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PUSH!

by Howard Moody

On January 26, the La Faràndula Theater in Sabadell will host the premiere of the community opera Push! , a work by the British composer Howard Moody based on the moving story of Belgian pianist and Holocaust survivor Simon Gronowski. This production, which will close the events of Sabadell as the Catalan Culture Capital 2024, will involve members of the local community.

Push! is a one-act opera, with a libretto and music by British composer Howard Moody, born in Salisbury in 1964 and regarded as a musical expert. The work tells the story of the escape from the Holocaust of 12-year-old Belgian boy Simon Gronowski, who fled from a train on April 19, 1943. The title refers to the central theme of the opera, as Simon was pushed off the train by his mother, who died three days later in Auschwitz.

Initially commissioned by Battle Festival de Bexhill (United Kingdom) in co-production with Glyndebourne in 2016, Push! has been performed five more times: at the Salisbury International Arts Festival and Chichester Cathedral (United Kingdom) in 2018, at the House of Commons in London and La Monnaie in Brussels in 2019, and at the Ringsaker Opera (Norway) in June 2024.

The world is experiencing turbulent times in social, economic, and political aspects. Fascism has resurged with strength in several European countries and is already governing in the birthplace of opera, Italy. What response can be given from the cultural sphere? From the Fundació Òpera a Catalunya and the Orquestra Simfònica del Vallès, two key institutions in Sabadell’s cultural landscape, it was decided that the best way was to promote a project where artists and the public could build a shared experience together, enriching all participants. The goal has been to create a community opera to remind us of the lessons of the past and contribute to building a better future. This is the motivation behind Push!, the production based on Howard Moody’s work, which will close the events of Sabadell’s cultural capital year.

Alongside the three solo voices, there will be a choir made up of around forty children from the city’s Conservatory and the Local Educational Plan, a small professional choir—playing the role of guards—a choir of about eighty adult singers drawn from various choral groups in the city (the Coral Belles Arts de Sabadell, the Els Notes choir, and the Ohana Choir from the Music Conservatory), and fifteen professional musicians from the Orquestra Simfònica del Vallès.

Header photo: © Hugo Segers

PUSH!

Howard Moody (1964-)
26/01/2025

One-act opera, with libretto and music by British composer Howard Moody.

Commissioned by Battle Festival. Produced in partnership with Glyndebourne and the De La Warr Pavilion. Premiered as part of the ROOT 1066 International Festival, 1 October 2016.

Approximate running time: 60 min.

CAST

Toni Marsol

Simon

Laia Frigolé

Simon's sister

Pau Camero

Guard

ARTISTIC FILE

Production coordinationJordi CosRepetiteur pianistsMiquel Villalba /
Joan Espuny /
Arnau Balcells
Musical directionManel ValdiviesoTranslation of the librettoJoan Sellent
Stage directionDani ComaProduction and organizationFundació Òpera a Catalunya and Orquestra Simfònica del Vallès
Choirs coordinationBuia Reixach  

Coral Belles Arts de Sabadell

Els Notes choir from Sabadell

Ohana Choir from the Music Conservatory of Sabadell

Choir of the Sabadell Conservatory

Schools of the Local Educational Plan of Sabadell

Cor Amics de l’Òpera de Sabadell

Musicians from the Orquestra Simfònica del Vallès

Learn more

press room

A production by

With the collaboration of

performances

JANUARY 2025

Sabadell, Teatre La Faràndula

Sunday, January 26, 12 h

Sunday, January 26, 18 h

Playlist

PODCAST

The inspiring figure of Push!, Simon Gronowski, walking with his parents.

òpera en construcció

Cápsula 1: Argumento

Cápsula 2: Música

Cápsula 3: Protagonistas

Cápsula 4: Escena

òpera en construcció

Cápsula 1: Argumento

Càpsula 2: Caracterització

Càpsula 3: La gira

Picture Gallery

PUSH!

  1. PROLOGUE

A large group of adults and children look up to the constellations and reflect on how colliding comets and ever-changing formations of stars reflect the repeating patterns of the world. They are rounded up by a group of armed guards. The guards threaten their captives, telling them to move forward, not to look back, or to push.

Simon and his sister recount their own family’s arrest and how their parents tried to hide their fear.

They were given three minutes to put their lives into one single bag. They call for each other. Here I am. Where are you?

The large group of refugee prisoners encourage each other to stay as a group.

 

  1. TRAPPED

Everyone is herded into an enclosed camp, confused. Why are you hiding us? Please tell us why.

