Light & Hope Ring Out in Amahl and the Night Visitors
Graphic by: Chip Schneider
I had the pleasure of attending Franklin Light Opera’s production of Menotti’s Amahl and the Night Visitors this afternoon. As noted in the program, composer and librettist Gian Carlo Menotti was commissioned to compose this opera in one act by NBC television network, “making it the very first opera composed for TV in the United States. The first performance was broadcast live on December 24, 1951 by the NBC Opera Theatre in New York City.”
The first of just two performances of this Menotti classic was about sold out! Young Colette Barkley aptly portrayed the title role of Amahl in this performance. A beautiful treble voice well-suited for this score, Barkley was both endearing and courageous, especially when it came to defending Mother from potential harm. Shelley Schneider’s warm mezzo soprano soared as His Mother throughout this opera. Performed in the sanctuary of the Episcopal Church of the Resurrection, we were swept away as she sang her aria, “All That Gold.” Feeling the angst of longing to provide better for her son and trying to resist the temptation of acting out of desperate judgement towards the rich who, from her perspective, seem so unaware of the pain and suffering in the world all around them.
“All that gold! All that gold!
I wonder if rich people know
what to do with their gold?
Do they know how a child could be fed?”
The entrance of the three kings was charmingly staged by director, John Schultz. The audience increased their laughter each time Amahl opened the door at His Mother’s request to clarify that he had indeed seen not one, not two, but three kings in addition to their Page, Nathan Abelt, asking to be let in out of the cold. You can’t help but feel that these special visitors have not arrived by coincidence but rather that their journey has great purpose in addition to their destination. I was especially impressed with the impeccable diction of King Balthazar, portrayed by Josiah Smith, a bass currently studying at Lipscomb University and making his opera debut! You would not have guessed this was his first opera performance. He held his own next to seasoned baritone, Ryan Bede, who brought a genuine kindness to his role as King Melchior as he immediately offers grace and a message of hope to Amahl’s Mother in his aria, “Oh, Woman, You Can Keep That Gold.” Having witnessed Mr. Bede recently sing the role of Moralés in NOA’s production of Carmen in the much larger venue of Jackson Hall at the Tennessee Performing Arts Center, I admire his ability to adjust his powerful voice to adequately fit the more intimate setting of the sanctuary while still flooding the audience with his rich baritone timbre.
“Oh woman, you may keep the gold.
The child we seek
doesn’t need our gold.
On love, on love alone he will build his kingdom.”
Like any good drama, there are elements of humor to it. Tenor Nicholas Branson provided comedic relief throughout as the hard-of-hearing King Kaspar who shares that he has indeed been bit by his parrot. A highlight of this performance for me was the contagious joy the cast so wonderfully displayed upon witnessing the miracle granted to Amahl! The audience also had visible and auditory reactions during this encounter. What a moving moment to look out and see many families with children experiencing the joy of live theatre together in this way! Barkley’s happiness was radiant and Ms. Schneider’s overwhelming show of emotion upon seeing her son healed moved many to tears.
“Look mother, I can fight, I can work, I can play. Oh mother, let me go with the kings.
I want to take the crutch to the child, myself.”
The ensemble of shepherds in this production was absolutely lovely. I feel that FLO has some of the strongest ensemble singing in the Nashville area. They added such a powerful touch to this heartwarming story. This specific production had performers entering and exiting from multiple locations to accommodate the layout of the sanctuary space. Music Director, Mark Ring’s ability to conduct with cohesive nuance despite having to pivot the direction he was facing throughout was impressive. The reduced orchestration comprised of piano (Kate Ward), violin (Kameron Myers), and oboe (Rebecca Teel) was truly beautiful in the acoustics of this venue and maintained a quality balance between the singers and the instruments.
On a chilly night in January, this production was a wonderful balm to the soul. We can all relate in some way to the hopefulness of Amahl, the gut-wrenching struggles of his widowed Mother, the anticipation of the three kings, or the excitement of the shepherds. I am told that there is a waiting list for their final performance on January 19th at the Historic Franklin Presbyterian Church and I can certainly see why! For more info, please contact: info@franklinlightopera.org