Thirty short sacred musical dramas with small cast and chorus requirements, suitable for presentation in church, synagogues, theaters, and academic settings. All of the following information is excerpted from Carl Gerbrandt's monumental book:

​

Sacred Music Drama:  The Producer’s Guide

By Carl Gerbrandt

Second Edition

AuthorHouse, Bloomington, IN

ISBN: 978-1-4259-6847-2

 

For more complete information, including plot summaries of each opera mentioned, please refer to the complete text of Carl Gerbrandt’s book.

​

Soprano (sop)

Mezzo-soprano (m-sop)

Contralto (cont)

Countertenor (ct. ten)

Tenor (ten)

Baritone (bar)

Bass (bs)

Spoken (sp)

 

​

Song of Simeon (Music by Malcolm Arnold, 1921-2006), 30 minutes

A Nativity Masque with words in English by Christopher Hassall, based on the Biblical story of Simeon as recorded in Luke 2:25-35.  Premiered in Theatre Royal. London, January 56 1960.

Major Roles:  Mary (sop); Joseph (bs); The Innkeeper (bs); His Wife (cont); Simeon (ten)

Minor Roles: A Woman from Galilee (sop); Arak (sp) her son; Susana, her daughter ​(sp/dancer); Four Shepherds (bs)

Chorus:  SSATTB–guests at the Inn and narrate the Angel Gabriel’s part

Dance:  Susanna must dance

Materials: Oxford University Press

Notes: The story of the Annunciation and birth of Christ is told with simplicity and clarity. Best suited to performance in a church/cathedral. An emulation of the Renaissance masque form and style in which the principal characters are portrayed in mime while sung by off-stage soloists or ensembles. Spoken dialogue, some rhythmic speech. 20th c. influences mixed with modality and plainchant.

 

Birds of a Feather (Jean Berger, 1909-2002), 32 minutes

A Dramatic Choral work (an entertainment) with libretto in English by the composer. Premiered at Southern Illinois University, Carbondale, October 24, 1974.

Major Roles: The Trio (sop, ten, bar); Eohippus (sop); Companions (all female); Anthropoidal Ape (ten); Companions (male); Neolithic Man (sp)

Chorus: SSAATTBB

Materials: John Sheppard Music Press

Notes: The participants are involved in rendering a concert rather than a story, and thus the staging or the choreography should not aim at any realism or naturalism. Stylization is the password.

 

Cherry Tree Carol (Jean Berger, 1909-2002), 19 minutes

After a Medieval Christmas Liturgical Drama based on the medieval play of the same name.

Roles: All roles are very brief and not vocally difficult. Mary (sop);  Joseph (ten); Child (boy sop); Solo Quartet (SATB)

Chorus: SSAATTBB; Best used as a Greek chorus, though they should be involved in the processional and recessional and could be included in some of the action.

Dance: Dancers are optional but desirable

Materials: (c. 1975) Augsburg Publishing House

Notes: Best performed in a church/cathedral.

 

Yiphtah and his Daughter (Jean Berger, 1909-2002), 22 minutes

Loosely based on the Old Testament story as found in Judges 11-12. 

Major Roles: Yiphtah (bar–top sustained F3), Yiphtah’s Daughter (sop)

Minor Roles: Soprano Solo; Town Crier (sp or chanted; a declamatory voice); Drummer Boy (acting and drumming).

Chorus: Double chorus of SSA and SATBB–acting as townspeople as well as commenting on the action. The score is predominantly choral.

Dance: A single dancer who impersonates Yiphtah’s Daughter

Materials: Carl Fischer, Inc.

Notes: A house of worship would be an appropriate setting for this opera.

 

The Awakening (Susan Hulsman Bingham), 25 minutes

A Chancel Opera with libretto in English by Neil Olsen

Roles: All roles easily accessible.  Mary, (sop); Martha (m-sop); Jesus (bar–top F3)

Orchestration: Piano

Materials: From the composer

Notes: Minimal sets and properties needed. May be performed in either a theatre or cathedra/church.

