He couldn't make me a musician, | 0:07:38 | 0:07:40 | |
but he introduced me to the world of music. | 0:07:40 | 0:07:44 | |
The city's famed theatres and concert halls fall silent. | 0:07:50 | 0:07:55 | |
And in November of 1941, | 0:07:56 | 0:07:59 | |
the Nazis lower the curtain on Jewish life in Prague. | 0:07:59 | 0:08:04 | |
You started filtering news that they are making lists of Jewish families | 0:08:05 | 0:08:11 | |
and they'd be sent somewhere. | 0:08:11 | 0:08:13 | |
There was my mother, my brother, sister and myself. | 0:08:13 | 0:08:18 | |
And we all got a transport number. | 0:08:18 | 0:08:22 | |
S-204, 205, | 0:08:22 | 0:08:26 | |
206 and me, 716. | 0:08:26 | 0:08:31 | |
And I thought that was like a hand of fate touched me. | 0:08:34 | 0:08:38 | |
That's bad news. | 0:08:39 | 0:08:41 | |
The Nazis force all Jewish families to pack up their lives, | 0:08:42 | 0:08:45 | |
and limit them to 50kg of luggage. | 0:08:45 | 0:08:49 | |
110 lb selected from a lifetime. | 0:08:50 | 0:08:54 | |
Rafael Schachter takes the things that give his life meaning - | 0:08:56 | 0:08:59 | |
the tools of his trade, piano scores, | 0:08:59 | 0:09:03 | |
including Giuseppe Verdi's Requiem Mass. | 0:09:03 | 0:09:06 | |
At 5am on a November morning, | 0:09:13 | 0:09:16 | |
Schachter and hundreds of Czech Jews | 0:09:16 | 0:09:19 | |
board the first train into the unknown. | 0:09:19 | 0:09:21 | |
board the first train into the unknown. | 0:09:21 | 0:09:22 | |
When we came to the station, | 0:09:26 | 0:09:29 | |
we have been surrounded by the SS with rifles | 0:09:29 | 0:09:34 | |
and from that moment, we have been the prisoners. | 0:09:34 | 0:09:38 | |
We came to the station and there were already a lot of people | 0:09:42 | 0:09:47 | |
and old ones and children crying, and pushed into a train. | 0:09:47 | 0:09:51 | |
And off we went. Had no idea where we were going. | 0:09:51 | 0:09:55 | |
The train carries them just 40 miles west of Prague | 0:09:59 | 0:10:02 | |
to an old garrison town | 0:10:02 | 0:10:05 | |
transformed into a new Jewish prison camp, Theresienstadt. | 0:10:05 | 0:10:11 | |
Terezin. | 0:10:11 | 0:10:13 | |
The town is selected by the man charged with rounding up | 0:10:15 | 0:10:18 | |
Europe's Jews, Nazi Lieutenant Colonel Adolf Eichmann. | 0:10:18 | 0:10:24 | |
With only a half square mile in area | 0:10:27 | 0:10:30 | |
and confined by a high wall, | 0:10:30 | 0:10:32 | |
the old fortress would serve as | 0:10:32 | 0:10:34 | |
a ready-made holding pen for the Czech Jews. | 0:10:34 | 0:10:38 | |
Even the town's 18th-century foundation is eerily prophetic, | 0:10:42 | 0:10:46 | |
built in the shape of a six-pointed star. | 0:10:46 | 0:10:50 | |
Thousands of families are herded into the new Jewish ghetto. | 0:10:52 | 0:10:56 | |
The train stopped at a small place called Bolshevize, | 0:10:58 | 0:11:01 | |
and from there we walked endless, endless, endless | 0:11:01 | 0:11:05 | |
country roads, two by two, with all our luggage. | 0:11:05 | 0:11:10 | |
The railroad station was two miles away. | 0:11:11 | 0:11:14 | |
We had to carry the allowed 110 lb of luggage... | 0:11:14 | 0:11:20 | |
..and we walked the two miles to enter through one of the gates | 0:11:22 | 0:11:27 | |
into the total unknown. | 0:11:27 | 0:11:29 | |
We were ordered, "Raus," "fast, fast," | 0:11:46 | 0:11:49 | |
because the Germans always had us to do everything on the double. | 0:11:49 | 0:11:52 | |
And no matter how fast we did it, it was never fast enough. | 0:11:52 | 0:11:55 | |
And when we all went through the gates | 0:11:55 | 0:11:59 | |
I knew that life will never be the same. | 0:11:59 | 0:12:01 | |
The Nazi guards strip all new arrivals of cash and valuables | 0:12:12 | 0:12:16 | |
and any semblance of normal life. | 0:12:16 | 0:12:19 | |
Children are seized from their parents, | 0:12:20 | 0:12:23 | |
husbands and wives separated into bunks for men and women. | 0:12:23 | 0:12:27 | |
The dusty barracks of the fortress are soon | 0:12:29 | 0:12:32 | |
stuffed from the floors to the attics with Jewish prisoners. | 0:12:32 | 0:12:36 | |
Rafael Schachter carves out a space for himself | 0:12:38 | 0:12:42 | |
in the rafters of an old house. | 0:12:42 | 0:12:44 | |
Everything was organised. | 0:12:46 | 0:12:48 | |
There was organisation for every part of life in Terezin - | 0:12:48 | 0:12:54 | |
how to build the three-storey bunks, | 0:12:54 | 0:12:58 | |
your living space was measured out exactly 1.6 metres. | 0:12:58 | 0:13:03 | |
At first, we lived in a huge hall, | 0:13:03 | 0:13:09 | |
where there were, I think, about 400 people in one room. | 0:13:09 | 0:13:12 | |
My mother was in a different barracks and so was my sister, | 0:13:12 | 0:13:16 | |
so we could not visit them. | 0:13:16 | 0:13:18 | |
For several weeks, my mother and I had no idea where my father was, | 0:13:18 | 0:13:23 | |
and he had no idea where we were. | 0:13:23 | 0:13:26 | |
The day after his arrival, Rafael Schachter is assigned to | 0:13:27 | 0:13:31 | |
a construction detail... | 0:13:31 | 0:13:32 | |
..forced to work up to 100 hours a week. | 0:13:34 | 0:13:37 | |
Other inmates work in factories, sewing uniforms for German soldiers. | 0:13:38 | 0:13:43 | |
Jewish artists are drafted to produce Nazi propaganda. | 0:13:45 | 0:13:48 | |
But at night, with stolen supplies, | 0:13:52 | 0:13:55 | |
they risk their lives to secretly record the horrors around them. | 0:13:55 | 0:14:00 | |
The moment you open your eyes, the struggle began. | 0:14:21 | 0:14:24 | |
Of course, the struggle for the day-by-day trivial needs - | 0:14:24 | 0:14:28 | |
wash yourself, reach the latrines. | 0:14:28 | 0:14:30 | |
We had been converted from regular people to inmates. | 0:14:30 | 0:14:35 | |
The German slogan at the camp is "work will make you free"... | 0:14:42 | 0:14:46 | |
..but refusal to work means a brutal incarceration | 0:14:52 | 0:14:55 | |
in the nearby small fortress, | 0:14:55 | 0:14:58 | |
where inmates are tortured and executed. | 0:14:58 | 0:15:02 | |
For everyone else in Terezin, | 0:15:05 | 0:15:07 | |
the constant hunger is a torture all of its own. | 0:15:07 | 0:15:11 | |
Of course there was no food. | 0:15:11 | 0:15:13 | |
There wasn't more than maybe a cupful, like this, | 0:15:13 | 0:15:17 | |
and some of it was just some kind of watery bits, or whatever, | 0:15:17 | 0:15:20 | |
but the food that we swallowed, it was never quite enough. | 0:15:20 | 0:15:26 | |
Who of us worked in the kitchen, we could have a little bit more food | 0:15:45 | 0:15:51 | |
than just one potato and one ladle of soup, | 0:15:51 | 0:15:55 | |
but I remember when we were giving it out, | 0:15:55 | 0:15:58 | |
