Credo, Music.
Venue: Guy Butler Theatre
Interview Review
By Benevolence Mazhinji
In the hush before the first downbeat of Credo, it’s easy to forget how much work it takes to hold a piece of this scale together. The score itself stretches across 187 pages of dense, intricate writing for choir and orchestra; each measure layered with details demanding total command. For conductor and choirmaster Kutlwano Kepadisa, bringing Credo to the stage meant rebuilding the entire score line by line. “I didn’t want to rely on recordings,” he said. “I had to type it all out and know exactly what happens sonically.”
Even with all that preparation, the time available for the whole team to practise was far less than ideal. Instead of the six rehearsals the work had in its first 2013 production, this performance came together after only two. Despite the pressure and almost no margin for error, the ensemble held their nerve. Kepadisa said, “I don’t know how on earth we did that, but we pulled it off.”
Behind their success is a complex web of coordination. Without the full score, the choir relied on the choirmaster’s careful guidance, coming in at exactly the right moments in between shifting layers. Alongside him stood the lead violinist, who anchored the string section and helped keep everyone aligned. When the strings are together, it’s easier for everyone to fall into place. It’s a delicate balance of timing and listening. Teamwork was the invisible labour that carried the heart of this performance.
Credo demanded focus and nerve from every musician, and in a way, this collective effort mirrored the spirit of the Freedom Charter itself. Just as the Charter was crafted by many voices, so too was Credo, with musicians determined to build something larger than themselves. Credo came truly alive through the commitment and dedication of everyone on stage.
