B'Rock & Muziektheater Transparant
PASSIO
B'Rock Orchestra
B'Rock Vocal Consort
Luigi De Angelis, Fanny & Alexander, concept, direction, scenography
Andreas Küppers, musical direction
Tobias Kokkelmans, dramaturgy
Luigi De Angelis, video design
Chiara Lagani, costumes
Andrea Argentieri, video, assistent-director
Rupert Enticknap, contra tenor
production Muziektheater Transparant, B'Rock Orchestra
co-production Klarafestival, Bozar, with the support of the Tax Shelter of the Belgian Federal Government
in collaboration with Fanny & Alexander / E. Production
flowers provided by Daniel Ost
chocolate gifts provided by Neuhaus
texts by Transparant
louis andriessen (1939-2021)
… miserere …
alessandro scarlatti (1660-1725)
Tristis est anima mea, from Responsori per la Settimana Santa
Omnes amici mei, from Responsori per la Settimana Santa
Plange quasi virgo, from Responsori per la Settimana Santa
Passio secundum Joannem
arvo pärt (1935)
Da Pacem Domine
Suffering must not become a commodity
— An interview with PASSIO director Luigi De Angelis by Mien Bogaert
You are one of the house artists of Muziektheater Transparant. How did you come into contact with them?
Luigi De Angelis: I was born in Belgium to an Italian father and a Belgian mother. Soon, however, we moved to Italy, where I studied and later founded my own theatre company (Fanny & Alexander). I also played a few times in Belgium with that company, and that's how I came to the attention of Muziektheater Transparant. I directed their youth opera for several years. Those were fantastic experiences! Two weeks of working with young people between 15 and 25 years old, starting from scratch and then experimenting freely ... Those productions paved the way to staging other productions in Belgium. At the KlaraFestival 2017 (in Concertgebouw Bruges and in deSingel), for example, I presented a musical theatre performance based on the personality of the Russian impresario Sergei Djagilev. Today I live half in Brussels and half in Bologna. I love Belgium because the Belgians really dare to place artists centre stage. In addition, Belgian painters such as Magritte, Delvaux and Ensor, as well as Bruegel and Bosch, have profoundly influenced my work.
Adding a visual layer to Scarlatti's St John Passion seems no easy task. What is your approach?
LDA: Before I agreed, I listened to the music intensively. I cannot stage a work with which I have no emotional connection. Scarlatti's St John Passion, however, was able to seduce me immediately. Together with Tobias Kokkelmans, the dramaturge of this production, I then asked myself how we could find a contemporary translation for the symbolic suffering in the Passion story. The book I See Satan Fall Like Lightning by the French writer René Girard helped us enormously. Satan is the one who plunges a community into chaos. In order to restore order, there is a need for a scapegoat. At one point, everyone is against Christ, even His own disciples. The doubt they feel is caused by the devil. Talking about Satan and the devil shows a Catholic perspective, but what interests me most is the anthropological aspect of a society in need of a scapegoat. Today, it could be a refugee, a beggar or anyone else. Again and again, however, it is about someone that we focus our attention on and then sacrifice. René Girard stresses that political authorities need chaos in order to restore order themselves afterwards. What fascinates me, on the other hand, is the cult of suffering. The music of the passion is insanely beautiful, but in concerts we often run the risk, after we have all wept together, of leaving the hall afterwards without asking ourselves the essential questions. With my visual layer, I want to encourage the audience to ask those questions again. Why is suffering such a popular subject in the arts? Are we just consumers of other people's pain or is there really room for compassion? After all, suffering must not become a commodity ...
How do you translate that in concrete terms on stage?
LDA: For each of the 14 Stations of the Cross (stages in the Passion of Christ), we looked for a contemporary equivalent, which we recorded on video. However, the videos are not television or film scenes, but rather animated paintings. They are very much influenced by the imagery of the Passion story and are full of references. The video paintings are presented on 14 screens set up around the audience. So we get 14 portraits of people suffering. Faces, but also bodies. The audience is free to make its own connections between those contemporary video images on the one hand, and on the other hand the sacrifice of Christ, the sacrifice of Dionysus, the Greek 'sparagmos', the tearing apart of living beings, the killing of the shaman as a means of salvation for the community ... What is important is that the video paintings really surround the audience. We deviate from the central perspective in favour of a more orthodox approach. The image does not come to you, rather you have to go to the image.
The music will be performed by B'Rock Orchestra & Choir, conducted by Andreas Küppers, with Benno Schachtner as soloist. Will these musicians also have a scenic role?