the old people were standing in the line for hours | 0:15:58 | 0:16:02 | |
and if it was soup, they came with the little dish, | 0:16:02 | 0:16:07 | |
and would say, "Please, from the bottom," | 0:16:07 | 0:16:10 | |
so that there will be something - a piece of potato maybe | 0:16:10 | 0:16:16 | |
or a string of something - | 0:16:16 | 0:16:19 | |
so for them, it was real suffering. | 0:16:19 | 0:16:23 | |
Surrounded by misery, Rafael Schachter realises | 0:16:26 | 0:16:29 | |
that what will set them free isn't work, but music. | 0:16:29 | 0:16:33 | |
He discovers an old piano in a barracks basement | 0:16:37 | 0:16:40 | |
and resolves to take a risk of his own. | 0:16:40 | 0:16:43 | |
His first recruit is a 21-year-old camp cook | 0:16:45 | 0:16:49 | |
who shares his attic living space, Edgar Krasa. | 0:16:49 | 0:16:53 | |
He assessed immediately that a prison mentality may sink in, | 0:16:55 | 0:17:00 | |
so he encouraged us, | 0:17:00 | 0:17:03 | |
after the assigned work was done, | 0:17:03 | 0:17:06 | |
to come to the basement and sing, | 0:17:06 | 0:17:09 | |
starting out with Czech popular songs. | 0:17:09 | 0:17:12 | |
At night, after long days at work, | 0:17:16 | 0:17:18 | |
Schachter begins holding secret musical gatherings. | 0:17:18 | 0:17:22 | |
THEY SING | 0:17:22 | 0:17:26 | |
He taps deep into Czech pride, rallying his fellow inmates | 0:17:42 | 0:17:47 | |
with a performance of Smetana's comic opera, The Bartered Bride. | 0:17:47 | 0:17:51 | |
You forget where you are, you forget the surroundings. | 0:17:52 | 0:17:56 | |
It was like as if I was in a concert hall in Prague, | 0:17:56 | 0:17:59 | |
and it didn't matter where it was. | 0:17:59 | 0:18:02 | |
This hour-and-a-half or so shortened the time we had for brooding | 0:18:04 | 0:18:11 | |
about our new lifestyle, and it did more. | 0:18:11 | 0:18:14 | |
The next day at work, we already occupied our mind | 0:18:14 | 0:18:19 | |
looking forward to the evening to sing again. | 0:18:19 | 0:18:23 | |
THEY SING | 0:18:23 | 0:18:26 | |
To carry these songs which we all knew, | 0:18:32 | 0:18:34 | |
you carried it with you in your mind | 0:18:34 | 0:18:37 | |
and it was a part of the mechanism to help you to cope. | 0:18:37 | 0:18:40 | |
THEY SING | 0:18:40 | 0:18:41 | |
Rafael Schachter has opened a refuge for his fellow inmates | 0:18:48 | 0:18:52 | |
with music. | 0:18:52 | 0:18:54 | |
They have no idea how important it will become. | 0:18:54 | 0:18:57 | |
THEY SING | 0:18:57 | 0:18:59 | |
THUNDER RUMBLES | 0:19:02 | 0:19:05 | |
OK. Let's get settled, please, so we can begin. Ssh. | 0:19:11 | 0:19:15 | |
Also, be up when the piano plays. | 0:19:16 | 0:19:18 | |
OK? We talked about that. Thank you. | 0:19:18 | 0:19:20 | |
Good. OK. Let's begin from the beginning, please. | 0:19:20 | 0:19:24 | |
TRAIN WHISTLE BLOWS | 0:19:30 | 0:19:33 | |
Can we have the train whistle a little louder | 0:19:44 | 0:19:47 | |
and a little sooner, please? | 0:19:47 | 0:19:49 | |
'We all have a powerful emotional storehouse, | 0:20:02 | 0:20:03 | |
'We all have a powerful emotional storehouse, | 0:20:03 | 0:20:07 | |
'and we don't necessarily have the language | 0:20:07 | 0:20:11 | |
'to get at the power of our feelings. | 0:20:11 | 0:20:14 | |
'When common language can no longer get even close' | 0:20:14 | 0:20:16 | |
'When common language can no longer get even close' | 0:20:16 | 0:20:21 | |
to what it is we're feeling, that's when art begins. | 0:20:21 | 0:20:24 | |
THEY SING | 0:20:24 | 0:20:26 | |
Inside the walls of Terezin, Schachter and his fellow inmates | 0:20:47 | 0:20:51 | |
unleash a flood of artistic creation. | 0:20:51 | 0:20:55 | |
THEY SING | 0:20:55 | 0:20:58 | |
Musicians stage concerts of imprisoned Jewish composers | 0:20:58 | 0:21:02 | |
Viktor Ullmann and Gideon Klein. | 0:21:02 | 0:21:04 | |
Pavel Haas and Hans Kraza write all-new musical compositions. | 0:21:05 | 0:21:10 | |
Playwrights mount new productions, | 0:21:12 | 0:21:15 | |
creating sets and costumes with whatever materials they can find. | 0:21:15 | 0:21:19 | |
Terezin erupts into a thriving cultural centre, | 0:21:20 | 0:21:24 | |
an academy of prisoners. | 0:21:24 | 0:21:24 | |
an academy of prisoners. | 0:21:25 | 0:21:26 | |
The arrival of those artists who were willing to devote their talent | 0:21:28 | 0:21:31 | |
to their and the inmates' benefit made all the difference. | 0:21:31 | 0:21:35 | |
To give us that flicker of hope | 0:21:36 | 0:21:39 | |
in the hopeless black monotony of the camp day after day. | 0:21:39 | 0:21:44 | |
All we lived with from the start in Terezin | 0:21:58 | 0:22:04 | |
was the notion that in another two months, the war will be over, | 0:22:04 | 0:22:09 | |
they close this gate and we go home. | 0:22:09 | 0:22:11 | |
So, in the meantime, | 0:22:11 | 0:22:13 | |
of course there was such a surge of energy for the arts, | 0:22:13 | 0:22:18 | |
which is quite normal. | 0:22:18 | 0:22:20 | |
If people are robbed of freedom, they want to be creative. | 0:22:20 | 0:22:24 | |
And they were. | 0:22:24 | 0:22:26 | |
RIPPLE OF APPLAUSE | 0:22:45 | 0:22:46 | |
RIPPLE OF APPLAUSE | 0:22:47 | 0:22:48 | |
The artists of Terezin strive to find humour through satire | 0:22:51 | 0:22:55 | |
of life under the Nazis... | 0:22:55 | 0:22:57 | |
..sometimes dangerously pushing the limit. | 0:22:59 | 0:23:02 | |
One play, The Last Cyclist, | 0:23:06 | 0:23:08 | |
mocks the tyranny of the Third Reich, | 0:23:08 | 0:23:10 | |
depicting an evil society bent on killing not Jews, | 0:23:10 | 0:23:15 | |
but people who ride bicycles. | 0:23:15 | 0:23:17 | |
Well, there was the Jewish management | 0:23:17 | 0:23:20 | |
who always came to the dress rehearsal, | 0:23:20 | 0:23:23 | |
and they came to see The Last Cyclist | 0:23:23 | 0:23:26 | |
and they said, "Uh-uh, no way, we can't have that. | 0:23:26 | 0:23:30 | |
"Sorry, that will be so much trouble. | 0:23:30 | 0:23:33 | |
"We don't want to create any more trouble than we have. | 0:23:33 | 0:23:36 | |
"No, it will not be performed." | 0:23:36 | 0:23:38 | |
The inmates of Terezin push through ceaseless hunger | 0:23:40 | 0:23:43 | |
to feed a deeper artistic longing. | 0:23:43 | 0:23:46 | |
For spiritual needs, they turn to their faith. | 0:23:51 | 0:23:54 | |
Rabbis interned at the camp | 0:23:57 | 0:23:58 | |
transform a hidden room into a secret synagogue. | 0:23:58 | 0:24:02 | |
The rabbis were happy. | 0:24:04 | 0:24:06 | |
Oh, they never had so many people come voluntarily to their sermon. | 0:24:06 | 0:24:10 | |
Everybody wanted to go, because it reminded you | 0:24:11 | 0:24:16 | |
of your life at home, when you were attending concerts | 0:24:16 | 0:24:20 | |
