Image: Saint Balthazar, one of the biblical Magi who visited the infant Jesus from a detail from Girolamo da Santacroce’s painting ‘The Adoration of the Three Kings’

By Dwight Casimere

Christmas mythology is full of images of the Three Kings who came to Bethlehem to honor the birth of Jesus Christ. Little mention is made of Balthazar, one of the Magi, or ‘Three Kings” who is dark skinned.

In 1954, Margaret Bonds (1913-1972), a Black Classical composer, collaborated with famed African-American poet Langston Hughes (1902-1967) to create The Ballad of the Brown King, a multi-part work for chorus and orchestra that reset the story of the Nativity with a new narrative that reflected Black culture.

Over the course of its 25 minutes, Bond and Hughes wove a tapestry composed of pastoral western orchestral serenity, punctuated by gospel, blues and American folk musical traditions. Undulating syncopation begins the opening movement as Hughes’ words state the case: “Of the Three Wise Men…Who came to the King…One was a brown man…Alleluia!

The Cecilia Chorus of New York, Mark Shapiro Music Director, presented The Brown King at New York’s Carnegie Hall with Orchestra and Sopranos Kearstin Piper Brown and Melisa Bonetti, along with Tenor Aaron Crouch and Baritone Markel Reed.

It was a lively presentation that gave energy and clarity to this seldom performed work. Considering its adherence to the basic story of the Birth of Jesus and its illuminating approach to the subject matter, it’s a wonder that this cultural gem hasn’t become a part of standard Christmas musical liturgy.

“Could he have been an Ethiope, From an Ethiopian Land?” Hughes’ words ask. “I do not know just who he was, But he was a Kingly Man.”

This was an important musical addition to the Holiday Season.

The rest of the program included to significant work for chorus, orchestra and soloists by Johann Sebastian Bach (1685-1750); Christmas Oratorio Part V, and Magnificat in D Major, joined by With Every Voice Generations, a children’s choir, conducted by Nicole Becker, Artistic Director.

First of all, the Bach performances were sublime. Mark Shapiro expertly conducted both choir and orchestra simultaneously. His interpretations of Bach were revelatory. His sense of timing and expert weaving of counterpoint and ability to balance Bach’s many shifts in tone and rhythmic dynamics was ravishing to behold.

The singers, to the person, were outstanding, particularly Baritone Markel Reed and Soprano Kearstin Piper Brown, whose flawless German and stage presence added dramatic import to Bach’s plaintive strains.

Reed’s considerable experience on the stage shone through with his commanding presence. Audiences have seen him in Terence Blanchard’s Fire Shut Up in My Bones, which opened last year’s Met season, and 2019s Porgy and Bess. He created the role of Chester at its premiere at Opera Theatre of St. Louis.

Tenor Aaron Crouch is a rising star. His considerable chops have been on display at Washington National Opera and Florentine Opera, among others. Look for his stentorian tones at an opera house near you in the near future.

Mezzo Soprano Melisa Bonetti is a Dominican American rising star who has been cited by Opera Today as “commanding a wonderful presence.” Her performance is notable in that she is the first-ever Dominican woman to solo classically on the Carnegie Hall stage.

Soprano Kearstin Piper Brown almost needs no further explication. She is hands down one of the most sought after Lyric Sopranos in the country. I frankly was surprised to see her name on the program. She will make her Lyric Opera of Chicago debut in the New Year in the World Premiere of The Walkers by Daniel Bernard Roumain. All of this is to say, those who missed this performance, really missed out on an incredibly rewarding evening of great music.

When the children’s choir entered at the end of the Magnificat under Becker’s expert direction, it captured the soul and brought a joyful tear to the eye.

This was an unparalled performance of Bach’s liturgical music, connected to the Christmas Holiday. Its execution by was flawless. Close your eyes, and you were transported to Berlin’s Deutsche Staatsoper!