LDA: Benno Schachtner, the countertenor, acts as a kind of pastor in the ritual. His task is to present the video paintings to the public. But I also work with the other musicians: the choir and the orchestra. After all, in a ritual, each person has to be attuned to what is happening around them. I will work with their facial expression as well as their bodily expression. If the musicians are able to express the correct emotion, there is immediately a very strong connection with the audience. This stimulates the mirror neurons. The whole idea of theatre is actually based on the concept of mirror neurons.
Although we live in exceptionally secular times today, passion compositions are all the rage. How do you explain that?
LDA: I grew up in a very atheistic family and enjoyed reading Michelle Onfrey's Traité d'athéologie, for example. However, I am also fascinated by how religious art managed to communicate with people in the past. The beautiful churches in Italy, the paintings and sculptures you find there, speak a clear language. For Bruegel, it was normal to fit a scene from the Gospel into a contemporary scene: the Holy Family, for example, which hastens, no bigger than a speck, through a vast snowy landscape. I myself prefer to approach religion in an anthropological way - and here René Girard's theories are very useful. Interpreted symbolically, the Gospels have a lot to tell us ...
Does that square with the way Pier Paolo Pasolini dealt with religion in his films? He is an important source of inspiration for you ...
LDA: Absolutely. Pasolini succeeded brilliantly in linking the problems that Italian society faced in the 1960s and 1970s with the old Passion story. In the short film La ricotta, for example, a director (played by Orson Welles) works on a film adaptation of the Gospel according to Matthew. The extra who plays the 'good criminal', who is crucified on the right-hand side of Jesus, is in real life a poor man who tries to get food in every possible way between scenes. By selling the dog of the star actress who plays the Virgin Mary, he can buy himself a huge amount of ricotta. After secretly eating the ricotta, however, he has to get back to work. Hanging on the cross during a reception to promote the film, the combination of the copious food and the heat becomes fatal for this poor extra. With this film, Pasolini tells us that Christ's passion is a story that can still take place today. Regardless of whether we are male, female or transgender, Christ - and with him his suffering - nestles in each one of us.
Luigi De Angelis, born in Brussels in 1974, is a director, set and lighting designer, and musician. As a child he moved to Italy together with his family and in 1992 he founded the company Fanny & Alexander. His work and projects are always influenced by the interrelation between music, sound space and scenic space, arising from visual arts and contemporary music repertoire.
Andreas Küppers worked as Rene Jacobs’ musical assistant. This echoes in his interpretation: “One senses that Andreas Küppers has worked repeatedly with René Jacobs. The orchestra speaks, sings and forms every emotion in detail” (Opernwelt). He is the conductor and founder of the Teatro del Mondo ensemble and is furthermore working as the permanent choir director and harpsichord player at B'Rock Orchestra.
Rupert Enticknap is one of Britain’s leading young countertenors. He has performed with renowned Early Music ensembles and conductors. He also brings along a great passion for modern and contemporary music repertoire. In the season he has made his debut with the Berliner Philharmoniker and Sir Simon Rattle with cantatas by J. S. Bach at the Berlin Philharmonie. He will be performing as soloist with the B’Rock Orchestra in PASSIO at the Muziekgebouw Amsterdam and Klarafestival in Brussels.
Contratenor Benno Schachtner belongs to the leading singers in the Early Music field worldwide. His refreshing spontaneity and the pleasure he takes in the unpredictable art that is created in the spark of the moment are qualities that are particularly favoured by his audience as well as his colleagues. Musical intelligence, emotional depth and a warm soothing timbre characterize this extraordinary singer.
B’Rock Orchestra has the Baroque era at heart. Their intuitive, ambitious and connective approach has made them one of today’s most successful and forward-thinking period orchestras. They open up a dialogue with the connoisseur and the curious. On period instruments, B'Rock explores five centuries of music in opera, oratorio and instrumental music.
Muziektheater Transparant is an international music-theatre production company that focuses on the singing voice. On the basis of the human voice, an innovative view of the repertoire and a strong commitment, Muziektheater Transparant creates unconventional productions of high artistic worth which it shares with a range of audiences at home and abroad. The company advocates giving equal weight to the musical, visual and textual elements, which together make up an exciting whole.
Alessandro Scarlatti, Tristis est anima mea, from Responsori per la Settimana Santa
RESPONSORIUM:
Tristis est anima mea usque ad mortem.
Sustinete hic et vigilate mecum.
Nunc videbitis turbam quae circumdabit me.
Vos fugam capietis, et ego vadam immolari pro vobis.