and other cultural activities, | 0:24:20 | 0:24:23 | |
and it took time away from thinking about your current life. | 0:24:23 | 0:24:28 | |
Scholars from every discipline give lectures to packed audiences | 0:24:32 | 0:24:37 | |
about science, religion, psychology. | 0:24:37 | 0:24:41 | |
In a sense, it was like going to college. | 0:24:43 | 0:24:46 | |
I mean, I was that age, basically. As I came here, I was 18. | 0:24:46 | 0:24:49 | |
And we went to art history lectures, | 0:24:49 | 0:24:52 | |
I remember going to physics lectures. | 0:24:52 | 0:24:55 | |
These were all experiences I didn't have before, so... | 0:24:55 | 0:25:00 | |
You can't call it normalcy but it was something very different. | 0:25:01 | 0:25:05 | |
There were announcements, there were programmes, | 0:25:06 | 0:25:11 | |
so every night, you could actually be part of that life. | 0:25:11 | 0:25:17 | |
The artistic life in Terezin. | 0:25:17 | 0:25:20 | |
Throughout German-occupied Europe, Jews are herded into ghettos, | 0:25:20 | 0:25:25 | |
forbidden to gather, play musical instruments | 0:25:25 | 0:25:28 | |
or venture out at night. | 0:25:28 | 0:25:30 | |
But inside the walls of Terezin, | 0:25:30 | 0:25:33 | |
the inmates find a strange artistic freedom. | 0:25:33 | 0:25:36 | |
MUSIC PLAYED ON PIANO | 0:25:36 | 0:25:38 | |
The Germans knew full well that we are destined for death, | 0:25:41 | 0:25:47 | |
and the smile will be wiped off our faces, | 0:25:47 | 0:25:50 | |
so they thought, "Let them play music, let them play theatre, | 0:25:50 | 0:25:54 | |
"let them dance." | 0:25:54 | 0:25:56 | |
So we were dancing under the gallows. | 0:25:56 | 0:25:59 | |
SHE SINGS | 0:26:03 | 0:26:06 | |
Trains arrive every few days, | 0:26:30 | 0:26:33 | |
delivering thousands of new inmates to the overcrowded ghetto. | 0:26:33 | 0:26:38 | |
In the small fortress, | 0:26:42 | 0:26:44 | |
Jews and political prisoners are brutally beaten, | 0:26:44 | 0:26:47 | |
tortured to death or executed. | 0:26:47 | 0:26:51 | |
600 inmates are crammed into a single room | 0:26:51 | 0:26:51 | |
600 inmates are crammed into a single room | 0:26:51 | 0:26:55 | |
with two toilets, little food and the relentless spread of disease. | 0:26:55 | 0:27:00 | |
Every other or third day, another thousand arrived. | 0:27:06 | 0:27:09 | |
They came - whole families. | 0:27:11 | 0:27:13 | |
To live in crowded conditions like that, | 0:27:14 | 0:27:17 | |
it's very hard. | 0:27:17 | 0:27:19 | |
There were fleas all the time, there were fleas and bedbugs, | 0:27:20 | 0:27:23 | |
and we were hungry all the time, of course. There was never enough food. | 0:27:23 | 0:27:28 | |
By September 1942, the town built for 6,000 people | 0:27:36 | 0:27:41 | |
is bursting with nearly 60,000 Jewish inmates | 0:27:41 | 0:27:44 | |
from as far away as the Netherlands and Denmark. | 0:27:44 | 0:27:48 | |
In Germany, the Nazis sell retirement packages to elderly Jews, | 0:27:48 | 0:27:53 | |
promising posh suites at a lakeside resort | 0:27:53 | 0:27:56 | |
before putting them on the trains to Terezin. | 0:27:56 | 0:27:59 | |
They came from Germany under the notion | 0:28:01 | 0:28:03 | |
that they are going to a spa. | 0:28:03 | 0:28:06 | |
That they would be looked after, they will live in a hotel. | 0:28:06 | 0:28:10 | |
They brought in suitcases with evening dresses | 0:28:11 | 0:28:14 | |
and long gloves, and hats with feathers, and all that, | 0:28:14 | 0:28:19 | |
and of course these people were dying 200 a day. | 0:28:19 | 0:28:22 | |
SHE SINGS | 0:28:22 | 0:28:24 | |
Typhus ravages the crowded ghetto. | 0:28:31 | 0:28:31 | |
Typhus ravages the crowded ghetto. | 0:28:31 | 0:28:33 | |
In a single year, nearly half the population will die. | 0:28:33 | 0:28:39 | |
Bodies pile up in such numbers | 0:28:39 | 0:28:41 | |
the Nazis order the prisoners to build a crematorium, | 0:28:41 | 0:28:45 | |
where, against Jewish religious law, | 0:28:45 | 0:28:47 | |
they're forced to incinerate their dead. | 0:28:47 | 0:28:50 | |
Old people were dying like flies. | 0:28:50 | 0:28:53 | |
And you saw the transports of corpses all the time. | 0:28:53 | 0:28:58 | |
Death was a concept which we learned to live with. | 0:28:58 | 0:29:03 | |
Death was omnipresent, it was everywhere. | 0:29:03 | 0:29:06 | |
SHE SINGS | 0:29:06 | 0:29:08 | |
By September 1942, | 0:29:29 | 0:29:31 | |
Hitler's Final Solution is killing Jews by the millions. | 0:29:31 | 0:29:36 | |
Across eastern Europe, whole towns - men, women and children - | 0:29:36 | 0:29:40 | |
are herded into fields and massacred with machine guns. | 0:29:40 | 0:29:45 | |
In German-occupied Poland, | 0:29:45 | 0:29:47 | |
the extermination camp Auschwitz is killing so many people | 0:29:47 | 0:29:51 | |
they order the construction of two more gas chambers | 0:29:51 | 0:29:53 | |
and 46 additional ovens. | 0:29:53 | 0:29:56 | |
The inmates of Terezin have no idea of the horrors | 0:29:58 | 0:30:01 | |
outside their town's walls. | 0:30:01 | 0:30:03 | |
But in January 1943, | 0:30:03 | 0:30:05 | |
a new fear grips the ghetto - transports to the east. | 0:30:05 | 0:30:10 | |
It was like a Damocles' sword hanging over us. | 0:30:10 | 0:30:14 | |
It was the only fear. | 0:30:14 | 0:30:16 | |
Transport to the east was the word. | 0:30:16 | 0:30:19 | |
Nobody knew where to and when, | 0:30:19 | 0:30:21 | |
and nobody knew when his turn will come. | 0:30:21 | 0:30:24 | |
The strange thing is that we did not know where the transports went. | 0:30:26 | 0:30:32 | |
The word "Auschwitz", we didn't know, we didn't hear. That was unknown. | 0:30:32 | 0:30:39 | |
In a sadistic twist, choosing whose names are on the list | 0:30:43 | 0:30:47 | |
is delegated by the Nazis to the camp's Jewish leaders, | 0:30:47 | 0:30:51 | |
the Council of Elders. | 0:30:51 | 0:30:54 | |
It was a lousy responsibility | 0:30:55 | 0:30:57 | |
for the officials of the Jewish community | 0:30:57 | 0:31:01 | |
that they had to pick people they didn't know, | 0:31:01 | 0:31:05 | |
just put together 1,000 people and ship them out. | 0:31:05 | 0:31:08 | |
They probably must have known where these transports went, | 0:31:08 | 0:31:14 | |
but it was their life on the line. | 0:31:14 | 0:31:18 | |
And it never filtered through. | 0:31:18 | 0:31:20 | |
Never. | 0:31:20 | 0:31:22 | |
TRAIN WHISTLE BLOWS | 0:31:22 | 0:31:25 | |
Before long, so many trains are leaving Terezin | 0:31:26 | 0:31:30 | |
the Nazis order the inmates to lay tracks right into the ghetto, | 0:31:30 | 0:31:34 | |
building their own railroad to the abyss. | 0:31:34 | 0:31:37 | |
For six days, 1,000 names a day are drawn from a terrible lottery... | 0:31:40 | 0:31:46 | |
