The descriptions of Theresienstadt (in German) or Terezín (in Czech) are as true as I was able to discern having not been there. Please feel free to refer to the books listed in the references to learn more about the ghetto that imprisoned so many talented people. When the camp first opened, primarily Czechs were housed there. It was only later in the war that Germans, Poles, and Austrians were sent there as well. Most of the artists referenced in the book were of Czech descent, which is why it was imperative that Ursula speak the language. Using only one score, Verdi’s Requiem was performed sixteen times under Rafael Schächter’s leadership. More on this amazing feat can be found at https://www.defiantrequiem.org. The quote in Chapter 40, “whatever we do here is just a rehearsal for when we will play Verdi in a grand concert hall in Prague in freedom,” is taken directly from Schächter’s speech to his choir prior to one of the performances.
The International Red Cross did spend a day in Terezín on June 23, 1944. The Nazis created a façade of a perfect village, and thousands of inmates were shipped to Auschwitz and elsewhere in order to lower the population prior to the visit. Hans Krása’s Brundibár was performed, and the children did offer an ironic Nazi salute at the end of the show. Although there were many SS officials in attendance, Adolf Hitler was not there. Several months after the Red Cross visit, the entire cast was sent to Auschwitz, where a few children managed to survive. The little girl who is singled out by Hitler after the show was based on a picture of one of the cast members named Greta. I can only hope that Greta was one of the children who survived Auschwitz, but in this re-imagined version of events, she definitely survived.
Finally, I have a personal link to Brundibár, the children’s opera that was performed during the International Red Cross visit to Terezín on June 23, 1944. When I first became aware of the Central Pennsylvania Youth Opera (CPYO), its director was a bright, energetic woman named Addie Appelbaum. She told me stories of growing up in New York and meeting Leonard Bernstein. Addie’s enthusiasm was infectious and drew me into the children’s opera world. Her cast was performing Brundibár when I met her. One of the cast members was my voice student, and she took it upon herself to contact a woman who had seen a Brundibár performance as a child in Terezín. This incredible lady spoke before the CPYO performance and, of course, there was not a dry eye in the house. Literally. Although I didn’t know it at the time, the seed of Swan Song was planted that day. Since that time Terezín has haunted me, causing me to read multiple books about the ghetto and its inmates. In the meantime, I ended up performing several shows with CPYO, and Addie and I became friends. She was invaluable in the creation of this book, as she very kindly read through and commented on two versions. Swan Song would not be the novel it is without her insight, wisdom, and guidance.
In addition to Addie, I am indebted to my beta readers, my editor, and my publisher, as well as Steve Eisner, who believed in Swan Song when I was still mulling over how to accurately capture the enormity of the story and its characters. And to my wonderful family, without whom my writing would not be possible, I love you and thank you for your unending support.
I am in awe of the Terezín inmates’ tenacity in the face of unspeakable suffering, and their ability to create beauty where there should have been only terror and fear. Nothing can bring back the millions who perished in the Nazi reign of terror, but we can honor their memory by not allowing the world to forget.
Humbly,
Elizabeth B. Splaine
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About the Author
Elizabeth B. Splaine is a retired opera singer who enjoys reading and writing WWII stories that focus on tenacity, hope and the indomitable human spirit. Prior to writing, Elizabeth earned an AB in Psychology from Duke University and an MHA from University of North Carolina, Chapel Hill. She spent eleven years working in health care before switching careers to become a professional opera singer and voice teacher. When not writing, Elizabeth teaches classical voice in Rhode Island, where she lives with her husband, sons, and dogs.
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