VERSUS:
Ecce appropinquat hora, in qua Filius hominis tradetur in manus peccatorum.
[EN]
RESPONSORIUM:
Sorrowful is my soul even unto death.
Stay here, and watch with me.
Now you’ll see the mob that will surround me.
You shall take flight, and I shall go to be sacrificed for you.
VERSUS:
The time draws near, and the Son of Man
shall be delivered into the hands of sinners.
Alessandro Scarlatti, Omnes amici mei, from Responsori per la Settimana Santa
RESPONSORIUM:
Omnes amici mei dereliquerunt me,
et praevaluerunt insidiantes mihi:
tradidit me, quem diligebam.
Et terribilibus oculis plaga crudeli percutiens
aceto potabant me.
VERSUS:
Inter iniquos projecerunt me
et non pepercerunt animae meae.
Et terribilibus oculis plaga crudeli percutiens
aceto potabant me.
[EN]
RESPONSORIUM:
All my friends have deserted me,
And plotters have prevailed over me.
He whom I loved has betrayed me.
And with fierce looks and cruel blows
they gave me vinegar to drink.
VERSUS:
They cast me among the wicked
and did not spare my soul.
And with fierce looks and cruel blows
they gave me vinegar to drink.
Alessandro Scarlatti, Plange quasi virgo, from Responsori per la Settimana Santa
RESPONSORIUM:
Plange quasi virgo, plebs mea.
Ululate, pastores, in cinere et cilicio
Quia veniet dies Domini magna
et amara valde.
VERSUS:
Accingite vos, sacerdotes, et plangite,
ministri altaris, aspergite vos cinere.
RESPONSORIUM:
Quia veniet dies Domini magna
et amara valde.
[EN]
RESPONSORIUM:
Weep like a virgin, my people,
howl, keepers of the flock, covered with ashes and wearing hair-shirts,
For the great and very bitter day of the Lord
will come.
VERSUS:
Prepare yourselves, priests, and lament, acolytes before the altar, cover yourselves with ashes.
RESPONSORIUM:
For the great and very bitter day of the Lord
will come.
Alessandro Scarlatti, Passio secundum Joannem
[1]
TESTO
Passio domini nostril Iesu Christi secundum Ioannem.
[EN]
EVANGELIST
The Passion of our Lord Jesus Christ, according to St John.
[2]
18.1 In illo tempore egressus est, Iesus cum discipulis suis trans torrentem Cedron, ubi erat hortus, in quem introivit ipse, et discipuli eius.
2 Sciebat autem Iudas, qui tradebat eum locum; quia frequenter Iesus convenerat illuc cum discipulis suis
3 Iudas ergo cum accepisset cohortem et a pontificibus et Pharisaeis ministros venit illuc cum lanternis et facibus et armis
[EN]
18.1 At that time Jesus went forth with his disciples across the Kidron valley to a place where there was a garden, which he and his disciples entered. 2 Now Judas, who betrayed him, also knew the place, because Jesus often met there with his disciples.
3 So Judas brought a detachment of soldiers together with police from the chief priests and the Pharisees, and they came there with lanterns and torches and weapons.
[3]
4 Iesus itaque sciens omnia quae ventura erant super eum processit et dicit eis:
CHRISTUS
quem quaeritis?
TESTO
5 responderunt ei:
TURBA
Iesum Nazarenum.
TESTO
Dicit eis Iesus:
CHRISTUS
Ego sum.
TESTO
Stabat autem et Iudas, qui tradebat eum, cum ipsis.
6 Ut autem dixit eis: ‘Ego sum’, abierunt retrorsum et ceciderunt in terram.
7 Iterum ergo interrogavit eos:
CHRISTUS
Quem quaeritis?
TESTO
Illi autem dixerunt:
TURBA
Iesum Nazarenum.
TESTO
8 Respondit Iesus:
CHRISTUS
Dixi vobis quia ego sum; si ergo me quaeritis sinite hos abire.
TESTO
9 Ut impleretur sermo quem dixit; ‘Quia quos dedisti mihi, non perdidi ex ipsis quemquam’.
10 Simon ergo Petrus habens gladium eduxit eum et percussit pontificis servum et abscidit auriculam eis dextram. Erat autem nomen servo Malchus.
11 Dixit ergo Iesus Petro:
CHRISTUS
Mitte gladium in vaginam; calicem, quem dedit mihi Pater non bibam illum?
[EN]
4 Then Jesus, knowing all that was to happen to him, came forward and asked them,
CHRIST
"Whom are you looking for?"
