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Kevin Puts

Mark Campbell

Joseph Marcheso

Assistant Conductor
Robert Mollicone

Stage Director
Michael Shell


Chorus Master
Andrew Whitfield

Set Designer
Steven Kemp

Costume Designer
Melissa Torchia

Lighting Designer
Pamila Z. Gray

Wig & Makeup
Christina Martin


Role 2/11, 2/12, 2/16, 2/19, 2/24, 2/26
Anna Sorensen Julie Adams
Nikolaus Sprink Kirk Dougherty
Lt. Audebert Ricardo Rivera
Lt. Gordon Matthew Hanscom
Lt. Horstmayer Kyle Albertson
Ponchel Brian James Myer
Father Palmer Colin Ramsey
Jonathan Dale Mason Gates
General Audebert Nathan Stark
Kronprinz Christopher Bengochea
William Dale Branch Fields
Madeleine Audebert Ksenia Popova
British Major Vitali Rozynko

Opera San José Orchestra, Chorus, Dancers and Supers

*Casting subject to change without notice

Late summer, 1914

War is declared. At a Berlin opera house, the announcement disrupts the careers and personal lives of international opera singers Anna Sørensen and Nikolaus Sprink. In a small church in Scotland, it inspires dreams of heroism in William who demands that his younger brother Jonathan immediately enlist with him as their priest, Father Palmer, looks helplessly on. In the apartment of the Audeberts in Paris, it angers Madeleine who excoriates her husband for leaving to fight while she is pregnant with their first child. Amid the fervor of nationalistic songs, the men prepare to leave for war.

silent_night_mediumAct I: In and around a battlefield in Belgium, near the French border, around Christmas Scene one – December 23, late afternoon
A horrific battle is fought between the Germans and the French and Scottish. An attempt by the French and Scottish soldiers to infiltrate the German bunker fails miserably; corpses begin to pile up in the no-man’s land between the three bunkers. Nikolaus is seen violently engagingin combat–stabbing a man to death and growing in despair at the violence. William is shot, Jonathan must leave his brother behind to die.

Scene two: December 23, evening
In the Scottish bunker, Lieutenant Gordon assesses the casualties after the battle. Father Palmer attempts to offer solace to Jonathan in prayer. In the French bunker, Lieutenant Audebert discovers the French General waiting in his makeshift office, who reprimands him for surrendering and threatens him with a transfer. The General leaves and Audebert laments the loss of his wife’s photograph to his aide-de-camp, Ponchel. When he is alone, Audebert tallies the casualties in the last battle, while missing Madeleine and their child who he has not yet seen. He sings of needing sleep, a sentiment echoed by all of the soldiers. As it starts to snow, covering the corpses in no man’s land, the soldiers slowly begin to sleep. Alone in the German bunker, Nikolaus reveals to an imagined Anna his despair about war.

Scene three: December 24, morning
In the German bunker, crates have arrived – and little Christmas trees from the Kronprinz. Lieutenant Horstmayer criticizes the Kronprinz for not sending them more useful presents, like ammunition and reinforcements. He receives a directive from headquarters that Nikolaus has been ordered to sing at the nearby chalet of the Kronprinz, along with one Anna Sørensen. Nikolaus departs for the chalet, excited that he will be reunited with Anna again after many months apart. The French soldiers have received crates of wine, sausages and chocolates from the quartermaster and open them jubilantly. Ponchel, a barber by trade, brings coffee to Audebert and sits him down for a haircut. He is reminded of having coffee with his mother every morning, who lives only an hour away by foot. The alarm clock he carries next to his heart at all times (which shielded him from a bullet in the last battle) rings at ten o’clock every morning to remind him of their daily meeting. In the Scottish bunker, crates of whiskey have arrived from home. Jonathan writes a letter to his mother, not mentioning his brother’s death.

Scene four: December 24, early evening
At the chalet of the Kronprinz, Anna and Nikolaus perform a duet. Following the performance, they steal a few moments on a terrace outside. Anna notices the cruel effect war has had on her lover’s spirit. She has arranged for Nikolaus to spend the night with her and is angry when he says he must return to his fellow soldiers. She vows to accompany him back to the battlefield.

Scene five: December 24, night
In the French bunker, Gueusselin volunteers to infiltrate the German bunker, and with several grenades, sidles onto no-man’s land. The Scottish soldiers drink whiskey and play a bagpipe that another unit has sent them, as Father Palmer sings a sentimental ballad about home. The men in the other bunkers hear the song and react to it with sadness, caution and annoyance. Nikolaus arrives; his fellow soldiers greet him with cheers and applause and gasp in amazement at seeing Anna with him. When the song in the Scottish bunker is finished, Nikolaus sings a rousing Christmas song loudly in response and midway through the bagpiper begins to accompany. Emboldened, Nikolaus stands atop the bunker raising a Christmas tree as a gesture of friendship. Against the protestations of their superiors, the soldiers from all bunkers stand. Nikolaus bravely moves to the center of no-man’s land. Gueusselin abandons his plan to grenade the German bunker. Eventually, the three lieutenants, waving a white flag of truce, agree to a cease-fire … but only on Christmas Eve. The soldiers slowly and cautiously move toward each other. They share their provisions, their photos and their names. Anna appears and all of the soldiers are awed by the sight of a woman. Father Palmer has set up a makeshift church and celebrates mass with the men, while Jonathan finds his brother’s body and vows revenge. Father Palmer finishes the mass and urges the men to “go in peace” as bombs explode menacingly in the distance.