 

The Finding of the King (Music by R. R. Broome (20th C. British), 35 minutes

A Nativity Play with text in English by F. C. Happold.  Some Latin.

Roles: Roles are undesignated but of medium range and may be sung by an all male, all female, or a mixed cast.  Vocal balance in the larger ensemble sections should receive attention when casting.  

Roles: The Messenger; The Innkeeper of Bethlehem; A Vagabond; Gaspar; Melchior, Balthazar; Three Shepherds; A Soldier; Our Lady (mute); St. Joseph (mute; The voice of an Angel (sp.)

Chorus: SATB–Chorus of Angels, Train of Attendants, Figbearers, Heralds, etc.

Orchestration:  Keyboard

Materials: (c. 1928) Oxford University Press

Notes: Ideally suited for church performance and effective for young audiences.

 

The Gift of the Magi (Music by Richard E. Brown), 25 minutes*

A Christmas Opera with libretto in English by Nancy Grobe, based on the story of the same title by O. Henry.

Roles: Della (sop); Jim (bar)

Orchestra: Piano, Brass quartet

Materials: American Music Center

Notes: Adaptable to either theatre or church performance

 

The Fall of Lucifer (Music by Geoffrey Burgon, b. 1941), 25 minutes

A Sacred Opera with libretto in English taken from the first play of the Chester Mystery Plays by Maurice Hussey; American premiere by Drummond Chapel United Methodist Church, February 17, 1980.

Roles: God (bar–top G3, high tessitura, vocally demanding); Lucifer (ct. ten) comfortable range; Lightbourne (ten–top B3), Lucifer’s friend.

Chorus: SATB–Angels and Archangels

Material: MMB Music, Inc. Performance tape available from Drummond Chapel United Methodist Church

Notes: This piece works well within a worship service. Setting designed for church performance or concert hall. Simple or no sets required other than a chancel area and sanctuary stage.

 

David (Music by Bob Burroughs, b. 1937), 35 minutes

A Musical Drama for children and adults with libretto by Sarah Walton, based on I Samuel 16-18 from Scripture.

Roles: David (boy sop or young girl); Samuel (high bar. or ten with strong lower range): Goliath (bs)

Chorus: Children’s choir, unison and SA

Orchestration: Piano and Flute

Materials: Broadman Press

Notes: Sets can be simple using furniture pieces. Adaptable to the stage area in a sanctuary. May be performed concert style. Adequate time for scene changes is problematic in that the music is continuous.

 

The Visitation (Music by Gordon Bush, 20 C. American), 15 minutes.

A Christmas Drama for Christmas with libretto in English by Robert Lallamant and Gordon Bush.

Roles: Priest (ten); Mary (sop); Joseph (bs)

Chorus: SATB–Villagers

Dance: Villagers are led in a celebration dance by the Priest.  Folk Dancing.

Orchestration: Organ, Percussion (8 handbells, sm hand dr, tri, tambourine)

Materials: Edward B. Marks Music Corp. (c. 1974)

Notes: Intended for church performance and suitable as a part of a worship service.

 

God’s Word in Their Heart (Music by Eugene Butler, b. 1935), 30 minutes

A Sacred Musical Drama with libretto in English by William McElrath, premiered in 1973.

Roles: Missionary (bar); Father (bs); Mother (sop); Tino (boy sop); Mara, Lisa (2 girl trebles)

Children’s Chorus: Unison and SA –(5-8 treble voices–neighbors.

Chorus: SATB–Narrators. May be off stage.

Orchestration: Piano

Material: Broadman Press

Notes: Designed to be performed in a house of worship.

 

Thieves (Music by Carson P. Cooman, b. 1982), 20 minutes

A chamber opera in one act with libretto by Mark Schweizer, loosely based on the biblical narrative of Christ’s crucifixion; First performed April 5, 2004, St. James Episcopal Church, Alexandria Louisiana, commissioned by St. James Music Press. Considerable choral music.

Roles: Jesus (ten or bs–octave adjustment necessary–appropriate suggestions given in the score); Woman (m-sop); Man (bar)

Chorus: SATB–the chorus responds to the action as a Greek Chorus and thus should not be a part of the action.