EVANGELIST
5 They answered,
CROWD
"Jesus of Nazareth."
EVANGELIST
Jesus replied,
CHRIST
"I am he."
EVANGELIST
Judas, who betrayed him, was standing with them.
6 When Jesus said to them, "I am he," they stepped back and fell to the ground.
7 Again he asked them,
CHRIST
"Whom are you looking for?"
EVANGELIST
And they said,
CROWD
"Jesus of Nazareth."
EVANGELIST
8 Jesus answered,
CHRIST
"I told you that I am he. So if you are looking for me, let these men go."
EVANGELIST
9 This was to fulfill the word that he had spoken, "I did not lose a single one of those whom you gave me."
10 Then Simon Peter, who had a sword, drew it, struck the high priest's slave, and cut off his right ear. The slave's name was Malchus.
11 Jesus said to Peter,
CHRIST
"Put your sword back into its sheath. Am I not to drink the cup that the Father has given me?"
[4]
TESTO
12 Cohors ergo et tribunus et ministri Iudaeorum conprehenderunt Iesum et ligaverunt eum
13 et adduxerunt eum ad Annam primum; erat enim socer Caiphae, qui erat pontifex anni illius.
14 Erat autem Caiphas qui consilium dederat Iudaeis, quia expedit unum hominem mori pro populo.
[EN]
EVANGELIST
12 So the soldiers, their officer, and the Jewish police arrested Jesus and bound him.
13 First they took him to Annas, who was the father-in-law of Caiaphas, the high priest that year.
14 Caiaphas was the one who had advised the Jews that it was better to have one person die for the people.
[5]
15 Sequebatur autem Iesum Simon Petrus et alius discipulus discipulus. Discipulus autem ille erat notus pontifici et introivit cum Iesu in atrium pontifices. 16 Petrus autem stabat ad ostium foris. Exivit ergo discipulus alius, qui erat notus pontifici, et dixit ostiariae et introduxit Petrum. 17 Dicit ergo Petro ancilla ostiaria:
ANCILLA
Numquid et tu ex discipulis es hominis istius?
TESTO
Dicit ille:
PETRUS
Non sum.
TESTO
18 Stabant autem servi et ministri ad prunas, quia frigus erat, et calefiebant se, erat autem cum eis et Petrus stans et calefaciens se.
[EN]
15 Simon Peter and another disciple followed Jesus. Since that disciple was known to the high priest, he went with Jesus into the courtyard of the high priest, 16 but Peter was standing outside at the gate. So the other disciple, who was known to the high priest, went out, spoke to the woman who guarded the gate, and brought Peter in. 17 The woman said to Peter,
WOMAN
"Aren’t you also one of this man's disciples?"
EVANGELIST
He said,
PETER
"I am not."
EVANGELIST
18 Now the slaves and the police had made a charcoal fire because it was cold, and they were standing around it and warming themselves. Peter also was standing with them and warming himself.
[6]
19 Pontifex ergo interrogavit Iesum de discipulis suis et de doctrina eius.
20 Respondit ei Iesus:
CHRISTUS
Ego palam locutus sum mundo; ego semper docui in synagoga et in templo, quo omnes Iudaei convenient, et in occulto locutus sum nihil. 21 Quid me interrogas? Interroga eos, qui audierunt quid locutus sum ipsis; ecce hi sciunt quae dixerim ego.
TESTO
22 Haec autem cum dixisset, unus adsistens ministrorum dedit alapam Iesu dicens:
JUDAEUS
Sic respondes pontifici?
TESTO
23 Respondit ei Iesus:
CHRISTUS
Si male locutus sum, testimonium perhibe de malo, si autem bene, quid me caedis?
TESTO
24 Et misit eum Annas ligatum ad Caipham pontificem.
[EN]
19 Then the high priest questioned Jesus about his disciples and about his teaching.
20 Jesus answered,
CHRIST
"I have spoken openly to the world; I have always taught in synagogues and in the temple, where all the Jews come together. I have said nothing in secret.
21 Why do you ask me? Ask those who heard what I said to them; they know what I said."
EVANGELIST
22 When he had said this, one of the police standing nearby struck Jesus’s face, saying,
JEW
"Is that how you answer the high priest?"
EVANGELIST
23 Jesus answered,
CHRIST
If I’ve spoken wrongly, testify to the wrong. But if I’ve spoken rightly, why do you strike me?
EVANGELIST
24 Then Annas sent him bound to Caiaphas the high priest.
[7]
25 Erat autem Simon Petrus stans et calefaciens se. Dixerunt ergo ei:
TURBA
Numquid et tu ex discipulis eius es?
