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| On Site Opera's "Amahl.... |
Throughout my childhood, one of the most important moments in my family's annual Advent liturgy was the yearly NBC broadcast of Amahl and the Night Visitors. From the time I was two years old to the time I was 17, I waited in anticipation for this production every year. My family owned the original cast recording with the Bosh "Adoration" on the cover and accompanying libretto which I had pretty well memorized by age 10.
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| Bosch "Adoration of the Magi" |
I barely noticed that it was gone, but I eventually caught on. It made a one-time reappearance in 1978, but the annual event was over. During those years, the narrative of the Menotti opera had become for me (almost) as much a part of the canon as Matthew and Luke.
Thus I was very excited when I learned that On Site Opera would be doing a production of "Amahl"...The more I learned the more impressedI was. The production would be done in conjunction with Holy Apostles Soup Kitchen and in partnership with "Breaking Ground," an organization dedicated to getting homeless people into permanent affordable housing. While opera professionals would take the leads, the chorus would be made up of current and formerly homeless people.
OSO kept faith with all my expectations. As you enter the church, you are aware that you are in a church that has opened up its worship space as a soup kitchen. Tables throughout the sanctuary give the impression of a meal just served. Amahl's mother is cleaning up after that meal and is interacting with the security guard. A simple child's toy on the floor helps set the stage and the narrative will emerge from this context.
From the first orchestral notes I was relieved that they were played with sharpness, precision and expression. (The last time I saw a community Amahl, the strings just about did me in. And the first sung notes took me back through over half a century to emotionally connect in ways that took me by surprise. And not the only edge of tears moment.
The cast was truly stellar throughout starting with Devin Zamir Coleman as Ahmal, alternating with Luciano Pantano, Aundi Marie Moore, Jospeh Gaines, Daniel Belcher, Musa Nkungqwana and Jonathan Green as Amahl's mother, the kings and the Page are equally effective in their roles.
For the most part the framing device works, although at times it stretches and strains to contain the narrative. I liked the kings as characters one encounters on the street...with shopping cart, wagon, baby carriage and outlandish garb. I've met them all. The chorus arises out of the gathered communuty. Having the security guard be the "page" who calls out the theft was well played. As was coming back to the toy at the end. When it becomes difficult to manage the narrative within the frame its best to just take in the collective sense and feeling of the moment.
Amahl emerged in a different US. One that was still in a glow of post war optimism that hoped to provide opportunity as a basic right. Networks like NBC commissioned new works of classical music and made them available to the public as Bernstein passionately believed that music belonged to the people.
It's a different day. Culture is increasingly restricted to the privileged class. We have few collective shared experiences on media. And poverty is perceived as being just desserts. In such a time, the question before the artistic and creative community is what then is our responsibility in such an age? Onsite Opera is clearly seeking to answer that question creatively and responsibly. The fact that the opera was presented as part of a free opera program makes it all the more powerful a witness.
Onsite opera is now one of the resident companies of the Center at West Park, a place that has as part of its mission exploring the intersection of ethics and esthetics, beauty and justice. Seems like a good fit.....
https://osopera.org/
https://www.centeratwestpark.org/
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