Orchestration: Piano alone; or Flute, Cello, and Piano.  

Materials: St. James Music Press, piano/vocal score and parts available.

Notes: Best performed in a house of worship as the work is conceived for performance in a church context. It is well suited for presentation within a worship service, especially during Good Friday or Easter season. The work is accessible to a good church music program.

 

Dance of Death (Music by Hugo Distler, 1908-1942), 20 minutes

A Sacred Choral Drama with text translated into English from German. Spoken dialogue based on the Luebecker Totentanz by Johannes Kloecking

Roles: (All spoken)  Death; President; Bishop; Doctor; Merchant; Soldier; Sailor; Judge; Farmer; young Lady; Old Man; Child.

Chorus: SATB–Greek Chorus but should be visible within the framework of the action.

Dance: The action should be stylized mime or choreography carried out by the non-singing characters. 

Orchestration: A cappella with optional flute solo.

Materials: Mark Foster Music Company (Malcolm Johns, editor; English translation by Brigitte Rauer)

Notes: This choral drama evolved from a medieval round dance or morality Play. This work was intended to be performed as part of a worship service.

 

The Gift of the Magi (Music by Peter Ekstrom, b. 1951), 30 minutes*

A Music Theater work with libretto by the composer based on the O. Henry plays the same title. Commissioned by the Actors Theater, Louisville Y, and premiered there Decembeer 1981.

Roles:  Jim (bar); Della (m-sop).

Orchestration: Piano only

Materials: Samuel French, Inc.

Notes: In a “pop” musical style, but with some musical sophistication. Adaptable to church, but best performed in a theatre.

 

The Judgment of Sheba (Music by William Arthur Goldsworthy 1878-1966), 30 minutes

Sacred Operetta with libretto in English by the composer, loosely based on 1 Kings 3:16-38; for all female cast.

Major Roles: All voices are in medium range. Queen of Sheba (sop (drammatic)–small range); Mother of Child (sop); False Mother (alto)

Minor Roles: Lady of Justice (alto); First Herald (sop) Second Herald (sop); Slave (m-sop); Executioner (silent)

Chorus: SSAA–ladies of the Queen’s court. Considerable choral singing throughout.

Dance: Courtly dancing by the ladies of the court. A solo dance may be interpolated after the entrance of the Queen.

Orchestration: Keyboard

Materials: Carl Fischer, Inc. (c. 1935)

Notes: Simple stage set and properties. Can be staged in either a house of worship or theatre.

 

Savitri (Music by Gustav Holst, 1874-1934), 30 minutes 

Premiered in 1916, An East Indian Legend Opera with libretto in English by the composer; based on an Indian folktale taken from the Mahabharata.

Roles: Savitri (sop–demands strong middle-range voice and convincing acting); Satyavan, her husband and a woodcutter (ten); Death (bs).

Chorus: SSAA off stage. Can be performed without a chorus.

Orchestration: 2 Flutes, English Horn, 2 String Quartets, Double Bass.

Materials: G. Schirmer, Inc.

Notes: May be performed with minimal sets, a mound representing the outdoors and a ramp on which Death enters and exits. Intended to be performed outdoors or in a small auditorium where chorus, orchestra, and conductor are not seen by the audience.

 

Wondrous Love (Music by Eusebia Simpson Hunkins, 1902-1980), 35 minutes

A Nativity Folk Drama with libretto in English by the composer, inspired and partially based on old Appalachian Mountain Carols. 

Major Roles: Narrator (sp); Soprano, Alto, Tenor, and Baritone soloists; Angel’s voice (sp); Mary’s Voice, (sp).

Pantomime Roles: Mary; Joseph, A young Girl; 4 Shepherds; 2 Children; Fugitive Soldiers; Travelers.

Chorus: SSATBB

Dance: As desired in conjunction with the director's overall concept.

Orchestration: Piano, Organ, (Guitar or Autoharp optional)

Materials: SATB and SSA by Carl Fischer, Inc.