TESTO
Negavit ille et dixit:
PETRUS
Non sum.
TESTO
26 Dicit unus ex servis pontifices, cognatus eius cuius abscidit Petrus auriculam:
JUDAEUS
Nonne ego te vidi in horto cum illo?
TESTO
27 Iterum ergo negavit Petrus, et statim gallus cantavit.
[EN]
25 Now Simon Peter was standing and warming himself. They asked him,
CROWD
"You are not also one of his disciples, are you?"
EVANGELIST
He denied it and said,
PETER
"I am not."
EVANGELIST
26 One of the slaves of the high priest asked, a relative of the man whose ear Peter had cut off,
JEW
"Did I not see you in the garden with him?"
EVANGELIST
27 Again Peter denied it, and at that moment the cock crowed.
[8]
28 Adducunt ergo Iesum a Caiapha in praetorium. Erat autem mane. Et ipsi non introierunt in praetorium, ut non contaminarentur, sed manducarent pascha. 29 Exivit ergo Pilatus ad eos foras et dixit:
PILATUS
Quam accusationem affertis adversus hominem hunc?
TESTO
30 Responderunt et dixerunt ei:
TURBA
Si non esset hic malefactor, non tibi tradidissemus eum.
TESTO
31 Dixit ergo eis Pilatus:
PILATUS
Accipite eum vos et secundum legem vestram iudicate eum.
TESTO
Dixerunt ergo ei Iudaei:
TURBA
Nobis non licet interficere quemquam.
TESTO
32 Ut sermo Iesu impleretur, quem dixit significans qua morte esset moriturus.
[EN]
28 Then they took Jesus from Caiaphas to Pilate's headquarters. It was early in the morning. They did not enter the headquarters to avoid ritual defilement and to be able to eat the Passover. 29 Pilate went to them and said,
PILATE
"What accusation do you bring against this man?"
EVANGELIST
30 They answered,
CROWD
"If this man were not a criminal, we would not have handed him over to you."
EVANGELIST
31 Pilate said to them,
PILATE
"Take him yourselves and judge him according to your law."
EVANGELIST
The Jews replied,
CROWD
"We are not permitted to put anyone to death."
EVANGELIST
32 (This was to fulfill what Jesus had said when he indicated the kind of death he was to die.)
[9]
33 Introivit ergo iterum in praetorium Pilatus et vocavit Iesum et dixit ei:
PILATUS
Tu es rex Iudaeorum?
TESTO
34 Respondit Iesus:
CHRISTUS
A temet ipso hoc dicis, an alii dixerunt tibi de me?
TESTO
35 Respondit Pilatus:
PILATUS
Numquid ego Iudaeus sum? Gens tua et pontifices tradiderunt te mihi: quid fecisti?
TESTO
36 Respondit Iesus:
CHRISTUS
Regnum meum non est de hoc mundo. Si ex hoc mundo esset regnum meum, ministri mei decertarent ut non traderer Iudaeis; nunc autem meum regnum non est hinc.
TESTO
37 Dixit itaque ei Pilatus:
PILATUS
Ergo rex es tu?
TESTO
Respondit Iesus:
CHRISTUS
Tu dicis quia rex sum ego. Ego in hoc natus sum et ad hoc veni in mundum, ut testimonium perhibeam veritati: omnis qui est ex veritate audit vocem meam.
TESTO
38 Dicit ei Pilatus:
PILATUS
Quid est veritas?
[EN]
33 Then Pilate entered the headquarters again, summoned Jesus, and asked him,
PILATE
"Are you the King of the Jews?"
EVANGELIST
34 Jesus answered,
CHRIST
"Do you ask this on your own, or did others tell you about me?"
EVANGELIST
35 Pilate replied,
PILATE
"I am not a Jew, am I? Your own nation and the chief priests have handed you over to me. What have you done?"
EVANGELIST
36 Jesus answered,
CHRIST
"My kingdom is not from this world. If my kingdom were from this world, my followers would be fighting to keep me from being handed over to the Jews. But as it is, my kingdom is not from here."
EVANGELIST
37 Pilate asked him,
PILATE
"So you are a king?"
EVANGELIST
Jesus answered,
CHRIST
"You say that I am a king. For this I was born, and for this I came into the world, to testify to the truth. Everyone who belongs to the truth listens to my voice."
EVANGELIST
38 Pilate asked him,
PILATE
"What is truth?"
