Five reasons why the Netherlands Reisopera should perform Amahl and the Night Visitors every year

Only Maastricht, Den Bosch and Enschede could enjoy Menotti's Amahl and the Night Visitors. Far too little for an opera that was only performed in our country twice before (in 1988 and 1965) but has everything it takes to win a young audience for the genre ánd is the December opera par excellence. Especially when the mini-opera shines as beautifully as in the new production by the Nederlandse Reisopera. Five reasons why the Reisopera Amahl and the Night Visitors should firmly put on the repertoire.

1. The opera itself

The plot is simple, giving a twist to the Biblical story of the three kings on their way to visit a special baby. Along the way, they knock on the door of the crippled little boy Amahl and his poor mother, the shepherds from the village come to sing and dance, and through a beautiful gesture of self-sacrifice, a real miracle ensues.

Gian Carlo Menotti - born in Italy but working in the United States - wrote the opera at the request of television station NBC. Searching for inspiration, he eventually found it in The adoration of the three kings By Hieronymus Bosch. On Christmas Eve 1951, the Amahl as the first opera composed especially for television. Thanks to its melodic music, often too easily compared to Puccini, and its humorous and sweet story, it became Ahmal an instant classic, not only in the US, but especially in the UK. "As with the Queen's speech and endless repeats of The Sound of Music, Christmas would not be Christmas without Gian Carlo Menotti's one-act opera about the Three Kings' unscheduled stopover at the home of a crippled shepherd boy," said The Guardian.

2. This staging

World-shaking is not the setting. What is hot: there is no set at all. But there is Bas Berensen's clever lighting, Francesco Bekkema's choreography and Paul Carr's beautiful direction of persons. The orchestra sits on stage, above them the starry sky, and at the rise of the three kings it snows. Nothing more is needed. Carr does not update, the kings are patently kings, the jokes come from the libretto (the deaf king Kasper) and a pot of gold is just a pot of gold.

The only frivolity Carr affords by performing the page in high heels and suspenders is not disturbing and mainly a nod to his relationship with the three kings. Who is really in charge here? Heartbreaking is his embrace with Amahl.

3. This cast

Everyone is good. The dancers, the choir and all the soloists. Amahl and his mother, in particular, are excellently cast. Anna Traub has at most a little too much volume for this intimate production, but once again proves to be a great actress. A better Amahl than Bernadeta Astari is hardly imaginable. Of course, she has everything going for her appearance - after all, she is remarkably small - but by merely pointing that out, you do her far too short. The pleasure in playing is obvious and vocally she propels everyone to great heights.

4. Orchestra and conductor

Yes, Menotti's music is very melodic, very accessible and made for the masses. All too often, this makes his music sound like syrupy honey. None of that with philharmonie zuidnederland. Conductor Arjan Tien is not averse to sentiment, but does not revel in it. The result is a beautifully light and transparent sound, with beautiful accents and no unnecessary slowing down and then speeding up, but a perfectly natural tempo.

5. Relatively easy to take on repertoire

No, these soloists, this orchestra and this conductor are not all available every year at the end of December. But the production stands like a house, doesn't need trucks full of scenery. More importantly Amahl also provides an excellent opportunity for young talent, as it does here. Not for nothing was the opera deliberately composed by Menotti in such a way that it could also be performed by amateur companies.

No question of amateurs here. On the contrary Five sparkling stars.