Notes: Traditional harmony. Melodically conceived. Predominantly choral with few solo sections. Set numbers with narration between numbers and with underscoring. Original compositions and arrangements of carols alternate throughout the score. May be performed in a sanctuary, or with larger sets, in a theatre. The setting may also be altered to rustic American times with the Narrator costumed as a village pastor, surrounded by his flock who watch the story unfold as he speaks and the action is pantomimed. A versatile score with several options for dramatic presentation. The narration is spoken in simple Appalachian folk language as the singers and actors portray the various episodes surrounding the birth of Christ.

 

God and Abraham (Music by Gershon Kingsley, 20th C. American), 20 minutes

A Musical Theatre work with libretto in English by Robert Larimer, based on the Biblical account recorded in Genesis 20-22. Composed in 1972.

Roles: God (bar–top Gb3); Sarah (m-sop); Abraham (ten-top needed A3 sustained); Narrator (sop); Voice (sp).

Chorus: SSATTB–Greek chorus commenting on the action

Orchestration: Flute, 2 Clarinets, 2 Saxophones, Horn, Trumpet, Trombone, Percussion, Fender 6, Piano, Organ, Electronic tape optional

Materials: Bourne Company (c. 1972) 

Notes: Best suited for church performance. Requires only properties; no sets needed. Mostly conventional harmony with some atonality and contemporary “pop” sounds. Mixed styles; spoken dialogue in contemporary language. Rhythmic; continuous texture.

 

The King’s Contest (Music by Kirke Mechem, b. 1925), 27 minutes

A Dramatic Cantata with text in English adapted by the composer from the Apocryphal Book of I Esdras 3-4).  Originally a chamber work titled Zorobabel, commissioned by the Amphion Foundation in Berkeley, CA. The version for large orchestra was first performed in the San Francisco Opera House June 16, 1974.

Roles: Narrator (m-sop); Three Guards of the King (bar, bs, and one ten who is also Zorobabel); The King (bs–may be sung by the bs or bar Guard). 

Chorus: SATB divisi. The chorus acts as the Grand Jury, questioning and disputing, and helping the narrator tell the story.

Orchestration: Chamber version, 2 Violins, 1 Violas, 1 Cello, 1 Double Bass, Percussion (optional)

Materials: G. Schirmer

Notes: Maybe be fully or partially staged in either a house of worship or theater. From the composer “Each of us can interpret this truth as we choose, which may explain the universality of the story.”

 

Calvary (Music by Thomas Pasatieri, b. 1945), 33 minutes

A Sacred Music Drama with text in English from the play by William Butler Yeats (1865-1939), based on the events surrounding the crucifixion of Jesus. Premiered April 7, 1971, Thomas Episcopal Church, Bellevue, Washington.

Roles: First Musician (sop), narrates the story; Second Musician (sop); Third Musician (m-sop); Christ (bar); Lazarus (bs); Judas (ten); Three Roman Soldiers (bar, bar, bs).

Dance: A simple folk dance by The Three Soldiers.

Orchestration:  fl, ob, cl bsn, hrn, hp, vln, vla, vc.

Materials:  Belwin-Mills Publishing Corp. 

Notes:  The text is highly symbolic, leaving interpretation to question. Most suitable for performance in a cathedral/church. Production problem:  hanging Jesus from and erecting a cross.

 

The Door (Music by David Peninger, b. 1929), 30 minutes

A Sacred Music Drama with text in English by the composer, conceived by William Treadwell.  Composed in 1972.  Originally designed to encourage congregational involvement in the “Youth Search for Meaning Week” at the First Baptist Church of Greenwood, SC. The musical setting hopes to point out a search that must inevitably go on within everyone and that it will help Bible study leaders and discussion group leaders face the impact of their responsibility.

Roles:  All parts accessible for high school voices. The student (ten); Voice I (sop); Voice II (alt); Voice III (bar).

Chorus:  SAB.  The chorus parts duplicate the ensemble singing of the Three Voices. Additional voices may be added at the discretion of the director.

Orchestration:  Organ or piano

Materials:  Theodore Presser Co.  (c. 1974)

Notes:  Sets may be as simple as a free-standing door and three high stools. Different levels are recommended.  Spoken dialogue, ensembles, solos, set numbers.  Conventional harmonies in a folk idiom with some “pop” sounds.  Melodic. Intended for high school voices.