[10]
TESTO
Et, cum hoc dixisset, iterum exivit ad Iudaeos et dicit eis:
PILATUS
Ego nullam invenio in eo causam.
39 est autem consuetudo vobis ut unum dimittam vobis in pascha; vultis ergo dimittam vobis regem Iudaeorum?
TESTO
40 Clamaverunt rursum omnes dicentes:
TURBA
Non hunc sed Barabbam.
TESTO
Erat autem Barabbas latro.
[EN]
EVANGELIST
After he had said this, he went out to the Jews again and told them,
PILATE
"I find no case against him.
39 But you have a custom that I release someone for you at the Passover. Do you want me to release for you the King of the Jews?"
EVANGELIST
40 They shouted in reply,
CROWD
"Not this man, but Barabbas!"
EVANGELIST
Now Barabbas was a bandit.
[11]
19.1 Tunc ergo apprehendit Pilatus Iesum et flagellavit.
2 Et milites plectentes coronam de spinis inposuerunt capiti eius et veste purpurea circumdederunt eum.
3 Et veniebant ad eum et dicebant:
TURBA
Ave, rex Iudaeorum;
TESTO
Et dabant ei alapas.
4 Exivit ergo iterum Pilatus foras et dicit eis:
PILATUS
Ecce adduco vobis eum foras,
5 ut cognoscatis quia nunquam invenio in eo causam.
TESTO
Exivit ergo Iesus portans et purpureum vestimentum. Et dicit eis:
PILATUS
Ecce homo.
TESTO
6 Cum ergo vidissent eum pontifices et ministry, clamabant dicentes:
TURBA
Crucifige, crucifige eum.
TESTO
Dicit eis Pilatus:
PILATUS
Accipite eum vos et crucifigite: ego enim non invenio in eo causam.
TESTO
7 Responderunt ei Iudaei:
TURBA
Nos legem habemus, et secundum legem debet mori, quia Filium Dei se fecit.
TESTO
8 Cum ergo audisset Pilatus hunc sermonem, magis timuit.
9 Et ingressus est praetorium iterum et dicit ad Iesum:
PILATUS
Unde es tu?
TESTO
Iesus autem responsum non dedit ei.
10 Dicit ergo Pilatus:
PILATUS
Mihi non loqueris? Nescis quia potestatem habeo crucifigere te et potestatem habeo dimittere te?
TESTO
11 Respondit Iesus:
CHRISTUS
Non haberes potestatem adversum me ullam, nisi tibi esset datum desuper. Propterea qui tradidit me tibi maius peccatum habet.
[EN]
19.1 Then Pilate took Jesus and had him flogged.
2 And the soldiers wove a crown of thorns and put it on his head, and they dressed him in a purple robe.
3 They kept coming up to him, saying,
CROWD
"Hail, King of the Jews!"
EVANGELIST
and striking him on the face.
4 Pilate went out again and said to them,
PILATE
"Look, I am bringing him out to you, 5 to let you know that I find no case against him."
EVANGELIST
So Jesus came out, wearing the crown of thorns and the purple robe. Pilate said to them,
PILATE
"Here is the man!"
EVANGELIST
6 When the chief priests and the police saw him, they shouted,
CROWD
"Crucify him! Crucify him!"
EVANGELIST
Pilate said to them,
PILATE
"Take him yourselves and crucify him; I find no case against him."
EVANGELIST
7 The Jews answered him,
CROWD
"We have a law, and according to that law he ought to die because he has claimed to be the Son of God."
EVANGELIST
8 Now when Pilate heard this, he was more afraid than ever.
9 He entered his headquarters again and asked Jesus,
PILATE
"Where are you from?"
EVANGELIST
But Jesus gave him no answer.
10 Pilate therefore said to him,
PILATE
"Do you refuse to speak to me? Do you not know that I have power to release you, and power to crucify you?"
EVANGELIST
11 Jesus answered him,
CHRIST
"You would have no power over me unless it had been given you from above; therefore the one who handed me over to you is guilty of a greater sin."
[12]
TESTO
12 Et exinde quaerebat Pilatus dimittere eum Iudaei autem clamabant dicentes:
TURBA
Si hunc dimittis, non es amicus Caesaris, omnis qui se regem facit contradicit Caesari.
TESTO
13 Pilatus autem, cum audisset hos sermons, adduxit foras Iesum et sedit pro tribunali in loco, qui dicitur Lithostrotos, hebraice autem Gabbatha. 14 Erat autem parasceve paschae hora quasi sexta. Et dicit Iudaeis:
PILATUS
Ecce, ecce rex vester.
