Composer: Gian Carlo Menotti
Works: The Saint of Bleeker Street
Performers: Annina Julia Melinek (soprano), Michele Timothy Richards (tenor), Desideria Pamela Helen Stephen (mezzo-soprano), Don Marco John Marcus Brindle (bass-baritone), Carmela Sandra Zeltzer (soprano), Assunta Yvonne Howard (mezzo-soprano), Salvatore Vitali Rozynko (baritone), Spoleto Festival Chorus and Orchestra/Richard Hickox
Recording: Recorded live at the Teatro Nuovo, Spoleto, Italy, 7, 10, 14 July 2001
Label: Chandos CHAN 9971(2)
Gian Carlo Menotti’s The Saint of Bleeker Street, first premiered in 1954, occupies a peculiar niche within the operatic canon, straddling the line between traditional European verismo and the burgeoning influence of American musical theatre. As a composer, Menotti’s penchant for melodrama and emotional intensity has often elicited polarized responses from critics, with Joseph Kerman’s caustic remarks echoing through the decades, branding him a “sensationalist in the old style.” However, this live recording from the Spoleto Festival revives the work with a fresh perspective, revealing its intricate layers and emotional depth that may have eluded earlier assessments.
The performances under Richard Hickox’s direction exude a palpable emotional fervor, capturing the essence of Menotti’s richly orchestrated score. Hickox, known for his dedication to the works of Menotti, steers the orchestra with a keen understanding of the musical language, which, although tonal, possesses a unique quality that often draws on the lushness of the Italian operatic tradition. The orchestration, particularly in the opening scene, bathes the listener in a warm, inviting sound, reminiscent of Puccini yet distinctly Menotti in its directness and clarity. The chorus, particularly prominent in the wedding scene of Act Two, showcases an admirable balance and blend, with the homage to Leoncavallo and Puccini evident in the buoyant, celebratory textures.
Julia Melinek’s portrayal of Annina is a focal point of this recording. Despite occasional vocal strain during climactic moments, she manages to convey the character’s profound inner turmoil with sincerity and conviction. Her Act One aria, “Ah, sweet Jesus, spare me this agony,” stands out as a testament to her dramatic capabilities, where her voice soars above the orchestral tapestry with an earnestness that captivates. Timothy Richards as Michele delivers a commendable performance, although his attempt at a regional accent sometimes detracts from his overall vocal delivery. The choice to adopt an accent, while perhaps intended to root the character in a specific cultural context, ultimately pulls focus away from the music itself.
The technical aspects of the recording merit attention as well. Chandos has captured the live essence of the performance with remarkable fidelity. The balance between orchestra and soloists is well-maintained, allowing the nuances of Menotti’s orchestration to shine without overwhelming the singers. The acoustic of the Teatro Nuovo lends a natural warmth to the sound, enhancing the emotional impact of the music without succumbing to the pitfalls of excessive reverberation that can plague live recordings.
While The Saint of Bleeker Street may not have garnered the universal acclaim of other operatic masterworks, this recording serves as a strong argument for its re-evaluation. Menotti’s ability to interweave the sacred and the profane within the context of a struggling immigrant community offers a poignant reflection on faith and human experience. This performance, with its committed interpretations and high production values, reveals a work that, while perhaps flawed in its libretti, is buoyed by a musical language that resonates with emotional authenticity. Such a recording undoubtedly enriches the ongoing discourse surrounding Menotti’s legacy, suggesting that his work may indeed withstand the test of time, as he himself predicted.