 

Daniel in the Lion’s Den (Music by Daniel Pinkham, 1923-2006), 25 minutes

A Religious Music Drama with libretto in English taken from the Biblical Book of Daniel 6, the Apocryphal Book of Daniel, Bel and the Snake, Psalm 116, and a hymn by John Newton. Premiered February 11, 1973, by the Pro Arte Chorale of Bergen County and the North Jersey Council.

Roles:  Narrator (sp); Daniel (bar); Habakkak (bs-bar); Angel (ten).

Chorus:  SATB (off-stage)

Materials:  E. C. Schirmer Music Co.  Electronic tape available.  LC (M2023.3.P56D3).

Notes:  Minimal sets required;  Best suited for presentation in a house of worship.  The libretto follows the Biblical story faithfully.

 

Laud to the Nativity (Music by Ottorino Respighi, 1879-1936), 25 minutes

A Sacred Music Drama with text in Italian attributed to Jacopone da Todi with an English version by Harold Heiberg, based on the Biblical story according to Luke.  Composed in 1930.

Roles:  Angel (col. Sop–top C5 sustained pianissimo), some melisma; Virgin Mary (m-sop); The Shepherd; Joseph (silent).

Chorus:  SSAATTBB–Angels, Shepherds.  The chorus should not be visible to the audience; their parts should be performed by dancers and mimes.

Dance:  Dancers and mimes enact the parts of the Angels and Shepherds.

Orchestration:  2 fl (picc) ob, Eng hrn, 2 bsn, tri piano—4 hands.

Materials:  G. Ricordi & Co.,  No. NY 1944 (It, Eng), (c. 1958)

Notes:  Best performed in a church/cathedral.  The simple yet colorful orchestration and vocal elements make this an easily accessible and rewarding work.

 

Day of Pentecost (Music by Leland B . Sateren, 1913-2007)

A Choral Drama with text in English by Thomas W. Wersell, based on Act. 2:2-3 from Scripture. Premiered Fall, 1974, by the Augsburg College Choir. Rhythmic speech, aleatoric sections, free improvisation, non-traditional vocal effects. Some Latin from Liturgy.

Roles:  Soloist (sop or ten, or several singers)

Choruses:  SSAATTBB)

Orchestration:  A cappella

Materials:  Augsburg Publishing House, (c. 1975),  Recording available from Augsburg College Music Dept.

Notes:  No sets required. Intended for presentation in a church. Chorus moves through the audience and involves them in the drama. 

 

Good King Wenceslas (Music by Richard James Shephard, 1949-2021), 30 minutes

A Chancel Opera in English with libretto by Mark Schweizder loosely based on and incorporating the well known hymn text by John Mason Neale.  This carol is set to the 14th C. tune (“Tempus adest floridum” found in Piae Cantiones, 1582).  

Roles:  Stephen (treble–top F4), the page; Mother (sop); Chancellor (ten); Good King Wenceslas (bs); Angel (sop); Shepherd Girl (sop); Kaspar (ten); Balthazar (bar); Melchior (bar–top F3). Mother/Angel and Chancellor/Kaspar may be sung by the same person.

Chorus:  SATB—parts need not be memorized and should be performed as a Greek chorus, outside the action.  

Orchestration: Several adaptations are available–full orchestra, chamber ensemble, or piano alone

Materials:  St. James Music Press, piano/vocal score and orchestra parts are available for purchase.

Notes:  May be performed in either a house of worship or theatre, with or without sets, and is musically accessible for professional and amateur singers alike. Premiered Christmas 1997 at First United Methodist Church Hopkinsville, KY. St. James Press CD/DVD press release information of Good King Wenceslas states in the acknowledgment section, “Our thanks to Dr. Allen Henderson and the Austin Peay University Opera Workshop for their work in bringing these operas to life.

 

The Miracle of Nemirov (Music by Faye-Ellen Silverman, b. 1947), 30 minutes

A Jewish Legend Opera with libretto in English (some Hebrew) by the composer based on a story by I. L. Peretz. Doctoral dissertation, Columbia University 1974.