TESTO
15 Illi autem clamabant:
TURBA
Tolle, tolle crucifige eum.
TESTO
Dixit eis Pilatus:
PILATUS
Regem vestrum crucifigam?
TESTO
Responderunt pontifices:
TURBA
Non habemus regem nisi Caesarem.
TESTO
16 Tunc ergo tradidit eis illum ut crucifigeretur.
[EN]
EVANGELIST
12 From then on Pilate tried to release him, but the Jews cried out,
CROWD
"If you release this man, you are no friend of the emperor. Everyone who claims to be a king sets himself against the emperor."
EVANGELIST
13 When Pilate heard these words, he brought Jesus outside and sat on the judge's bench at a place called The Stone Pavement, or in Hebrew Gabbatha. 14 Now it was the day of Preparation for the Passover; and it was about noon. He said to the Jews,
PILATE
"Here is your King!"
EVANGELIST
15 They cried out,
CROWD
"Away with him! Away with him! Crucify him!"
EVANGELIST
Pilate asked them,
PILATE
"Shall I crucify your King?"
EVANGELIST
The chief priests answered,
CROWD
"We have no king but the emperor."
EVANGELIST
16 Then he handed him over to them to be crucified.
[13]
Susceperunt autem Iesum et eduxerunt eum.
17 Et baiulans sibi crucem, exivit in eum, qui dicitur Calvariae, locum, hebraice autem Golgotha.
18 Ubi crucifixerunt eum; et cum eo alios duos hinc et hinc, medium autem Iesum. 19 Scripsit autem et titulum Pilatus et posuit super crucem. Erat autem scriptum: Iesus Nazarenus rex Iudaeorum.
20 Hunc ergo titulum multi Iudaeorum legerunt, quia prope civitatem erat locus ubi crucifixus est Iesus, et erat scriptum hebraice, graece et latine. 21 Dicebant ergo Pilato pontifices Iudaeorum:
TURBA
Noli scribere rex Iudaeorum, sed quia ipse dixit: Rex sum Iudaeorum.
TESTO
22 Respondit Pilatus:
PILATUS
Quod scripsi scripsi.
TESTO
23 Milites ergo cum crucifixissent eum, acceperunt vestimenta eius et fecerunt quattuor partes, unicuique militi partem, et tunicam. Erat autem tunica inconsutilis desuper contexta per totum.
24 Dixerunt ergo ad invicem:
TURBA
Non scindamus eam, sed sortiamur de illa cuius, cuius sit.
TESTO
Ut scriptura impleatur dicens: ‘Partiti sunt vestimenta mea sibi et in vestem meam miserunt sortem’. Et milites quidem haec fecerunt.
[EN]
So they took Jesus;
17 and carrying the cross by himself, he went out to what is called The Place of the Skull, which in Hebrew is called Golgotha.
18 There they crucified him, and with him two others, one on either side, with Jesus between them. 19 Pilate also had an inscription written and put on the cross. It read, "Jesus of Nazareth, the King of the Jews."
20 Many of the Jews read this inscription, because the place where Jesus was crucified was near the city; and it was written in Hebrew, in Latin, and in Greek. 21 Then the chief priests of the Jews said to Pilate,
CROWD
"Do not write, "The King of the Jews,' but, "This man said, I am King of the Jews.' "
EVANGELIST
22 Pilate answered,
PILATE
"What I have written I have written."
EVANGELIST
23 When the soldiers had crucified Jesus, they took his clothes and divided them into four parts, one for each soldier. They also took his tunic; now the tunic was seamless, woven in one piece from the top.
24 So they said to one another,
CROWD
"Let us not tear it, but cast lots for it to see who will get it."
EVANGELIST
This was to fulfill what the scripture says, "They divided my clothes among themselves, and for my clothing they cast lots." And that is what the soldiers did.
[14]
25 Stabant autem iuxta crucem Iesu mater eius et soror matris eius Maria Cleopae et Maria Magdalena.
26 Cum vidisset ergo Iesus matrem et discipulum stantem quem diligebat, dicit matri suae:
CHRISTUS
Mulier, mulier, ecce filius tuus.
TESTO
27 Deinde dicit discipulo:
CHRISTUS
Ecce, ecce mater tua.
TESTO
Et ex illa hora accepit eam discipulus in sua.
[EN]
25 Meanwhile, standing near the cross of Jesus were his mother, and his mother's sister, Mary the wife of Clopas, and Mary Magdalene.
26 When Jesus saw his mother and the disciple whom he loved standing beside her, he said to his mother,
CHRIST
"Woman, here is your son."
