Operatic Saint Louis recently interviewed Tim Ocel, stage director of Union Avenue Opera’s holiday production Amahl and the Night Visitors. Ocel’s directing credits include work at diverse venues such as Opera Theatre St. Louis, Shakespeare Santa Cruz, Sacramento Theatre Company and Boston Lyric Opera. He has also served on the faculty of the University of Kansas-Lawrence, directing several mainstage operas. Amahl and the Night Visitors marks his first production with Union Avenue Opera.
Operatic Saint Louis: Amahl and the Night Visitors has become a beloved holiday piece since its television debut on NBC in 1951. What qualities and themes of this piece resonate with you as a viewer and director?
Tim Ocel: Whether I’m directing or as audience member I always like a good, clear story and Amahl is extremely clear and simple. The music is quite touching and very appropriate for the dramatic situations. The dramaturgy of the libretto is smart.
Thematically, I love the idea that people are given a second chance. Whether you can call that specifically “redemption” I’m not sure; the Amahl story isn’t as clearly a redemption story as A Christmas Carol. But anytime someone is given a second chance, I’m overjoyed. And the Kings are journeying to visit a child who will give a message of peace to the world. I like that. (Whether we listen to that message is another story.)OSL: Another Menotti opera, The Saint of Bleecker Street, deals with spirituality and miracles just as in Amahl. How do you think Menotti’s Italian-Catholic background influences the Amahl libretto, if at all?
TO: It’s definitely there—the Catholicism—and the Italian emotion. I suspect there is a bit of borrowing of form and formula from Italian verismo operas, particularly Cavalleria Rusticana. “All that gold” has a similar arc to “Voi lo sapete” and the same passion. Both Santuzza and The Mother in Amahl have the same vocal range and are sung by both sopranos and mezzos. The opera also seems influenced by de Sica’s film The Bicycle Thief (1948).
There is pageantry both in the Journey of the Kings and in the March of the Kings into the hut and there is a good sense of mystery throughout; pageantry and mystery are certainly elements of the Catholic Church. And faith.
Both in The Saint of Bleecker Street and Amahl the “choir of angels” close harmonies that Menotti employs are very moving. They pull at you. This is Italian opera, musically and emotionally, though he writes with English text.
OSL: Menotti’s score never lacks for tuneful, accessible arias and ensembles. Among them, do you have any particular favorites?
TO: Hands down my favorite piece is the quartet sung by the Kings and the Mother “Have you seen a child”. Its placement in the middle of the opera and its dramatic importance makes it the musical and emotional heart of the evening. I like the descending theme, the harmonies, the poetry, and the dramatic conflict. The Kings are in harmony; the Mother is in turmoil. It rips me up.
OSL: Do any of the arias or ensembles pose a particular challenge staging-wise?
TO: Since the opera was written for the TV Studio, the biggest challenge in this live staging is to keep the boy Amahl in focus and engaged in the action but also in a position in which we can hear and understand what he’s saying. It’s interesting that the boy who hobbles around on a crutch most of the evening is the one with the most action.
The above-mentioned quartet is difficult to stage because it’s poetically based. It’s difficult for the actors to find a thru line. Is this the concertato? Why do they keep repeating? Are they listening to each other or not? We’ve tried to figure it out.
OSL: Menotti expressly states in the vocal score that the role of Amahl must be sung by a young boy. This challenges a production team to find musically proficient, charismatic young singer-actors. What did UAO look for most importantly in casting the alternating Amahls?
TO: It really does need to be a boy playing Amahl to work dramatically. The most important quality was a good voice; coupled with savvy musicianship—someone who can count and is good with rhythms; the role has it’s difficulties. And he does shoulder the opera all by himself at times. We also wanted a boy who could be expressive and move naturally; an actor!
OSL: How has it been to work with Ricky Johnson and John Schultz [pictured above], the two boys singing Amahl?
TO: They’ve been great. Both of them learned blocking quickly and then adapted rapidly as I would change it; they have good questions, they’re good company members, and they are both disciplined and attentive. They also seem to enjoy being on stage and, for the most part, understand the task of telling a clear story. The acting is coming along. They are learning to listen on stage, which is the hardest thing an actor can do. They’ve developed a nice rapport with Holly and the guys—but particularly Holly Wrensch, the Mother. Amahl and his Mom are a little team in this life and at the beginning of the opera the team is falling apart, and Amahl pulls the team back together. He loves her and cares for her. Holly’s been wonderful with them; she’s very genuine.
Operatic Saint Louis: What would your “sales pitch” be to those still unsure about attending this holiday production?
Tim Ocel: Even if you aren’t in a Christmas mood, you should come hear this small, lovely story. The production is simply told and beautifully sung. You really won’t be disappointed. And for those of you with kids this would be a very good intro to opera for them since its main character is a 10 year-old boy and the piece is short—50 minutes/no intermission.
Amahl and the Night Visitors runs December 11, 12 and 13. Performances begin at 8pm Friday/Saturday and 3pm on Sunday. Tickets range $25-$47; $15 for children. For tickets & more information on the opera, call Dana Stone at 314.361.2881 or visit http://www.unionavenueopera.org/
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