Roles:  Litvak (ten), an intelligent and cynical Jew from Lithuania; Ra bi (bar), spiritual leader of Nemirov, Malkah (m-sop), a sick Jewess; Rivka (alt), mother of Seryll; Seryll (sop); Beryll (bs), husband of Rivka:  Chaim (ten), husband of Seryll; Yoshe (ten) Cantor of Nemirov; A Beggar.

Orchestration:  fl, ob, 3 hrn, perc, string quartet, pre-recorded tape (opt)

Materials:  Seesaw Music Corp. 

Notes:  Best performed in a theatre or synagogue. Few properties required. Hebraic musical influences, chant-like passages; melodic, rhythmic speech with some spoken lines. Frequently atonal, rhythmic complexities; through-composed. Takes place in Nemirov, Poland around 1900.

 

The Flood (Igor Stravinsky, 1882-1971), 25 minutes

A Sacred Music Drama with libretto in English arranged by Robert Craft. Primarily taken from the Book of Genesis, and the York and Chester Miracle Plays. In the manner of a miracle play. Premiered June 14, 1962 on CBS-TV as Noah and the Flood. Staged premiere August 21, 1962, Santa Fe, NM.

Roles:  God (2 bs simultaneously; Lucifer, Satan (ten); Noah (sp); Noah’s Wife (sp); Noah’s Sons (sp); Narrator-Caller (sp).

Chorus:  SAT–Greek Chorus  Sings Latin Te Deum.

Dance:  The flood and the building of the art sections are choreographed.

Orchestra:  Large full orchestra, colorful

Materials:  Boosey & Hawkes

Notes:  Best performed in a theatre with ample pit space. Atonal, complex rhythmic and harmonic structures, difficult staging and production problems.

 

The Shepherds of the Delectable Mountains (Music by Ralph Vaughan Williams, 1872-1958), 30 minutes

A Pastoral Opera with libretto in English by the composer, based on an episode in Bunyan’s The Pilgrim's Progress. This episode was later incorporated by the composer into Act IV of his opera The Pilgrim's Progress, but may still be performed separately.

Roles:  Pilgrim (bar); First Shepherd (bar); Second Shepherd (ten); Third Shepherd (bs); A Celestial Messenger (ten); Voice of a Bird (sop–offstage).

Chorus:  Women’s voices offstage

Orchestration:  2 fl, ob, Eng hrn, 2 trp, hp, bells, str.  May be performed with piano.

Materials:  Oxford University Press

Notes:  Suitable for performance in either a house of worship of theatre.

 

Yehu (Music by Eugene Zádor, 1894-1977), 32 minutes

A Christmas Opera with libretto in English by Anna Egynd, based on legend. Premiered by the Municipal Art Department, Bureau of Music, Los Angeles, CA, December 21, 1974.

Roles:  Yehy (ten); Rachel (m-sop); Simon (bar); Zura (sop), Sharah (sop); The Herald (bar).

Chorus:  SSA.  May be in the pit or observe the action from a distance.

Orchestration:  May be substantially reduced if a second piano is employed.

Materials:  Carl Fischer, Inc.

Notes:  Most suitable for presentation in a cathedral or church.

 

The Play of the Three Shepherds (Music by Carl Zytowski, 1921-2018), 25 minutes

A Church opera with libretto in English (some Latin) by the composer, adapted from the medieval mystery plays and based on the Biblical account as found in Luke 2. First performed November 13, 1982, for the National Convention of the National Opera Association at Lewis and Clark College, Portland OR. The second of three church operas titled “A Medieval Triptych”.

Roles:  First Shepherd (bs-bar); Second Shepherd (ten); Third  Shepherd (treble:  boy sop or m-sop; The Angelus (ct ten and ten).

Chorus:  Twelve male or mixed voices; 2-part and unison; playing the instruments where possible.

Orchestration:  alt rec, psaltery, hammered dulcimer, troubadour hp, bells, perc. 

Materials:  Unpublished.  From the composer or UCSB.

