Mary Kay and Menotti

I distinctly remember my college friend, David DeSeguirant, and I wondering, "What's a Menotti?" At the time, David and I were freshmen Music Theory and Composition majors at Oklahoma Baptist University (along with our friend, Leslie Allison, whom David and I agreed was the best composer of the three of us, but who later decided to major in Nursing).

The professors in OBU’s Music Theory and Composition Department had invited the composition majors to travel to nearby Oklahoma University for the opportunity to “hear Menotti.” At first, David wondered if “Menotti” was an Italian opera. I thought perhaps it could be—we were close! But upon further investigation, we discovered that Gian Carlo Menotti was the world-renowned composer of Amahl and the Night Visitors, the famous opera commissioned by NBC and composed for American television.

Though apparently I had not yet focused on the composer, the previous December I had the privilege of hearing Professor Mary Kay Parrish sing the part of the boy character, “Amahl,” in an OBU production of Amahl and the Night Visitors, a role she had famously played about twenty times! Mary Kay's stature, dramatic talent, and pure soprano voice combined to bring the character to life, masterfully. 

The title of Menotti’s opera also rang a bell with me because as a fourth grader at Tulsa’s Eugene Field Elementary School, I had been selected to narrate a play version of Amahl and the Night Visitors. At the first rehearsal, speaking in my best Oklahoma accent, I remember sounding out the printed name “Amahl” as “am-hahl!” My music teacher, who was directing the play, quickly corrected my pronunciation, sparing me any further embarrassment! Who would have known years later that I would meet the opera's librettist and composer?

On the day of our college field trip to hear Menotti, the composition students traveled by university van with our four distinguished professors: Kathryne Timberlake, Michael Cox, Nancy Hill Cobb, and Mary Kay Parrish. We arrived just in time to enter an OU arena as Menotti was beginning his lecture. I wish I could recall the lecture in detail, but I’m sure he spoke about his life and career as a composer. When the lecture concluded and the large crowd dispersed, we remained behind for an opportunity to speak with him. After a short wait, those of us who had come from OBU stood in a circle with the great composer. We had him all to ourselves!

Setting the stage for the rest of this story, to the left of me in the circle was Mary Kay Parrish, with Menotti directly across from us. Right off the bat, our beloved professor and matriarch, Kathryne Timberlake, introduced our group to the composer and told him we were from Oklahoma Baptist University. After cordial introductions, Mrs. Timberlake, who was the cousin of internationally acclaimed pianist Van Cliburn, reminded Menotti of his presence at one of her cousin’s events—perhaps the famous Cliburn Competition in Fort Worth, Texas. Menotti replied that he had not attended. Mrs. Timberlake offered other specific memories of the occasion, but Menotti adamantly denied having been there. As we witnessed the increasingly frustrating conversation, we all knew without a doubt that Mrs. Timberlake’s account was accurate.

Our jovial circle suddenly became an uneasy one. No one knew quite what to say as we stood in awkward silence.

Because of my extroverted, social nature, and finding the silence uncomfortable, I decided to "break the ice."
​
As if making a grand introduction, I boldly placed my arms in a half-hug around Professor Mary Kay Parrish and, in a proclamatory voice, announced to Gian Carlo Menotti:
"And this is Amahl!"

I thought this would relieve the tension in our circle, but instead, the blood drained from Mary Kay's face as she looked at me and said aloud: 
"I am in trouble now."

I had no idea what she was talking about.

Then, right in front of Menotti, she informed me:
“He specifically indicates in his score that he desires only boy sopranos for the part of Amahl!”*

I was speechless.

Mary Kay then humbly told Menotti:
"I've performed the role about twenty times."

Then...​

​without a word...

and to our astonishment...

Gian Carlo Menotti walked across the circle toward Mary Kay...

placed both of his hands on her shoulders...

leaned forward, and...

KISSED HER FOREHEAD!

Our entire group breathed a collective sigh of relief as the tension dissolved into grateful laughter. Menotti’s ceremonial kiss seemed to offer both absolution and blessing.
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On the way back to OBU, we all relived our experience with Menotti including Mrs. Timberlake's disbelief that he did not remember the Cliburn event. And, instead of a disastrous conclusion to the day, word quickly spread around the university about Mary Kay’s well-deserved kiss from Menotti—and my role in bringing it about (whew!).

Receiving the College of Fine Arts' "B.B. McKinney Award" from Mary Kay Parrish a year or two after the Menotti "incident" (kiss), with smiles that seem to silently express the memory of that day

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*In the published score of Amahl and the Night Visitors, Menotti indicates: “It is the express wish of the composer that the role of Amahl should always be performed by a boy. Neither the musical nor the dramatic concept of the opera permits the substitution of a woman costumed as a child.” If it were possible, perhaps Menotti would now add: "...except for Mary Kay Parrish!" ​