..inmates loaded into cattle cars and sent east | 0:31:48 | 0:31:52 | |
to a fate no-one dares to imagine. | 0:31:52 | 0:31:55 | |
We didn't know that there are extermination camps. | 0:31:56 | 0:31:59 | |
That there are camps which are much, much worse than Terezin was. | 0:31:59 | 0:32:04 | |
But nevertheless, we have felt something unknown, | 0:32:06 | 0:32:13 | |
and in our situation, being the prisoners, | 0:32:13 | 0:32:17 | |
to know something unknown, that's a dreadful feeling. | 0:32:17 | 0:32:23 | |
As fear falls over the ghetto, | 0:32:25 | 0:32:28 | |
Rafael Schachter turns to one of the few possessions | 0:32:28 | 0:32:31 | |
he brought from Prague - | 0:32:31 | 0:32:33 | |
the score to Giuseppe Verdi's Requiem Mass. | 0:32:33 | 0:32:37 | |
With one of the most powerful choral works in the world, | 0:32:37 | 0:32:40 | |
With one of the most powerful choral works in the world, | 0:32:40 | 0:32:41 | |
he could hone his art into a weapon. | 0:32:41 | 0:32:44 | |
In his mind, he transformed it from the Mass for the dead | 0:32:44 | 0:32:49 | |
into Mass for the dead Nazis. | 0:32:49 | 0:32:51 | |
And he wanted to tell them about the day of wrath coming, | 0:32:55 | 0:32:59 | |
and the supreme judge sitting in judgment, and no sinner will escape. | 0:32:59 | 0:33:05 | |
And he couldn't tell them in German, | 0:33:06 | 0:33:09 | |
so he thought if he can sing it in Latin, he may get away with it. | 0:33:09 | 0:33:12 | |
so he thought if he can sing it in Latin, he may get away with it. | 0:33:12 | 0:33:13 | |
Verdi's Latin text describes wrathful vengeance | 0:33:15 | 0:33:19 | |
and holy judgment. | 0:33:19 | 0:33:20 | |
and holy judgment. | 0:33:20 | 0:33:21 | |
Schachter's plan to use the fiery Catholic Mass | 0:33:24 | 0:33:26 | |
to denounce the Germans provokes outrage across the ghetto. | 0:33:26 | 0:33:30 | |
The Council of Jewish Elders started to get vibrations from rabbis | 0:33:32 | 0:33:37 | |
and Zionists. "Are you kidding? | 0:33:37 | 0:33:39 | |
"Doing Verdi Requiem, a big Catholic work like that? | 0:33:39 | 0:33:42 | |
"You've got to be kidding." So they call in Schachter, and say, | 0:33:42 | 0:33:46 | |
"Are you trying to apologise for being Jewish? | 0:33:46 | 0:33:48 | |
"This is the way it's going to be perceived. | 0:33:48 | 0:33:50 | |
"People are starting to rumble, starting to get noisy. | 0:33:50 | 0:33:52 | |
"And you know how they're going to settle this? | 0:33:52 | 0:33:54 | |
"First thing, they'll shoot you. | 0:33:54 | 0:33:56 | |
"They'll deport the whole chorus. | 0:33:56 | 0:33:58 | |
"And they'll stop, they'll stop all the night-time activity. | 0:33:58 | 0:34:01 | |
"And it'll all be your fault." | 0:34:01 | 0:34:04 | |
A storm he created in the ghetto. | 0:34:04 | 0:34:07 | |
Everybody was really opposed to it | 0:34:07 | 0:34:11 | |
because as a Jew with Jewish singers | 0:34:11 | 0:34:16 | |
in a Jewish ghetto, why would you pick a Catholic Mass | 0:34:16 | 0:34:19 | |
when there are works by Handel on Jewish themes | 0:34:19 | 0:34:23 | |
that cannot be played anywhere in occupied Europe? | 0:34:23 | 0:34:26 | |
This is the place, the only place. | 0:34:26 | 0:34:28 | |
I don't know what he answered them, but he persisted. | 0:34:28 | 0:34:34 | |
WOMAN SINGS | 0:34:34 | 0:34:36 | |
By the time we were allowed to enter | 0:34:40 | 0:34:44 | |
the special group of the people who were chosen for the Verdi Requiem, | 0:34:44 | 0:34:49 | |
we had nothing but gratitude for Rafi in our hearts. | 0:34:49 | 0:34:53 | |
We aimed to please him. | 0:34:53 | 0:34:56 | |
THEY SING | 0:34:56 | 0:34:58 | |
And if anyone would have come in, a few Nazis with a few guns, | 0:35:01 | 0:35:06 | |
and would have said, | 0:35:06 | 0:35:08 | |
"Stop immediately and get out of this building | 0:35:08 | 0:35:11 | |
"or I'll shoot you all," | 0:35:11 | 0:35:13 | |
there wouldn't have been one that would have left the building. | 0:35:13 | 0:35:17 | |
In the basement of a concentration camp barracks, | 0:35:22 | 0:35:25 | |
Rafael Schachter begins the mission of his life - | 0:35:25 | 0:35:28 | |
piecing together one of the world's most demanding compositions | 0:35:28 | 0:35:32 | |
with an amateur chorus of prisoners learning each note - | 0:35:32 | 0:35:35 | |
in Latin - by rote. | 0:35:35 | 0:35:38 | |
I had never in my life heard a requiem. | 0:35:43 | 0:35:46 | |
I did not have any idea about the gorgeous, gorgeous beautiful music. | 0:35:46 | 0:35:52 | |
I also didn't know more than two Latin words. | 0:35:56 | 0:36:00 | |
And Rafi made very sure that he would exactly translate into Czech | 0:36:00 | 0:36:06 | |
the meaning of the words, and Rafi told us, | 0:36:06 | 0:36:12 | |
"The most important thing is how you feel when you sing this." | 0:36:12 | 0:36:15 | |
From the beginning, Schachter makes it clear | 0:36:19 | 0:36:22 | |
that this Requiem is not just another performance. | 0:36:22 | 0:36:26 | |
It was to be a statement, the biggest - perhaps the last - | 0:36:27 | 0:36:31 | |
they would make together. | 0:36:31 | 0:36:33 | |
It has to be perfect. | 0:36:33 | 0:36:35 | |
He was a very nice guy to be with socially, | 0:36:36 | 0:36:41 | |
but when it came to rehearsals, he was merciless. | 0:36:41 | 0:36:46 | |
You couldn't move, you couldn't turn your head, | 0:36:47 | 0:36:50 | |
you couldn't do anything except have your eyes | 0:36:50 | 0:36:55 | |
directed into his eyes. | 0:36:55 | 0:36:58 | |
It's one of THE most demanding choral works, | 0:37:05 | 0:37:09 | |
demanding not only musically but emotionally, | 0:37:09 | 0:37:12 | |
and there has to be a precision. | 0:37:12 | 0:37:14 | |
There has to be an understanding of the text. | 0:37:14 | 0:37:17 | |
And if you read the text as though you were a prisoner, | 0:37:21 | 0:37:25 | |
then it has a different meaning altogether. | 0:37:25 | 0:37:28 | |
That this is defiance! | 0:37:32 | 0:37:35 | |
And suddenly the Libera Me, | 0:37:35 | 0:37:37 | |
which literally means "Deliver me, oh Lord" | 0:37:37 | 0:37:42 | |
becomes "Liberate me, oh Lord". | 0:37:42 | 0:37:45 | |
The Libera Me was "liberate us from here". | 0:37:57 | 0:38:00 | |
The Libera Me was "liberate us from here". | 0:38:00 | 0:38:01 | |
That was like a prayer that overcame hunger and occasional pains. | 0:38:04 | 0:38:12 | |
You were there in that cellar | 0:38:12 | 0:38:14 | |
and you were a different person. | 0:38:14 | 0:38:16 | |
THEY SING | 0:38:16 | 0:38:21 | |
I'm not so sure whether I was hard of hearing | 0:38:31 | 0:38:36 | |
but I think that my stomach stopped growling when I was singing. | 0:38:36 | 0:38:40 | |
I think when you are more a soul than a person, | 0:38:41 | 0:38:45 | |
