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Gian
Carlo MENOTTI (1911-2007) Amahl and the Night Visitors (1951) [49:05] My Christmas (1987) [12:31]
Ike Hawkersmith
(treble) – Amahl
Kirsten Gunlogson (mezzo) – Mother
Dean Anthony (tenor) – King Kaspar
Todd Thomas (bar) – King Melchior
Kevin Short (bass-bar) – King Balthazar
Bart LeFan (bar) – Page to the Kings
Members of the Nashville Symphony Chorus and Chicago Symphony
Chorus
Nashville Symphony Orchestra/Alastair Willis
rec. Laura Turner Concert Hall, Schermerhorn Symphony Centre,
Nashville, Tennessee, USA; December 2006 (Amahl),
November 2007 (My Christmas) NAXOS
8.669019 [61:36]
Menotti’s seasonal opera gets a
welcome outing on Naxos with an all-American cast who give
superb commitment to the score. The end product is very
satisfying and a welcome addition to the work’s discography.
Italian-born Menotti spent most
of his career in the United States and he is most renowned
for his operatic work. Amahl is the most famous,
but he also wrote popular works like The Saint of Bleecker
Street together with vehicles for Beverly Sills and
Placido Domingo, testifying to how highly regarded he was
by singers. Amahl is his most popular work and
has enjoyed the most exposure, written as it was for television. According
to the helpful booklet note for this release it was shown
on NBC every year between 1951 and 1966, together with
several later productions and some runs on the BBC. It’s
not difficult to explain its popularity: the small cast,
unassuming stage requirements and seasonal appeal make
it practical, while its music is remarkably lyrical for
a post-war opera, and has all the attractiveness of a festive
treat.
The story is straightforward: Amahl
is a crippled boy who has problems with telling the truth. He
lives in poverty with his mother near Bethlehem. One night
they are visited by the three kings on their way to see
the Christ-child. Amahl’s mother is tempted to steal some
of their gold to help provide for the family, but when
she is caught the kings forgive her because the child they
are going to see has no need of earthly treasures. Amahl
gives his crutch to the kings as a gift for the child and
he is miraculously healed in consequence. During the final
moments he leaves with the kings to go and worship the
child.
Menotti’s achievement is to tell
the story without lapsing into sentiment. He unstintingly
portrays the desperate poverty of their circumstances,
while contrasting this with the child-like optimism of
Amahl himself. The atmosphere of a hot middle-eastern
night is conveyed effectively too through, for example,
Amahl’s shepherd pipes which open the piece and which are
heard at various points throughout. The rustic dance which
the shepherds put on to entertain the kings paints a good
scene, as does the oriental march which accompanies the
kings’ first appearance. He also uses operatic conventions
convincingly: Amahl has to re-visit the door various times
to convince his mother that the kings are outside. The
repetitions this involved reinforce the musical and dramatic
themes of the moment. If the miracle scene at the end
feels a bit peremptory then it rises to a convincing climax
and prepares for a warmly satisfying conclusion.
The all-American cast are clearly
fully convinced by this work and they give their all in
performance. No libretto is provided in the booklet, but
the diction is so good that you won’t need it. As Amahl,
Ike Hawkersmith is a strong vocal presence and his characterisation
changes convincingly from a somewhat irritating brat to
a believer stirred by his experiences. His aria about
the family’s poverty (track 10) is very poignant, as is
the scene where his mother later likens him to the Christ
child (track 14). Kirsten Gunlogson is suitably waspish
as Mother, while she too is transformed into a convincing
penitent after the theft scene. The kings are all taken
well, especially Kevin Short who brings an authoritative
grandeur to his role as “the black King” (Amahl’s words). The
contributions of the chorus are expertly judged: the Shepherds’ roundel
is very attractive because no-one takes themselves too
seriously and everyone is convinced to act their part. The
orchestra pares down its textures very fittingly, held
together capably by Alastair Wills, and the sound is immediate
and close without being intrusive.
My Christmas is a rather sentimental setting for chorus of some of Menotti’s own
words. There isn’t much to it, but its textures are appealing:
the chorus are accompanied by flute, oboe, clarinet, horn,
harp and double bass, with a touching restraint at its
climax.
Naxos have done well to bring such
a strong performance to the catalogue at budget price. It
all adds up to a fine seasonal treat to be enjoyed with
a cup of mulled wine and a mince pie.
Simon Thompson
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