The Passion of Christ is one of the most touching stories of human suffering and its meaning extends far beyond the Christian church community. Fear of maintaining power, fanaticism, malice, deceit and envy have born hosts of inhuman despots who murder and torment every day. For 2000 years, Jesus' report of suffering has given all of their victims a powerful voice - and spends consolation also.

There is a report of an unworthy court martial in front of a fanatic crowd. But there is also a report of Peter, in whose desperation and weakness man can find himself if he searches.

The suffering and death of Jesus is a sign to man - and for the artist, the passion is a constant source of inspiration that is closely related to the great questions of our being.

Again and again I was concerned with the plan to create a closed Easter Week cycle and ultimately, at the request of Prof. Markus Utz, three works were created that, like the Easter Week responses, address the three days of suffering: Maundy Thursday, Good Friday and Easter Saturday. The result is the Holy Week Triptych for choir a cappella with the compositions o vos omnes (Psalms 74.1 and 82.2), Conductus (Choralis constantinus: Haec dies and Pascha nostrum immolatus est Christ, alleluia) and Resurrezione (Lyrics: A. Bonoli).

The 'Lament' o vos omnes about Asafpsalms 74.1 and 82.2 describes the total paralysis of the frightened flock of Jesus' friends and companions after his arrest on the Mount of Olives. It is the despair in the face of the presumed loss of divine love that takes all hold from the crowd and, in the beginning, also the faith. "God, don't be so silent [...]!"

The following Conductus is marked by deep sorrow over the death on the cross, but it is also the longed-for sign of hope. In all his grief it is permeated with the certainty of a coming resurrection of Christ and as an unshakable rock it stands in the midst of a brutal scene of execution and amazingly, it speaks of overcoming death long before Easter Sunday dawns.

Resurrezione

"Menacing, like a trapping iron,

painful like the final examination in front of God,

unsettling, like an unexpected sound,

who jumps out of nowhere

the lonely soul is decided and intolerant [...] "

In her resurrection text, Alessandra Bonoli calls for the liberation of the closed and cold soul. It calls for resistance to fear and oppression and it calls for a beam of light that cuts the ocean to the ground. It is the individual, the lonely in resistance, who goes far beyond what is necessary and thus achieves that his deed becomes a shining ball (created of unknown alloy) that, like a tooth made of gold, illuminates the night. Bonoli's resurrection is not a glorified scene but a political manifesto in the struggle for humanity and dignity.

The Ensemble ParoleCheDanzano – a collective of danceAuthors –  (Sandra Fuciarelli & Rossana Abritta) has now woven a spectacular dance into this framework of music, text and graphics, which comments on what happened on a meta-level and brings all the storylines together.