I don't think that the soul has to be nourished by | 0:38:45 | 0:38:48 | |
anything but by heavenly music. | 0:38:48 | 0:38:50 | |
The soul doesn't need anything else. | 0:38:50 | 0:38:53 | |
THEY SING | 0:38:53 | 0:38:55 | |
OK, we have plenty of room up here | 0:39:31 | 0:39:34 | |
and there is space back there. | 0:39:34 | 0:39:36 | |
and there is space back there. | 0:39:36 | 0:39:37 | |
Just be careful of this little pool here. | 0:39:43 | 0:39:45 | |
Today, Rafael Schacter's rehearsal space fills up once again | 0:39:45 | 0:39:49 | |
as Murry brings in his chorus before this afternoon's performance. | 0:39:49 | 0:39:54 | |
OK. Let me have your attention. Ssh. | 0:39:54 | 0:39:57 | |
This is, to me, a very religious moment. | 0:39:58 | 0:40:01 | |
After many, many hours per day of slave labour, | 0:40:02 | 0:40:06 | |
these people were compelled to come to this cold, dank, airless place | 0:40:06 | 0:40:11 | |
and rehearse the Verdi Requiem. | 0:40:11 | 0:40:14 | |
But one of the most important things we can do | 0:40:16 | 0:40:19 | |
is to once again sing this music to these walls | 0:40:19 | 0:40:26 | |
which heard it and absorbed it years ago | 0:40:26 | 0:40:29 | |
and have not heard it since. | 0:40:29 | 0:40:31 | |
All of this is to say to not only the survivors | 0:40:31 | 0:40:34 | |
but those who didn't survive, | 0:40:34 | 0:40:36 | |
that they have been heard... and we so honour them. | 0:40:36 | 0:40:36 | |
that they have been heard... and we so honour them. | 0:40:37 | 0:40:41 | |
So let's see if we can sing through this now. | 0:40:43 | 0:40:45 | |
Give us the B flat again, please. | 0:40:45 | 0:40:47 | |
MUSIC: "Libera Me" by Giuseppe Verdi | 0:40:47 | 0:40:49 | |
# Requiem | 0:40:49 | 0:40:57 | |
# Requiem aeternam | 0:40:58 | 0:41:14 | |
# Dona eis | 0:41:16 | 0:41:23 | |
# Dona eis | 0:41:23 | 0:41:26 | |
# Dona eis, Domine | 0:41:26 | 0:41:33 | |
# Dona eis | 0:41:33 | 0:41:35 | |
# Dona eis | 0:41:35 | 0:41:36 | |
# Dona eis | 0:41:38 | 0:41:40 | |
# Dona eis | 0:41:40 | 0:41:43 | |
# Dona eis | 0:41:43 | 0:41:46 | |
# Domine | 0:41:46 | 0:41:54 | |
# Et lux perpetua... # | 0:41:54 | 0:42:05 | |
We're sitting here, in Terezin, right now | 0:42:05 | 0:42:08 | |
in the first week in March and it's freezing... | 0:42:08 | 0:42:13 | |
..and they go into a dark, damp, cold cellar | 0:42:15 | 0:42:21 | |
virtually every night because they want to sing the Verdi Requiem. | 0:42:21 | 0:42:26 | |
Can you imagine? | 0:42:26 | 0:42:28 | |
We can't wait to get out of this place and get warm. | 0:42:28 | 0:42:32 | |
They can't get warm. | 0:42:32 | 0:42:34 | |
# ..Perpetua | 0:42:34 | 0:42:40 | |
# Luceat eis... # | 0:42:40 | 0:42:53 | |
Rafi said, "We will sing this in memory and gratitude to Verdi, | 0:42:58 | 0:43:05 | |
"and you can have, in your heart, | 0:43:05 | 0:43:07 | |
"gratitude to anybody you loved and lost. | 0:43:07 | 0:43:10 | |
"A relative, a friend, whatever you feel when you have the sad part. | 0:43:10 | 0:43:15 | |
"Just make sure it is becoming one of you." | 0:43:15 | 0:43:18 | |
# ..Et lux | 0:43:18 | 0:43:25 | |
# Et lux | 0:43:25 | 0:43:29 | |
# Perpetua | 0:43:29 | 0:43:39 | |
# Luceat eis | 0:43:39 | 0:43:52 | |
# Requiem | 0:43:54 | 0:44:03 | |
# Requiem. # | 0:44:05 | 0:44:16 | |
The first time we came, she didn't know where she was. | 0:44:30 | 0:44:32 | |
No, I know where I am now. That's Hamburger | 0:44:32 | 0:44:35 | |
and that's the gate to the barracks where I lived. | 0:44:35 | 0:44:37 | |
This part of the Hamburger, that was where the railroad ended. | 0:44:37 | 0:44:41 | |
When the transports came in, they were welcomed by the Germans, | 0:44:43 | 0:44:48 | |
who, right away, went through their luggage and confiscated | 0:44:48 | 0:44:50 | |
all the better clothing and shoes to send it to Germany. | 0:44:50 | 0:44:55 | |
BIRDSONG | 0:44:55 | 0:45:00 | |
I don't remember ever hearing birds. | 0:45:00 | 0:45:02 | |
I don't remember ever seeing grass. | 0:45:02 | 0:45:04 | |
It was drab always and muddy and...ugly. | 0:45:04 | 0:45:09 | |
646? | 0:45:29 | 0:45:30 | |
Who has the trumpet solo 646? | 0:45:30 | 0:45:33 | |
Yeah. I didn't hear. I didn't hear. | 0:45:35 | 0:45:37 | |
Play please... | 0:45:37 | 0:45:38 | |
HE HUMS | 0:45:38 | 0:45:40 | |
Verdi, Verdi... | 0:45:42 | 0:45:43 | |
Here we go - 641. | 0:45:43 | 0:45:45 | |
Thank you. And one, two... | 0:45:46 | 0:45:49 | |
# Dona eis requiem | 0:45:51 | 0:45:58 | |
# Dona eis... # | 0:46:00 | 0:46:04 | |
Tenors, gently! | 0:46:04 | 0:46:06 | |
Don't scream that out. | 0:46:06 | 0:46:08 | |
# ..Dona eis requiem... # | 0:46:08 | 0:46:12 | |
Thank you. | 0:46:12 | 0:46:14 | |
# ..Requiem. # | 0:46:19 | 0:46:23 | |
Well, my youngest son, | 0:46:23 | 0:46:25 | |
who's named after Rafi, | 0:46:25 | 0:46:27 | |
came to me and said, "We want to honour our father | 0:46:27 | 0:46:31 | |
"and Rafi Schachter by singing in Terezin." | 0:46:31 | 0:46:33 | |
"and Rafi Schachter by singing in Terezin." | 0:46:33 | 0:46:34 | |
"and Rafi Schachter by singing in Terezin." | 0:46:34 | 0:46:34 | |
And he told his brother | 0:46:37 | 0:46:41 | |
and he wanted it as a surprise for their father. | 0:46:41 | 0:46:44 | |
And I said, "Well, find out if you can before we do anything." | 0:46:44 | 0:46:49 | |
So he called up Murry Sidlin | 0:46:49 | 0:46:51 | |
and talked it over with him | 0:46:51 | 0:46:54 | |
and then, when he found out they can, | 0:46:54 | 0:46:56 | |
he said, "We are going to do it." | 0:46:56 | 0:46:58 | |
They originally wanted to keep it a secret and surprise me | 0:46:58 | 0:47:03 | |
and they told my wife and she... | 0:47:03 | 0:47:07 | |
..all the time worries about me. I don't know why. | 0:47:09 | 0:47:12 | |
I mean, there's nothing to worry, | 0:47:12 | 0:47:13 | |
she worries why there's nothing to worry. | 0:47:13 | 0:47:15 | |
At our age, I didn't want any big surprises. | 0:47:15 | 0:47:19 | |
I don't know, maybe I'm silly. | 0:47:19 | 0:47:21 | |
So once they came over for dinner | 0:47:21 | 0:47:26 | |
and Rafi and Danny brought their score and they showed it to him | 0:47:26 | 0:47:31 | |
and told him at that time, "We are going to sing the Requiem." | 0:47:31 | 0:47:35 | |
HE HUMS | 0:47:35 | 0:47:36 | |
Yeah, that's the other one. | 0:47:36 | 0:47:38 | |
And I haven't heard my father sing it, actually, ever. | 0:47:38 | 0:47:43 | |
One, two, three... | 0:47:46 | 0:47:48 | |
THEY SING: # Lacrimosa dies illa | 0:47:48 | 0:47:54 | |
# Qua resurget ex favilla | 0:47:54 | 0:48:00 | |
# Judicandus homo... # | 0:48:00 | 0:48:03 | |
MUSIC: "Lacrimosa" by Giuseppe Verdi | 0:48:03 | 0:48:07 | |
