Miracle in Bethlehem
An Opera

At the turn of the millennium, in a car driving home from an Ars Choralis New Year’s Eve concert, musical director Barbara Pickhardt asked me to write libretto for a piece she had been commissioned to write. St Gregory’s Church in Woodstock, New York had started a series called the Woodstock Cycle, asking local composers to set Bible stories and characters to music. Barbara chose the Anunciation, the Angel Gabriel’s appearance to young Mary with the message that she was having God’s baby.

As a Jewish Quaker, I had heard this story, seen the paintings, but knew little about it. I learned that this scene has been set by many Classical composers. That Mary was at first taken aback, being a fragile girl who had never known a man. But she rose to the role and vowed to be God’s servant. There was an emphasis on Mary’s blessedness, holiness, and the child as a gift from God. I inserted the idea that every mother is blessed, every child is a gift from God. I had the backing chorus sing that over and over.

On a sunny afternoon in Woodstock, in 2002, our 12-minute piece, Mary in the Garden, premiered with a small group of singers and musicians. We decided to continue writing the story of the birth of Christ. This took research, diligent work and three complete iterations over twenty years. I invented characters like the Bethlehem Inn keeper and his wife, the drunken pissed-off travelers causing the Inn to be full; a lonely, searching shepherd whose heart beats with mine. It was delightful to write a rant by the tryrant Herod, to imagine a transformation of the 3 Kings, give poetry to 3 Angels to sing. Mary’s soliloquy to her new-born child might be the best thing I have written. I think it stands for all mothers. I like that we end the story with Jesus, Mary and Joseph fleeing to Egypt, refugees. Relevant to today’s world.

 We recorded the finished opera in 2022. More information and link to listen at miracleinbethlehem.com.

Miracle in Bethlehem