All that gold! Don't you dare! Oh, woman, you can keep the gold. Oh, no, wait. I walk, Mother. Do you really wan to go?
Vocal Score. Vocal score. With choral notation, piano reduction and introductory text. Vocal Tenor. Edited by Richard Walters. Vocal Collection. Classical, Opera. Vocal Mezzo-Soprano. Oh, Mother, you should go out and see! Stop bothering me! Poor Amahl! Don't cry, Mother dear. From far away we come. I had been commissioned by the National Broadcasting Company to write an opera for television, with Christmas as deadline, and I simply didn't have one idea in my head.
One November afternoon as I was walking rather gloomily through the rooms of the Metropolitan Museum, I chanced to stop in front of the Adoration of the Kings by Hieronymus Bosch, and as I was looking at it, suddenly I heard again, coming from the distant blue hills, the weird song of the Three Kings. I then realized they had come back to me and had brought me a gift. I am often asked how I went about writing an opera for television, and what are the specific problems that I had to face in planning a work for such a medium.
I must confess that in writing "Amahl and the Night Visitors," I hardly thought of television at all. As a matter of fact, all my operas are originally conceived for an ideal stage which has no equivalent in reality, and I believe that such is the case with most dramatic authors. Menotti wrote Amahl with the stage in mind, even though it was intended for broadcast.
Writing an opera is a big effort and to give it away for one performance is stupid. He also brought out director Kirk Browning and conductor Thomas Schippers to thank them on-screen. Amahl was seen on 35 NBC affiliates coast to coast, the largest network hookup for an opera broadcast to that date. An estimated five million people saw the live broadcast, the largest audience ever to see a televised opera.
For its first three telecasts, the program had been presented in black-and-white there were two presentations of it in , one on Easter and one during the Christmas season ,  but beginning in , it was telecast in color.
The opera's second performance was in Boston on December 18 and 19, Phillips for the Longy School of Music. When Menotti found out that NBC had scheduled the taping on a date when he was out of the country, he tried to get the date changed.
The network refused and recorded the performance without the composer's presence or participation, telecasting it in December , and twice more after that — in and Menotti never approved of the production, and in May when the rights to future broadcasts reverted to him, the composer refused to allow it to be shown again. As was the norm for filmed opera, the music was pre-recorded and the singers mimed their performances to the playback.
The first performance was broadcast on December 20, , with Charles Vignoles as Amahl, and Gladys Whitred as his mother. Edric Connor was the Page and Josephine Gordon was the dancer. Gian Carlo Menotti in Gian Carlo Menotti. Q [ info ]. Amahl and the Night Visitors: All that gold! Thomas Schippers. Amahl and the Night Visitors: Amahl, I told you not to be a nuisance! Amahl and the Night Visitors: Amahl! Amahl and the Night Visitors: Amahl Yes, Mother?
Olives and quinces. Shepherds' Dance. Thank you, good friends. All that gold! Don't you dare! Oh, woman, you can keep the gold. Oh, no, wait. I walk, Mother. Do you really wan to go?Amahl and the Night Visitors is an opera in one act by Gian Carlo Menotti with an original English libretto by the composer. It was commissioned by NBC and first performed by the NBC Opera Theatre on December 24, , in New York City at NBC studio 8H in Rockefeller Center, where it was broadcast live on television from that venue as the debut production of the Hallmark Hall of Fame.