EVANGELIST
27 Then he said to the disciple,
CHRIST
"Here is your mother."
EVANGELIST
And from that hour the disciple took her into his own home.
[15]
28 Postea sciens Iesus quia iam omnia consummata sunt, ut consummaretur scriptura, dicit:
CHRISTUS
Sitio.
TESTO
29 Vas ergo positum erat aceto plenum; illi autem spongiam plenam aceto hysopo circumponentes obtulerunt ori eius.
30 Cum ergo accepisset Iesus acetum dixit:
CHRISTUS
Consummatum est.
TESTO
Et inclinato capite, tradidit spiritum.
[EN]
28 After this, when Jesus knew that all was now finished, (in order to fulfill the scripture) he said,
CHRIST
"I am thirsty."
EVANGELIST
29 A jar full of sour wine was standing there. So they put a sponge full of the wine on a branch of hyssop and held it to his mouth.
30 When Jesus had received the wine, he said,
CHRIST
"It is finished."
EVANGELIST
Then he bowed his head and gave up his spirit.
[16]
31 Iudaei ergo, quoniam parasceve erat, ut non remanerent in cruce corpora sabbato (erat enim magnus dies ille sabbati), rogaverunt Pilatum ut frangerentur eorum crura et tollerentur. 32 Venerunt ergo milites, et primi quidem fregerunt crura et alterius qui crucifixus est cum eo.
33 Ad Iesum autem cum venissent, ut viderunt eum iam mortuum, non fregerunt eius crura. 34 Sed unus militum lancea latus eius aperuit et continuo exivit sanguis et aqua. 35 Et qui vidit testimonium perhibuit, et verum est testimonium eius. Et ille scit quia vera dicit, ut et vos credatis.
36 Facta sunt enim haec ut Scriptura impleretur. ‘Os non comminuetis ex eo’. 37 Et iterum alia scriptura dicit: ‘videbunt in quem transfixerunt’.
[EN]
31 Since it was the day of Preparation, the Jews did not want the bodies left on the cross during the sabbath, especially because that sabbath was a day of great solemnity. So they asked Pilate to have the legs of the crucified men broken and the bodies removed. 32 Then the soldiers came and broke the legs of the first and of the other who had been crucified with him.
33 But when they came to Jesus and saw that he was already dead, they did not break his legs. 34 Instead, one of the soldiers pierced his side with a spear, and at once blood and water came out. 35 (He who saw this has testified so that you also may believe. His testimony is true, and he knows that he tells the truth.)
36 These things occurred so that the scripture might be fulfilled, "None of his bones shall be broken." 37 And again another passage of scripture says, "They will look on the one whom they have pierced."
arvo pärt, Da Pacem Domine
Da pacem, Domine, in diebus nostris
Quia non est alius
Qui pugnet pro nobis
Nisi tu Deus noster.
[EN]
Give peace, O Lord, in our time
Because there is no one else
Who fights for us
If not You, our God.
B'Rock Orchestra
Andreas Küppers, musical direction, harpsichord, organ
Jivka Kaltcheva, first violin
Rebecca Huber, second violin
Manuela Bucher, viola
Rebecca Rosen, cello
Tom Devaere, double bass
Flora Papadopoulos, harp
Karl Nyhlin, lute
B'Rock Vocal Consort
Heike Heilmann, Margaret Hunter, Amélie Renglet, soprano
Katharina Ross, Alexander Schneider (Pilatus), Bart Uvyn, alto
Jo Holzwarth, Fabian Kelly, Mirko Ludwig, tenor
Leander Carlier, Matthias Lutze (Jesus), Ulfried Staber, bass
main partners
Klara, KPMG, Nationale Loterij-meer dan spelen
festival partners
Brouwerij Omer Vander Ghinste, Interparking, Proximus, Yakult
public funding
BHG, Nationale Bank van België, Vlaamse Gemeenschap, Vlaamse Gemeenschapscommissie
cultural partners
Bozar, Concertgebouw Brugge, Davidsfonds, DESINGEL, Flagey, KVS, Muntpunt, Théâtre Les Tanneurs
official festival suppliers
Brand it Fashion, Café Costume, Café Victor, Casada, Daniel Ost, Fruit at Work, Humus X Hortense, Harvest, Les Brigittines, Neuhaus, Pentagon, Piano’s Maene, Thon Hotels
media partners
BRUZZ, BX1, Canvas, Clearchannel, De Standaard, Eén, La Libre, La Première, La Trois, Musiq3, Radio 1, Ring TV, visit brussels