Act II

Scene one: December 25, dawn
The following morning, Jonathan tries to bury his brother. Because the truce is officially over, two German sentries are prepared to shoot him, although Father Palmer and Lieutenant Gordon intervene. Looking on, Horstmayer proposes that it may indeed be time to bury all of the dead. The three lieutenants meet and decide over coffee that the truce will be extended until after the dead in no-man’s land are buried.

Scene two: December 25, late morning, early afternoon
The soldiers pile up the corpses, Father Palmer delivers last rites and the soldiers form a processional bearing the wagon of bodies away. Anna looks on with Nikolaus and promises that he will not suffer the same fate.

Scene three: December 25, all day
In the meantime, news of the cease-fire has reached headquarters, and the British Major, the Kronprinz and the French General all react in anger and disbelief. They declare that they will punish the soldiers for their betrayal.

Scene four: December 25, evening
Lieutenant Horstmayer prepares to return to war and Nikolaus berates him for his allegiance to the Fatherland. Horstmayer arrests Nikolaus for insubordination, but Anna takes his hand firmly and leads him across no-man’s land as Horstmayer orders his men to shoot, but no one moves. Reaching the French bunker unharmed, Nikolaus regains his voice and demands asylum for himself and Anna.

Scene five: December 26, late morning
The British Major admonishes the Scottish soldiers for participating in the Christmas truce. They are to be transferred to the front lines. When a German soldier is seen crossing the battlefield, the Major orders him killed. Jonathan complies and dispassionately shoots the man.

Lieutenant Audebert returns to his small office and discovers the French General there. The General tells Audebert that he will be transferred to Verdun as punishment for consorting with the enemy and that his unit will be disbanded. Audebert informs the French General – his father – that he has learned he has an infant son named Henri. They vow to survive the war for the child’s sake.

The Kronprinz angrily announces that the German soldiers are to be deployed in Pomerania as punishment. As the soldiers are taken off in a boxcar, they hum the Scottish ballad they heard in the bunker on Christmas Eve. The battlefield is now completely empty. Snow begins to fall again.

Synopsis courtesy of

Introduction to Opera

At 6:30 before evening performances and at 1:30 before matinees, a free talk will be presented in the California Theatre that will acquaint you with the composer’s life, his place in the history of opera, the story and its characters. If you are attending the 1:30 or 6:30 Introduction, you must be ticketed for that day’s performance; and your ticket must be torn as you enter the building.

MLK Library Previews

A one-hour preview for each 2015-16 production is presented free of charge in the Beethoven Center, located on the 5th Floor of the Dr. MLK Library in San Jose (located at the corner of Fourth and San Fernando Streets). Moderated by GD Larry Hancock, the preview includes a lecture and performances by OSJ artists. Dates for previews are as follows:

  • Lucia di Lammermoor: August 30, 2016
  • The Barber of Seville: November 1, 2016
  • Silent Night: January 31, 2017
  • La bohème: April 4, 2017

All previews begin at 12 noon.

Opera at Your Doorstep Lecture Series

Increase your understanding of opera and enjoy upcoming Opera San José performances all the more by attending one of longtime OSJ subscriber Bradford Wade’s FREE previews. Dates for Silent Night lecture talks are listed below. For more information about the Opera at Your Doorstep Lecture Series and/or to RSVP, email .

Tuesday, Jan. 31: 7:30-9:00 pm
Pat Miller’s Music School
14107 Winchester Blvd, Los Gatos

Wednesday, Feb. 8: 7:00-8:30 pm
Italian-American Heritage Foundation
425 N. Fourth St, San Jose

Thursday, Feb. 9: 7:30-9:00 pm
Law Offices of Sheppard Mullin
379 Lytton Avenue, Palo Alto

silent_night_mediumIn conjunction with the West Coast premiere of Kevin Puts’ and Mark Campbell’s Silent Night,  Opera San José will present an afternoon symposia consisting of four different sessions at the California Theatre in downtown San José on Friday, February 10, 2017, @ 2:00 pm. The symposia take place in the Third Floor Rehearsal Hall; tickets are $20, and include light refreshments. Be sure to purchase your ticket ($50) for the cocktail reception following the Symposia at 6 p.m. in the Market Street lobby of the California Theatre.


Panel 1: Contemporary Opera in America
2:00 pm – 2:40 pm
Members of the local media discuss issues surrounding contemporary opera
Jim Sohre, Opera Today
Georgia Rowe, San Jose Mercury News
Mark Streshinsky, West Edge Opera

Panel 2: Designing Silent Night
2:50 pm – 3:30 pm
Members of Opera San José’s creative team discuss the challenges and inspiration behind the sets, costumes and lighting designs for Silent Night.
Michael Shell, Stage Director
Steven Kemp, Set Designer
Pamila Z. Gray, Lighting Designer

Panel 3: WWI: Contemporary Perspectives
3:50 pm – 4:35 pm 
Gerard Seelig will conduct a Q&A with William Perry about Mr. Perry’s book, My Journey at the Nuclear Brink.
William Perry, Former United States Secretary of Defense
Gerard Seelig, Opera San José Board Member

Panel 4: Meet the Creators of Silent Night
4:45 pm – 5:25 pm
Composer Kevin Puts, librettist Mark Campbell and conductor Joseph Marcheso discuss the creative process that gave birth to Silent Night.
Kevin Puts, Composer
Mark Campbell, Librettist
Joseph Marcheso, Conductor




Performances of Silent Night are made possible, in part, by a grant from the Carol Franc Buck Foundation and a Cultural Affairs Grant from the City of San José.

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