Simon and his sister recount how their neighbours turned against them. A group of guards are discussing what they must do, what is in it for them and whether it is right or not. Some voices are compassionate, some brutal, others undecided. A sense of fear starts to grow. It becomes clear that some of the captives are related to the captors, but there are to be no concessions.

 

  1. TOGETHER

The prisoners huddle together. What is your story? What is your song? The flute plays the song of the bellbird whilst everyone sings Gandhi’s daily song. They also sing of colliding cultures, celebrating their diversity as opposed to the rigidity of the politics outside the camp, but they are
frightened.

They start making furniture out of scrap. Some start to make placards: Il y a du soleil aujourd’hui, mais ce n’est pas pour nous. Close the borders and they’ll close their minds. Some start to make simple gardens from the dirt and sing of hope in the face of adversity. The guards order for the
borders to be closed.

Meanwhile, the children play games that are competitive and sometimes violent. Others sit in fearful huddles. Some children practise jumping off ledges. It soon becomes clear who has the loudest voice.

As the light fades, stars appear, including a ‘red moon’. Simon and his sister recall the day that their mother went to visit a fortune-teller who told her that her son would be a lucky child.

As the prisoners fall asleep, Simon remembers his mother’s eyes and how she tried to hide her fear. He tells of how his father avoided arrest, but died of a broken heart. He sings about his dreams and the harsh reality of waking.

 

  1. UNCERTAINTY

Sudden bright light wakes everyone up. Strict orders are given and everyone is rounded up and told to leave their possessions. Some are separated, including Simon’s sister.

Everyone is partitioned into groups and given labels to put around their necks. Simon is given number 1234, his mother 1233. The numbers are also stamped on their wrists.

The captives are herded together and pushed into train trucks. Simon’s sister appears in an upper
window whilst Simon and his mother are forced onto the train by the guard.

Simon’s sister pleads that Simon doesn’t look back. Simon turns to the upper window. That was the last time I saw my sister. In that window there. I can never forget.

They both tell the story of the horror as the crowd are squashed into the train.

 

  1. PUSH

The train starts to move. Panic. The sound of the chorus increases as the train moves faster. How do we know where the train’s going to go? What will happen to us? Are we going to die?

Suddenly, outside the trucks, movement is heard – it is members of the resistance who start to smash down the side of the truck, making gaps wide enough to escape through. They tell the prisoners that they now have a choice. The focus turns to a mother and her 10 year old son. She
holds him tightly. Firing is heard outside. She pushes through the other people in the train truck, and
balances her son on a ledge. Others have started to jump, but screams and shots are heard. The train
is going too fast, geyt tsu shnel der tsug. A few moments later it starts to slow down. A chant of push builds to a frenzy as the mother pushes the boy off the train.

She pushed me. I jumped. I ran for my life.

 

  1. ESCAPE

A ten year old Simon, (all the children on stage), run for their lives. One tune goes round and round, don’t stop, don’t look back. Simon (soloist) asks why his mother didn’t jump.

Full moon. Shooting stars. Simon realises that he is lucky. Everyone sings celui qui sauve une vie, sauve toute l’humanité mais, celui qui tue une vie tue toute l’humanité.

Simon sings his story whilst it is played out on stage. The boy arrives at a single dwelling in the forest. There is a bicycle leaning against the wall. A man half-dressed in uniform appears. He quickly looks around, obviously not wanting anyone to see him. A couple of children’s faces are
seen peering out of the house. He asks the boy his name. Simon shows him his wrist with the number 1234 stamped on it. The man tells Simon that it is too dangerous for him and his children to tell him his name, but he will help. He goes inside his house for a moment and reappears with a set
of casual children’s clothes. Simon quickly changes and jumps on the back of the man’s bicycle.

Simon tells of how the man put him on a train to the City. There was no ticket inspection so he got back to the City safely and hid until the war was over. He managed to meet his father again but it was too dangerous to stay with him. He was not arrested, but died of a broken heart.

 

  1. SOME YEARS LATER

The guard is ill and dying. He walks slowly towards Simon. They recognise each other. He stretches out his hand, but Simon does not respond immediately. The guard tells Simon that it was he who put Simon and his mother on the train. It has been difficult to live with what happened. I must own
my guilt and I must own my shame. The guard asks for forgiveness. Simon remembers him and sings of the pain of what he has lost but offers his forgiveness. You have asked, so I must grant it.

Only then can we move on.

 

  1. EPILOGUE

Simon must continue to tell his story. He wants to live in the present and the future for optimism, joy and friendship.

His mother gave birth to him twice – pushing him towards freedom and life.

In spite of the past, I believe in the power of human goodness.

Ma vie n’est que miracles!