Notes:  Written specifically for church performance

 

​

​

The following is a list of alternatives to Menotti's Amahl and the Night Visitors (or Alternate Christmas Operas for your Consideration). Most are under one hour in length.

 

Only a Miracle (Music by Seymour Barab (b. 1921-2014), 50 minutes

A Christmas Opera with libretto in English by the composer. A festival account of events immediately following Christ’s birth. Premiered by the Illinois University Opera Theatre, Urbana, December 1, 1983.

Major Roles: Sylpinia (sop); Soldier (ten); Landlord (bar)

Minor Roles: Messenger (bs); King Herod (bs),  These two roles may be sung by the same person.

Orchestration: fl, ob, 2 cl, bsn, 2 hrn, tpt, trb, timp, perc, str.  May be performed with piano.

Materials:  G. Schirmer.  Tape available

Notes: Adaptable for either church or theatre performance. Tonal but dissonant at times with considerable chromaticism. Serious drama with occasional humor.

 

Father of the Child (Music by Seymour Barab, 1921-2014), 75 minutes

A Christmas Opera with libretto in English by the composer, suggested by William Gibson’s play, The Butterfingers Angel, Mary and Joseph, Herod the Nut and the Slaughter of 12 Hit Carols in a Pear Tree. Composed in 1985; premiered October 6, 1985 by Queensborough Community College, Bayside NY.

Major Roles:  Joseph (bar); Mary (sop); Satan (bs), must impersonate at least six different characters requiring excellent acting; Gabriel (ten). All roles are mid-range and easily manageable.

Minor Roles: Donkey (sop); Cherry Tree (m-sop). The three Kings who comment on the affection throughout the opera, frequently singing snatch phrases of Christmas Carols:  Gaspar (ten), Melchior (bar), Balthazar (bs).

Orchestration:  Piano 

Materials:  G. Schirmer

Notes:  Sets should be simple, using set pieces. May be staged in a theatre, but particularly adaptable to a cathedral/church. Special costume needs for Donkey and Cherry Tree. Humorous throughout.  While the setting is period, the language is contemporary.Tonally conceived with frequent dissonances. Melodically rewarding and linear but requiring good musicianship in the solo roles.

 

The Christmas Rose (Music by Frank Bridge (1879-1941), 60 minutes, A Christmas Opera with libretto in English based on a play for children by Margaret Kemp-Welch and Constance Cotterell. Composed between 1919 and 1929.

Roles:  Miriam (sop); Reuben (m-sop); Shepherd I (te); Shepherd II (bar); Shepherd III (bs-bar).

Chorus:  SSAAA–Offstage chorus of women’s voices; SATB–a chorus of Peasants.

Orchestration: 2 fl, 2 ob, 2 cl, 2 bsn, 2 hrn, 2 trp, trb, timp, perc, hp, str

Materials:  Galaxy Music Corporation (E. C. Schirmer)

Notes:  Suitable for either theatre or church performance.  Intended to be performed by adults for grades 3-9. A touching and effective dramatization.

 

The First Nowell (Music by Ralph Vaughan Williams, 1872-1958), 50 minutes

A Nativity Play with libretto in English adapted from medieval pageants by Simon Pakenham. The music for this work, Vaughan Williams last, is composed and arranged from traditional tunes with additions by Roy Douglas.  Premiered December 19, 1958, in the Theatre Royal, London.

Singing Roles:  First Shepherd (bs or bar); Second Shepherd (ten); Third Shepherd (ten or treble; Soprano Soloist; Baritone Soloist.

Speaking Roles:  Creator; Gabriel, Mary; Elizabeth; Joseph, Caspar; Melchior; Balthazar

Silent Roles:  Mary’s Two Maids; Three Attendants for the kings.

Chorus:  SATB–Angels

Dance:  Shepherd’s Dance

Orchestration: Available for strings and organ or piano

Materials: Oxford University Press

Notes:  Intended for performance in a cathedral/church.  Minimal sets, some properties needed.  An effective and charming work with familiar carol tunes throughout.