# Huic ergo parce Deus | 0:48:07 | 0:48:12 | |
# Huic ergo | 0:48:14 | 0:48:20 | |
# Parce Deus | 0:48:20 | 0:48:27 | |
# Lacrimosa dies illa | 0:48:27 | 0:48:33 | |
# Qua resurget ex favilla... # | 0:48:33 | 0:48:39 | |
It's emotional, but I'm very, very happy about it. | 0:48:41 | 0:48:45 | |
And I'm looking forward to the performance | 0:48:45 | 0:48:48 | |
and the beautiful music and we'll be all together, so that's good. | 0:48:48 | 0:48:54 | |
They did not succeed. We survived. | 0:48:56 | 0:48:59 | |
By September 1943, | 0:49:33 | 0:49:35 | |
Schachter's chorus hasn't quite mastered the Requiem... | 0:49:35 | 0:49:39 | |
..but the Council of Elders announces that, on September 5th, | 0:49:42 | 0:49:46 | |
the transports will resume. | 0:49:46 | 0:49:48 | |
Schachter's chorus could soon be ripped apart. | 0:49:50 | 0:49:53 | |
The rehearsals went fast. | 0:49:57 | 0:50:00 | |
In seven weeks... | 0:50:00 | 0:50:03 | |
In seven weeks, it became known | 0:50:03 | 0:50:06 | |
that transports will resume | 0:50:06 | 0:50:08 | |
and now the singers wanted him to make a performance and he didn't | 0:50:08 | 0:50:12 | |
because it wasn't to his standard. | 0:50:12 | 0:50:15 | |
But when it became known that September 6th, | 0:50:15 | 0:50:18 | |
5,000 people will leave, | 0:50:18 | 0:50:20 | |
he couldn't refuse. | 0:50:20 | 0:50:22 | |
Schachter fears his chorus, and he himself, | 0:50:27 | 0:50:30 | |
could be shipped out in days. | 0:50:30 | 0:50:33 | |
So with a chorus of 150 inmates and a single piano, | 0:50:34 | 0:50:38 | |
Schachter leads their first performance of Verdi's Requiem. | 0:50:38 | 0:50:43 | |
# Rex tremendae majestatis | 0:50:52 | 0:50:57 | |
# Qui salvandos salvas gratis | 0:51:05 | 0:51:11 | |
# Salva me, fons pietatis | 0:51:11 | 0:51:17 | |
# Salva me, fons pietatis | 0:51:17 | 0:51:24 | |
# Salva me, fons pietatis. # | 0:51:24 | 0:51:32 | |
It was tremendous and I still don't understand it. | 0:51:57 | 0:52:00 | |
It was tremendous and I still don't understand it. | 0:52:00 | 0:52:00 | |
There was only a piano, but for me, it was like | 0:52:00 | 0:52:01 | |
There was only a piano, but for me, it was like | 0:52:01 | 0:52:03 | |
if the whole orchestra played | 0:52:03 | 0:52:07 | |
and it made us feel human. | 0:52:07 | 0:52:10 | |
These two hours, you were taken back | 0:52:13 | 0:52:15 | |
into the beautiful world which was once your own. | 0:52:15 | 0:52:18 | |
The world of the tunes and of the melody which you are listening | 0:52:18 | 0:52:22 | |
and the message which was given to us by the performers. | 0:52:22 | 0:52:26 | |
# Salva me, fons pietatis... # | 0:52:26 | 0:52:32 | |
These were hours of pure joy. | 0:52:32 | 0:52:37 | |
As much as you can call joy in camp. | 0:52:37 | 0:52:40 | |
This room became the protective walls | 0:52:47 | 0:52:53 | |
of something good, | 0:52:53 | 0:52:56 | |
something meaningful, | 0:52:56 | 0:52:59 | |
something healing | 0:52:59 | 0:53:00 | |
something healing | 0:53:00 | 0:53:01 | |
and something that showed everyone who was really listening | 0:53:01 | 0:53:08 | |
that Rafi had put all of us, | 0:53:08 | 0:53:11 | |
the singers and the audience, | 0:53:11 | 0:53:14 | |
into another world. | 0:53:14 | 0:53:16 | |
This was not the world with the Nazis, this was our world. | 0:53:17 | 0:53:21 | |
# Salva me... # | 0:53:29 | 0:53:37 | |
The first performance is a revelation - | 0:53:41 | 0:53:43 | |
for Schachter, for his singers, | 0:53:43 | 0:53:45 | |
for their fellow inmates in the audience - | 0:53:45 | 0:53:49 | |
the very sound of hope. | 0:53:49 | 0:53:50 | |
the very sound of hope. | 0:53:50 | 0:53:52 | |
They were stunned, totally stunned, | 0:54:00 | 0:54:03 | |
they could not believe what Rafi had done, with these people, us, | 0:54:03 | 0:54:07 | |
standing there without a scrap of paper, without anything | 0:54:07 | 0:54:11 | |
but the entire words and music committed to memory. | 0:54:11 | 0:54:16 | |
For many in the chorus and the audience, | 0:54:20 | 0:54:24 | |
Verdi's Requiem is the last music they would hear. | 0:54:24 | 0:54:27 | |
The next morning, 5,000 inmates are loaded onto the transports. | 0:54:31 | 0:54:38 | |
Rafael Schachter sees more than half of his chorus | 0:54:38 | 0:54:41 | |
carried away in cattle cars. | 0:54:41 | 0:54:45 | |
It was a special transport, | 0:54:45 | 0:54:49 | |
in September 1943. | 0:54:49 | 0:54:52 | |
5,000 Terezin Jews to Auschwitz. | 0:54:52 | 0:54:59 | |
We did not know, thank God - at least I didn't - about Auschwitz. | 0:55:02 | 0:55:08 | |
It was called "resettlement", | 0:55:08 | 0:55:12 | |
and none of us had any idea about gas chambers. | 0:55:12 | 0:55:15 | |
We just figured, it's not very good here, | 0:55:15 | 0:55:18 | |
but at least we know how bad it is, | 0:55:18 | 0:55:20 | |
if we go somewhere else, maybe there is more food, maybe it's better, | 0:55:20 | 0:55:23 | |
if we go somewhere else, maybe there is more food, maybe it's better, | 0:55:23 | 0:55:24 | |
but I'm not going to volunteer for anything. | 0:55:24 | 0:55:26 | |
Over the next six months, Schachter recruits new singers | 0:55:30 | 0:55:34 | |
and rebuilds his chorus. | 0:55:34 | 0:55:36 | |
They'll perform the Requiem for their fellow inmates 15 times, | 0:55:38 | 0:55:43 | |
constantly reinforcing their chorus and their spirits | 0:55:43 | 0:55:48 | |
as fellow singers are torn away by the transports. | 0:55:48 | 0:55:52 | |
Whether they were members of the chorus | 0:55:52 | 0:55:55 | |
or whether these were people who lived in your room in the barracks, | 0:55:55 | 0:55:59 | |
you were sorry for them to have to go | 0:55:59 | 0:56:04 | |
and for you to lose another friend. | 0:56:04 | 0:56:06 | |
But everybody lived with that concern. | 0:56:08 | 0:56:12 | |
That was worse than the hunger and anything else. | 0:56:12 | 0:56:16 | |
The writing on the wall wasn't pretty, | 0:56:18 | 0:56:21 | |
because transports were leaving to the east. | 0:56:21 | 0:56:23 | |
By that time, there was an escapee from Auschwitz, | 0:56:23 | 0:56:26 | |
Siegfried Lederer, who came to Theresienstadt, | 0:56:26 | 0:56:29 | |
was hiding in the basement there. | 0:56:29 | 0:56:31 | |
And he said, "It is guaranteed death." | 0:56:31 | 0:56:34 | |
So those who ever doubted what's in this "east", | 0:56:35 | 0:56:38 | |
you know, heard it from first-hand witness. | 0:56:38 | 0:56:41 | |
Outside Terezin, | 0:56:41 | 0:56:44 | |
the Nazi killing machine now operates six death camps, | 0:56:44 | 0:56:48 | |
a ruthlessly efficient system intent on erasing the Jewish people. | 0:56:48 | 0:56:54 | |
As the Jews of Europe disappear, | 0:56:54 | 0:56:56 | |
