PRETORIA, SOUTH AFRICA (AP) - The Soweto-born soprano who plays Winnie Madikizela-Mandela in a new opera says the story of the “mother of the nation” accused of brutality in her fight against apartheid is deeply familiar.
“It’s something that I grew up knowing. It’s part of my history,” Tsakane Maswanganyi said in an interview ahead of Thursday’s premiere of “Winnie the Opera” at the State Theatre, South Africa’s equivalent of America’s Lincoln Center or Britain’s National Theatre.
For two hours during which she appears in nearly every scene, Maswanganyi works to combine powerful singing and acting to portray a character who is at one moment imperious and in control, the next vulnerable under an apartheid jailer’s whip. She is a giddy young girl in love, singing, “His smile is daylight that never ends.” And she is an anguished woman, singing, “Nelson, where are you?”
Nelson Mandela, who divorced Madikizela-Mandela in 1996, appears in the production only as an offstage voice and a silhouette on a large screen that is the main scenic element. A few years after the iconic couple married in 1958, Mandela was found guilty of sabotage and sentenced to life imprisonment. Mandela was to remain in prison until 1990.
During their long years apart, Madikizela-Mandela, 17 years younger than Mandela, grew into a sophisticated political leader in her own right who was repeatedly arrested, jailed and placed under house arrest. But she also was accused of embracing the most radical, violent ideology of the broad anti-apartheid movement, and of turning the violence on fellow blacks.
In 1969, Madikizela-Mandela was among 21 activists detained in nationwide dawn raids, accused of terrorism. They all were eventually acquitted, but Madikizela-Mandela spent 491 days in detention, most of it in solitary confinement. She writes in a 1984 memoir, “Part of my soul went with him,” of being interrogated continuously for five days and five nights, growing so exhausted she periodically fainted.
Before that ordeal, she writes, she was incapable of violence. After it, “if a man I’m dealing with appeared carrying a gun _ in defense of my principles I know I would fire. That is what they have taught me. I could never have achieved that alone.”
“That is the bitterness they create in us.”
If the opera’s creative team lays the overall blame on apartheid, they also hold Madikizela-Mandela responsible for what she has done and what she has inspired. Maswanganyi sings chilling lines from a speech Madikizela-Mandela gave:
“With the rubber tire and our boxes of matches, we shall liberate this land.” Violence descends, and the Madikizela-Mandela character is anguished, seemingly unable to believe the impact of her words. Swanepol, a character introduced earlier as her torturer and a symbol of apartheid, strides across the stage, satisfied.
The Mandelas separated in 1992 after Madikizela-Mandela was convicted and fined in the kidnapping in the 1980s of four young black men, among them one who was beaten to death. Mandela, South Africa’s first black president, nonetheless named her to his Cabinet, as a deputy arts and culture minister in 1994. A year later, following police investigations into influence peddling, Mandela fired his wife, labeling her undisciplined.
Mandela asked for a divorce in 1995, accusing his wife of infidelity. The collapse of their marriage was finalized in 1996.
Madikizela-Mandela’s career waned, though many South Africans still revered her for the role she played in the anti-apartheid struggle. In 2009, she was again elected to parliament.