 

The Greenfield Christmas Tree (Music by Douglas Moore (1893-1969), 45 minutes

A Christmas Entertainment with libretto in English by Arnold Sundgaard. First performance on December 8, 1962 at Bushnell Memorial Auditorium in Hartford,  Connecticut.

Roles:  John Frothingham (bs-bar), the guardian Grandfather.  His Grandchildren: Toby (sp) age 11; Prudence (sp), age 8; Susan (sp) age 6; Samuel (sp), the hired man; Brita (contralto) Norwegian housekeeper; Reverend Flood (sp); Choral Leader (bar), the narrator; The Donkey (bs); The Cow (alto); The Goat (ten); The Sheep (sop).  Speaking roles should be equally divided between high and low voices if possible since they are all asked to sing in the final ensemble numbers.

Chorus:  SATB–neighbors and friends.

Dance:  Some simple folk dancing during the decorating of the Christmas tree

Orchestration:  2 fl, 2 ob, 2 cl, 2 bsn, 2 hrn, 2 trp, 2 trb, perc, hp, str

Materials: G. Schirmer

Notes:  Costumes and sets should convey the feeling that this is a children’s story book come alive before the eyes of the audience. Best performed in an intimate auditorium. The plot:  Due to the stern Puritan influence which frowned on all worldly show of decoration, most New England states did not introduce Christmas trees into the season until the middle 1800’s. The children slowly convince their elders that a Christmas tree poses no threat. Throughout the story telling process, the chorus comments on the birth of Christ and His presence here below.

​

​

​

This is a list of five different short operas based on the O.Henry story The Gift of the Magi.

 

The Gift of the Magi (Music by Richard E. Brown) 25 minutes

Composed in 1985.

Roles:  Della (sop); Jim (bar)

Orchestration:  piano, brass quartet

Materials:  Unpublished.  American Music Center

 

The Gift of the Magi (Music by David Conte, b. 1955), 67 minutes

Libretto by Nicholas Giardini, based on the O. Henry classic.  First presented in a workshop production with two-piano accompaniment on December 7 and 8, 1997, at the San Francisco Conservatory of Music by the Conservatory’s Cantata Singers. The 14 pc. orchestra version was premiered by the San Francisco Conservatory New Music Ensemble on December 3, 2000.

Major Roles:  Della (sop); Jim (high bar)

Minor Roles:  Maggie (m-sop); Henry (bs-bar); 3 Magi (ten, bar, bs), two short off-stage ensembles

Materials:  E. C. Schirmer

Notes:  Very accessible score; most suitable to a small theatre or intimate performance space.

 

The Gift of the Magi (Music by Peter Ekstrom, b. 1951), 30 minutes

A Music Theater work with libretto by the composer based on the O. Henry plays the same title. Commissioned by the Actors Theater, Louisville Y, and premiered there December 1981.

Roles:  Jim (bar); Della (m-sop).

Orchestration:  Piano only

Materials: Samuel French, Inc.

Notes:  In a “pop” musical style, but with some musical sophistication. Adaptable to church, but best performed in a theatre.

 

The Gift of the Magi (Music by Don Gillis (1912-1978), 42 minutes

A Christmas Drama/Opera with libretto in English by the composer, based on a story by O. Henry.

Major Roles:  Storyteller (male or female medium range–sings and speaks), commentary continues throughout the work; Jim (lyric bar or low ten); Della (sop), his wife.

Minor Roles:  All spoken ad lib:  Santa, Flower Lady, Newsboy.

Chorus:  SATB

Orchestration:  Two pianos or piano and organ, or chamber orchestra, or wind ensemble

Materials: Crescendo Music Sales Company (c 1970)

Notes:  Suitable in either a church sanctuary or auditorium/theatre

 

The Gift of the Magi (Music by Ruth Taylor Magney, 20th C. American), 40 minutes

Conventional harmonies, melodic.

Roles:  Della (sop); James (bar); Madame Sophronie (cont., a hairdresser)

Chorus:  SSA (offstage)

Orchestration:  piano

Materials:  Unpublished.  From the Composer.

Notes:  Suitable for either church or theatre performance.