the full film was lost, a surviving document from the editing stage lists all the sequences as they appeared in the final version, and from surviving fragments and the drawings of Jo Spier, historians have "a very good idea of the visual image of virtually every scene in the film's 38 sequences", according to Margry. Nothing survives of a scene showing the self-government's court and a different scene in a dining hall. The film opens with the children's choir, directed by Karel Fischer, singing Mendelssohn's oratorio, Elijah. The Ghetto Swingers, a jazz band, plays outside, and "prominent" prisoners enjoy food and beverages on a terrace and in a sham coffee house. Various sports events are also performed. The first eight sequences of the film show only leisure activities, setting the tone for the rest of the film and casting Theresienstadt as a holiday resort. Later sections of the film focus on work, including the Jewish self-government, construction projects, craft workshops, and agriculture. H. G. Adler notes that the type of work depicted in the film was not typical of that performed by most prisoners. Fake institutions, such as a bank and various shops, are also shown. Theresienstadt medical care, including a hospital and recuperation home, makes an appearance. Family life and unstructured leisure time is depicted towards the end of the film. The final scene is of a performance of the children's opera Brundibár. Karl Rahm insisted that the "prominent" prisoners of Theresienstadt be filmed, and pressed Gerron to include more of them in his shots. Among the "prominents" who appeared were Jo Spier, Max Friediger, Paul Eppstein, and Leo Baeck. The SS also insisted that the film's soundtrack consist exclusively of Jewish composers. According to España, the film itself is of good technical quality, and the focus on leisure activities creates an "atmosphere of a perpetual party". Margry states that the narration was "the main truth-distorting element", but nevertheless included some factual information. According to Margry, historians have exaggerated the falseness of the film. Although Theresienstadt as a whole is "a vicious work of propaganda", "the visual authenticity" of the film is greater than many commentators have written, and the film accurately depicts some elements of daily life in the ghetto. Margry argues that "the film's blatant dishonesty turns on what it did not show: the hunger, the misery, the overcrowding, the slave work for the German war economy,