the Nazis devise a cynical ruse | 0:56:56 | 0:56:59 | |
to hide the true horrors of the Third Reich | 0:56:59 | 0:57:01 | |
behind the artistic facade of Terezin. | 0:57:01 | 0:57:05 | |
Spring 1944, after two years of living as prisoners, | 0:57:07 | 0:57:12 | |
the inmates of Terezin receive orders | 0:57:12 | 0:57:15 | |
to give their camp a makeover. | 0:57:15 | 0:57:17 | |
Walls and pavements are scrubbed, | 0:57:18 | 0:57:20 | |
gardens planted | 0:57:20 | 0:57:22 | |
and fake storefronts filled with | 0:57:22 | 0:57:24 | |
goods from the inmates' own luggage. | 0:57:24 | 0:57:27 | |
My mother was supposed to make signs with oil paint | 0:57:27 | 0:57:31 | |
that had an arrow and says, | 0:57:31 | 0:57:33 | |
"To the library"... | 0:57:33 | 0:57:35 | |
.."To the coffee house"... | 0:57:39 | 0:57:40 | |
.."To the playground". | 0:57:42 | 0:57:44 | |
She had no idea where this would go. | 0:57:44 | 0:57:47 | |
That was used in Terezin for the commission | 0:57:47 | 0:57:50 | |
to see that we had a coffee house, we had a bank, | 0:57:50 | 0:57:53 | |
we had a playground, we had everything. | 0:57:53 | 0:57:56 | |
The Nazis complete the beautification | 0:57:56 | 0:57:58 | |
by thinning out the crowds. | 0:57:58 | 0:58:00 | |
Nearly 8,000 people - orphans, the elderly, the sick, | 0:58:02 | 0:58:07 | |
anyone who doesn't look the part - are shipped off to die in Auschwitz. | 0:58:07 | 0:58:12 | |
On June 23rd, | 0:58:14 | 0:58:16 | |
the Nazis invite a delegation from the International Red Cross | 0:58:16 | 0:58:20 | |
for a visit to what the Germans call | 0:58:20 | 0:58:23 | |
"a self-governed Jewish city". | 0:58:23 | 0:58:26 | |
The inspection is ordered by Nazi Lieutenant Colonel Adolf Eichmann... | 0:58:30 | 0:58:32 | |
The inspection is ordered by Nazi Lieutenant Colonel Adolf Eichmann... | 0:58:32 | 0:58:34 | |
..and choreographed down to the last detail. | 0:58:36 | 0:58:40 | |
Nothing, nothing was not planned. | 0:58:40 | 0:58:43 | |
Not a corner was omitted to make it convincing. | 0:58:43 | 0:58:47 | |
WHISTLE | 0:58:47 | 0:58:49 | |
They picked out inmates who knew how to play soccer... | 0:58:52 | 0:58:55 | |
..so they played soccer | 0:58:58 | 0:59:00 | |
and even the commission passed by and a goal was scored. | 0:59:00 | 0:59:03 | |
The scenario was written to perfection. | 0:59:08 | 0:59:11 | |
The Nazis complete the charade by capturing the town's makeover | 0:59:14 | 0:59:18 | |
for a propaganda film. | 0:59:18 | 0:59:20 | |
Theresienstadt - the Fuhrer gives a city to the Jews. | 0:59:20 | 0:59:25 | |
THEY SING | 0:59:25 | 0:59:27 | |
They force a Jewish inmate, | 0:59:37 | 0:59:39 | |
a well-known actor named Kurt Gerron, to direct the film. | 0:59:39 | 0:59:43 | |
A warped vision to the world of Terezin as a Jewish fantasy village. | 0:59:46 | 0:59:52 | |
The highlight of the Red Cross inspection is to be a performance | 1:00:06 | 1:00:10 | |
of the Verdi Requiem. | 1:00:10 | 1:00:11 | |
Their cameras capture the only photo of Schachter | 1:00:14 | 1:00:16 | |
and his diminished choir in rehearsal. | 1:00:16 | 1:00:20 | |
The order came from the camp commander, | 1:00:20 | 1:00:23 | |
he wanted the performance for the Swiss Red Cross people | 1:00:23 | 1:00:27 | |
and those big shots who came from Berlin | 1:00:27 | 1:00:30 | |
to shake their hand for a good report. | 1:00:30 | 1:00:33 | |
The transports have cut Schachter's chorus down to 60 people, | 1:00:42 | 1:00:47 | |
less than half its former size. | 1:00:47 | 1:00:49 | |
But now, they have the opportunity Schachter has dreamed of - | 1:00:53 | 1:00:58 | |
to risk everything and confront the Nazis face to face... | 1:00:58 | 1:01:03 | |
..and sing to them what they dare not say. | 1:01:05 | 1:01:08 | |
He had a great dilemma, Schachter. | 1:01:10 | 1:01:13 | |
He was a stickler for perfection. | 1:01:14 | 1:01:17 | |
He didn't like the composition of the chorus... | 1:01:17 | 1:01:20 | |
..but it was a tremendous challenge, | 1:01:21 | 1:01:25 | |
to have the Germans right there in front of him | 1:01:25 | 1:01:28 | |
and tell them to their face... | 1:01:28 | 1:01:30 | |
If the Germans would have known, what was unfolding, | 1:02:37 | 1:02:41 | |
if they would have known that Rafael was trying to tell them | 1:02:41 | 1:02:44 | |
that they too will be judged one of these days | 1:02:44 | 1:02:47 | |
for their crimes they committed on mankind, | 1:02:47 | 1:02:49 | |
they would have really punished the artists. | 1:02:49 | 1:02:52 | |
Without Rafi, it wouldn't have happened, | 1:02:56 | 1:02:59 | |
and we proved beyond the shadow of any doubt, | 1:02:59 | 1:03:02 | |
that yes, they have our bodies, | 1:03:02 | 1:03:05 | |
yes, we have no more names, we have numbers, | 1:03:05 | 1:03:07 | |
but they don't have our soul, our mind, our being, | 1:03:07 | 1:03:12 | |
our...what we are cannot be taken away, | 1:03:12 | 1:03:14 | |
our...what we are cannot be taken away, | 1:03:15 | 1:03:16 | |
also it won't be taken away at the moment we are shot. | 1:03:16 | 1:03:19 | |
Dies Irae, even as a listener, | 1:03:25 | 1:03:29 | |
you feel is powerful. | 1:03:29 | 1:03:33 | |
It represents a threat... | 1:03:34 | 1:03:36 | |
..that you gladly would participate in | 1:03:40 | 1:03:44 | |
as avenging whatever was done unto you. | 1:03:44 | 1:03:47 | |
There was no applause, but I'm sure the Swiss people were impressed. | 1:04:50 | 1:04:56 | |
And the Germans were aware | 1:05:02 | 1:05:07 | |
that we were singing our own requiem, | 1:05:07 | 1:05:10 | |
because they knew what they had in mind for us, whereas we did not. | 1:05:10 | 1:05:15 | |
Rafael Schachter and his 60 singers | 1:05:17 | 1:05:20 | |
had delivered their message in the face of their captors. | 1:05:20 | 1:05:23 | |
Now they cling to the possibility that the Red Cross will hear it. | 1:05:25 | 1:05:29 | |
We all have one very deep hope. | 1:05:29 | 1:05:32 | |
That some of the people, the Red Cross representatives, | 1:05:32 | 1:05:35 | |
will ask a probing question. | 1:05:35 | 1:05:37 | |
Because it was a beautifully quaint, little town, what they showed them. | 1:05:39 | 1:05:43 | |
So we hoped, really, that they did not swallow it hook, line and sinker. | 1:05:48 | 1:05:51 | |
That they will say, "OK, let's now turn to this side. | 1:05:51 | 1:05:54 | |
"Or let's ask somebody something out of this." | 1:05:54 | 1:05:58 | |
I don't think that any inmate would have dared to say the truth. | 1:05:58 | 1:06:01 | |
But they could have seen it, | 1:06:01 | 1:06:02 | |
had they turned from the outlined route for them. | 1:06:02 | 1:06:05 | |
But they never really did. | 1:06:05 | 1:06:07 | |
