Helene Bracke: “I want to bring out the fun in funeral”

The annual winter production of the Belgian National Orchestra is usually lighthearted. And yet, you chose death as the overarching theme.

That's right! This theme had been on my wish list for a long time, and I think it fits well with the Christmas and New Year period. It’s during the annual family gatherings at this time of year that one notices the absence of someone. How do you explain that empty chair to your children? And when you celebrate without a loved one, the absence feels even greater. In Western society, we don't like to talk about death, especially not with children. We prefer not to bring it up, and if we must, we come up with something about a star in the sky or, in the case of a pet, a farm far, far away. We don’t like to confront sadness and loss, and prefer to sweep it under the rug. In the past, graveyards were located around churches, in the middle of villages. Today, they are on the outskirts of cities, and almost no one keeps their loved ones at home for five days. Nevertheless, I believe it is important to talk to children about death. Everyone encounters it sooner or later. Child psychiatrist and grief expert Uus Knops expresses this beautifully. She writes that she wants to help children understand the winter of their lives while they are in the spring. I think that is a very beautiful goal.

Creating a musical theater performance for children about death... How do you approach this?

For me, creating means fully immersing yourself in your own imagination. With such a sensitive theme, I didn’t want to impose my own imagination on children or put words in their mouths. Early in my process, I decided to let children speak for themselves. They are the ones who fantasize! I have conversations with children who are grieving (in collaboration with the non-profit association Missing You, which works with grieving children), as well as with children who have never encountered death. For conversations with grieving children, I informed myself through books on child psychology and consulted the volunteers of Missing You. How do you talk to a child who has just lost their father? It was enlightening to hear that simply having a conversation about their loss and sadness helps them in their processing. Children also process a lot through their imagination and play. During the conversations, I invite them to let their imaginations run free. Sometimes this leads to very funny things! The conversations are recorded, and later I select fragments to include in the performance.

Is there a specific story in À la vie, à la mort – Voor altijd?

Yes, indeed! Based on conversations with children, I wrote a dialogue between a French-speaking and a Dutch-speaking child. On stage, you will see what happens in their minds and in their play. One child has lost her grandmother. The other child’s father is sick and is going to die. Together, they fantasize about death and life, play, feel misunderstood, argue, and find comfort. On stage, you will see the grandmother, played by me as a mezzo-soprano, and the father, portrayed and sung by the bass Charles Dekeyser. Additionally, there is also a clown on stage: the incredibly talented and internationally renowned clown Anatoli Akerman. I am very pleased that he is coming to Belgium for this! He moved me during Circus Roncalli in Hamburg. He is also seen with Cirque du Soleil and in Tim Burton’s film Dumbo. Why a clown? The clown wears a mask to hide his true feelings, but a clown is also a jester. The perfect character to keep this loaded theme light and playful. And yes, I want to bring out the fun in funeral! In my performance, the clown acts as a sort of angel, a messenger between life and reality, and the afterlife, that which we hope for. The clown’s role is to make us happy and make us laugh. Something I also find very important: laughter!

What role does music play?

Music, especially classical music, has a special relationship with mourning. Many people who rarely listen to classical music turn to it when they have to say goodbye to someone. I find that very special but also very understandable. Music moves us and makes it a little easier to let our tears flow. And crying is cathartic! For À la vie, à la mort – Voor altijd, I got to choose the music myself. Of course, I didn’t choose only tearjerkers, but there is always a connection to death. The repertoire is a mix, ranging from Baroque music to upbeat arrangements by Jacques Brel and Claude François. Also expect some robust orchestral works, performed by the Belgian National Orchestra in full force, such as the waltz from Khachaturian’s Masquerade Suite and the famous Danse macabre by Camille Saint-Saëns.

As a mezzo-soprano, you will also be singing in the performance. Can you describe what it feels like to be a soloist with an orchestra backing you?

It is always an incredible experience. You really feel supported by that 80-member orchestra. Perhaps the best way to describe it is as a huge ‘kick’. I am very much looking forward to rehearsals with the orchestra and the performances themselves, but I am also enjoying the process: the conversations with the children, the recordings with the young actors. It is very intense. It is very personal. I have never cried so much while preparing a performance. It is so beautiful and at the same time so sad. A bit like life itself, but it becomes bearable when we can cry together. Ultimately, I certainly do not want to create sadness, but relief.

You are also working on a podcast?

Indeed. The conversations with the children are not yet complete, but we have already gathered so much beautiful and valuable material. Because the project moves me so much, I want to give it a further life and also reach children who won't be able to come to Bozar. The podcast is being made in collaboration with Missing You. In addition to the children, we will have conversations with caregivers, a psychologist and also with adults who lost someone dear to them as children. The goal is to talk about death and loss, to normalize grief, and to share the beauty and comfort that music can bring. The podcast will be available in the spring of 2025. If the performance touches children, and if the podcast opens up a much-needed conversation in a small classroom, then my mission will be accomplished.