Opera Theater

FROM DREAM TO REALITY: Fifty Years of the Amato Opera

by Sondra Zuckerman Diaz

In 1948 Amato Opera began as a small company without a permanent home. The first opera, Rossini's Barber of Seville, was given in the auditorium of Our Lady of Pompeii Church at Bleecker and Carmine Streets, followed the next week by Mascagni's Cavalleria Rusticana and Leoncavallo's Pagliacci. Now, fifty years later and only eight blocks away, full opera seasons are presented in the white, four-story building at 319 Bowery - Amato's home since 1964.

Many other venues were used in he early days as the Amato Opera moved around the city: in 1949, Verdi's Rigoletto at the Kaufman Auditorium of the 92nd Street Y; La Traviata at the Fashion Institute of Technology; in 1950, The Marriage of Figaro at Washington Irving High School auditorium. But, in 1951, the first permanent home was found at 159 Bleecker Street. The Barber of Seville was, again, the fist opera performed in this new location. Each weekend, for fifty weeks a year, four performances of various operas were presented in the 299 seat theatre. Audiences came from the tri-state area. Over 1,296 performances of 21 different operas were presented including The Barber of Seville in Italian and English (59 and 24 performances respectively). Productions were also presented in New London, New Haven and other nearby cities. Under the sponsorship of New York University, "Opera-in-Brief", abridged narrated performances were presented at Town Hall.

In 1959 the Bleecker Street Theatre closed, but performances continued at various locations including 126 West 23 Street and Town Hall. The next step occurred in 1964 when Amato Opera opened in its current location at 319 Bowery at Second Street, a building soon to celebrate its one-hundredth birthday on October 17, 1999. A major overhaul turned the four-story Holy Name Mission and former restaurant supply store into an air-conditioned 107-seat theatre with a 20-foot stage, a small orchestra pit beneath, rehearsal space, and storage space for 55 opera sets. The size of the new theatre provided an intimacy that, according to Eick Neher (interviewed in a 1993 article in Opera Monthly) "is undoubtedly its greatest strength. Acoustics are superb, and not a word or facial gesture gets missed."

Amato Opera opened originally with two goals in mind: to present entertaining opera at popular prices, and to give singers a stage on which to gain much-needed experience in full-length productions. The early company utilized students from Tony Amato's opera classes. He was then Director of the Opera Workshop at The America Theatre Wing, a post he had held since 1946. Early performances were free because union regulations would not allow them to charge admission. Contributions were requested during intermission. Tony Amato had invested his own money to get the company started. AT 319 Bower, when admission could be charged, tickets were $1.20 an reserved seats, $1.80. In 1975, 15 years later, ticket prices were only $3-4 a performances. Today, at only $23 for an orchestra seat, ticket prices are still a fraction of what is charged at other opera houses. Amato is believed to be the only self-sustaining opera house in the United States.

It is estimated that more than 10,0000 singers have been heard at Amato in full-length productions, many of whom have gone on to perform at leading houses throughout the world. Others have gone on to musical comedy, teaching, or other smaller-scale efforts. The secondary goal of giving experience to budding talents has been more than fulfilled. Jon Frederic West, who sang at Amato, was quoted in a September 1993 interview in U.S. Air Magazine - "The Amato still stands as one of the greatest training grounds for singers. Tony has a traditional concept of opera that is real and alive."

The Amato Opera is often referred to as a "mom and pop" operation. Tony is the music director - selecting the operas, conducting auditions and casting, rehearsing staff, training them in stage and acting technique, and conducting most of the performances. Sally, his wife and former leading lady (Serafina Bellantoni), handles the light board, sews the costumes, acts as make-up consultant, handles publicity and most of the business details including ticket sales. She also frequently feeds the cast on "strike" days. Scenic design has been handled for more than twenty years by Richard T. Cerullo, who is widely respected of the magic he creates on the miniature stage. Volunteers from the Amato Opera Circle supplement these efforts. The Circle, which has been active since April, 1953, consists of approximately 300 members and is also involved in fund-raising.

An average Season includes five operas. Performances of each opera run over five weekends with six to ten different casts. The Golden Jubilee 1997-1998 season offered ten performances each of three Verdi operas: Falstaff, Aida and Rigoletto; ten performances of Puccini's Tosca; and twelve performances of Strauss' Die Fledermaus. Performances were almost always sold out. Five "Opera-in-Brief" productions, one performance each, were held. These were geared for the family and the Saturday morning events have become an exceptional way of interesting children in opera. In addition, Amato continues to tour and offer productions in surrounding cities.

Amato is now a recognized opera facility in the United States and abroad. What began as a dream has become, in the first fifty years of its history, a respected and recognized part of the New York City opera scene and a contribution force in the cultural life of the City. Long may it reign.

Dr. Diaz is an Adjunct Assistant Professor at the Fordham University School of Social Service. Two previous articles on the history of 319 Bower and a social worker's view of opera have appeared in past Opera Circle newsletters.