I think they wanted to believe what they saw. | 1:06:07 | 1:06:10 | |
I thought, that with what we were singing, that we could say, | 1:06:10 | 1:06:15 | |
"Let me get through, I want to show them something." | 1:06:15 | 1:06:18 | |
To tell them, "Go inside of such a house. | 1:06:18 | 1:06:20 | |
"See these portals? Walk right through any one. | 1:06:20 | 1:06:22 | |
"See these portals? Walk right through any one. | 1:06:22 | 1:06:25 | |
"You would be surprised what you find in there." | 1:06:25 | 1:06:29 | |
But there was no way of doing that. | 1:06:29 | 1:06:31 | |
So they came home to Switzerland | 1:06:33 | 1:06:34 | |
and said the Jews have it very good. | 1:06:34 | 1:06:36 | |
CHILDREN SING | 1:06:36 | 1:06:41 | |
They play funny operas and children's operas... | 1:06:46 | 1:06:49 | |
..and the children play in beautiful swings and rocking horses. | 1:06:52 | 1:06:57 | |
And in the afternoon, they have an afternoon nap in the grass... | 1:07:00 | 1:07:04 | |
..and when they wake up, they each get bread and butter. | 1:07:06 | 1:07:09 | |
These are children who had never SEEN butter, except that day. | 1:07:14 | 1:07:18 | |
Deception is not the right word, | 1:07:29 | 1:07:32 | |
there must be a worse word for that. | 1:07:32 | 1:07:35 | |
If anybody would have come two weeks later, there was nothing left. | 1:07:50 | 1:07:54 | |
Even the children's home was empty, | 1:08:13 | 1:08:15 | |
with the baby carriages. | 1:08:15 | 1:08:17 | |
Small children, aged three to six or eight... | 1:08:27 | 1:08:31 | |
it was empty, there was no child left. | 1:08:31 | 1:08:33 | |
The swings were gone, | 1:08:39 | 1:08:41 | |
the playpens were gone, | 1:08:41 | 1:08:43 | |
the rocking horses were gone and the children were gone. | 1:08:43 | 1:08:46 | |
All into the gas chambers. | 1:08:46 | 1:08:48 | |
What did these children do to anybody? | 1:08:48 | 1:08:50 | |
# Requiem | 1:08:51 | 1:08:57 | |
# Requiem aeternam | 1:09:03 | 1:09:12 | |
# Dona eis | 1:09:13 | 1:09:25 | |
# Domine | 1:09:25 | 1:09:30 | |
# Dona eis | 1:09:30 | 1:09:36 | |
# Dona eis | 1:09:36 | 1:09:38 | |
# Dona eis | 1:09:38 | 1:09:41 | |
# Domine | 1:09:41 | 1:09:48 | |
# Et lux perpetua | 1:09:48 | 1:09:58 | |
# Luceat eis | 1:09:59 | 1:10:20 | |
# Luceat eis | 1:10:28 | 1:10:42 | |
# Requiem aeternam | 1:10:43 | 1:10:53 | |
# Dona eis, Domine | 1:10:53 | 1:11:01 | |
# Et lux | 1:11:03 | 1:11:13 | |
# Perpetua | 1:11:13 | 1:11:22 | |
# Luceat eis | 1:11:22 | 1:11:32 | |
# Requiem | 1:11:36 | 1:11:46 | |
# Requiem. # | 1:11:46 | 1:11:57 | |
TRAIN WHISTLES | 1:12:00 | 1:12:03 | |
The Red Cross performance would be the choir's last. | 1:12:07 | 1:12:11 | |
Not long after the delegation leaves Terezin, | 1:12:14 | 1:12:16 | |
the transports to the east resume. | 1:12:16 | 1:12:19 | |
After the visit of the International Red Cross, everybody was deported. | 1:12:23 | 1:12:30 | |
19,000 in five weeks, | 1:12:33 | 1:12:36 | |
and I knew that my time would come very soon. | 1:12:36 | 1:12:41 | |
On October 15th 1944, the transport is announced. | 1:12:47 | 1:12:52 | |
Almost the entire choir will be sent to the east. | 1:12:55 | 1:12:59 | |
This time, Rafael Schachter's name | 1:13:03 | 1:13:05 | |
is also on the list. | 1:13:05 | 1:13:07 | |
Most of the artists, the painters and the musicians | 1:13:08 | 1:13:13 | |
went with the transport as myself. | 1:13:13 | 1:13:17 | |
Why it was so combined together, nobody knows. | 1:13:17 | 1:13:23 | |
I think they wished to have | 1:13:24 | 1:13:27 | |
the people who had been important in Terezin, | 1:13:27 | 1:13:33 | |
to be out of Terezin and to be killed. | 1:13:33 | 1:13:36 | |
The next morning, Schachter and his choir are packed into cattle cars | 1:13:45 | 1:13:50 | |
and transported to the hell of Auschwitz. | 1:13:50 | 1:13:53 | |
RAIN PATTERS | 1:14:02 | 1:14:06 | |
And so, we were pushed into the cattle trucks | 1:14:06 | 1:14:10 | |
and it was completely full, you could hardly breathe. | 1:14:10 | 1:14:14 | |
People didn't move, they didn't talk very much. | 1:14:14 | 1:14:17 | |
Everybody was thinking, "Where are we going? What's ahead of us?" | 1:14:17 | 1:14:21 | |
So here is Rafael Schachter with a tin of sardines | 1:14:22 | 1:14:26 | |
and he says to me, "Zdenka, here is my dish, here is bread, | 1:14:26 | 1:14:31 | |
"and here are the sardines, and that will be my last supper." | 1:14:31 | 1:14:36 | |
And so, he knew. | 1:14:36 | 1:14:37 | |
Upon arrival at Auschwitz, | 1:14:40 | 1:14:42 | |
most of the chorus and musicians are sent directly to their deaths | 1:14:42 | 1:14:47 | |
and with them, an entire nation's cultural wealth. | 1:14:47 | 1:14:51 | |
I really feel strongly | 1:14:52 | 1:14:54 | |
this was to be the next generation of the great Czech composers, | 1:14:54 | 1:14:58 | |
all wiped out on October 17th 1944. | 1:14:58 | 1:15:02 | |
In one day, in one moment, in a gas chamber in Auschwitz, | 1:15:02 | 1:15:07 | |
that next generation of Czech composers...gone. | 1:15:07 | 1:15:11 | |
We went to Auschwitz with a transport of 1,500 men. | 1:15:14 | 1:15:19 | |
On the ramp of Auschwitz to Birkenau, | 1:15:19 | 1:15:23 | |
which was the extermination camp, | 1:15:23 | 1:15:25 | |
I have seen Rafael Schachter the last time. | 1:15:25 | 1:15:28 | |
Rafael Schachter would survive Auschwitz | 1:15:37 | 1:15:40 | |
and three more concentration camps. | 1:15:40 | 1:15:43 | |
In March 1945, | 1:15:45 | 1:15:47 | |
he dies on a death march. | 1:15:47 | 1:15:50 | |
One month later, | 1:15:54 | 1:15:56 | |
liberation comes to Czechoslovakia. | 1:15:56 | 1:15:58 | |
I think the great lesson of Theresienstadt was, first of all, | 1:17:07 | 1:17:11 | |
to see the highs and lows. | 1:17:11 | 1:17:14 | |
The worst in man and the best. | 1:17:16 | 1:17:18 | |
In music, in acting, in conducting, in composing, | 1:17:20 | 1:17:26 | |
if I ever lived in the most cultured and cultural surrounding, | 1:17:26 | 1:17:32 | |
it was in Terezin, amongst these people. | 1:17:32 | 1:17:35 | |
Remember to the time | 1:17:39 | 1:17:42 | |
what we had been living through, | 1:17:42 | 1:17:45 | |
that somebody wished to help us, | 1:17:45 | 1:17:49 | |
and that was Rafael Schachter and all the singers. | 1:17:49 | 1:17:53 | |
Rafael Schachter had an influence... beneficial influence | 1:17:59 | 1:18:03 | |
on thousands of people who have to thank him | 1:18:03 | 1:18:08 | |
for giving them a bearable memory of Terezin. | 1:18:08 | 1:18:15 | |
I'm not a holocaust survivor as much as, you know, a Requiem survivor. | 1:18:21 | 1:18:26 | |
I didn't only survive the Requiem - | 1:18:26 | 1:18:28 | |
I got it as a present to take with me all my life. | 1:18:28 | 1:18:32 |