The Oregon Cultural Trust acknowledges the many tribes and bands who call Oregon their ancestral territory and honors the ongoing relationship between the land, plants, animals, and people indigenous to this place we now call Oregon. We recognize the continued sovereignty of the nine federally recognized tribes who have ties to this place and thank them for continuing to teach us how we might all be here together.
Graphic Design by Rene Choy
Cover and 60th Anniversary art by Lisa Congdon
Production photography by Raftermen for The Atlanta Opera
PLEASE NOTE:
The Shining includes depictions of extreme violence including domestic abuse and murder.
Welcome to the Pacific Northwest premiere of The Shining . In keeping with our commitment to presenting bold and innovative works, we are thrilled to bring this spine-tingling opera to life for our audience.
Stephen King’s iconic novel kept readers on the edge of their seats with its chilling tale of isolation, obsession, and the supernatural. The movie, immortalized by Jack Nicholson’s unforgettable performance, cemented the story’s place in popular culture. Tonight, we are proud to present The Shining in a new and electrifying form: as an opera, composed by Paul Moravec with a libretto by Mark Campbell.
Prepare to be captivated by a haunting score that perfectly complements the suspenseful and eerie atmosphere of the story. As you listen, the tapping of the typewriter and the hiss of the boiler will transport you to the Overlook Hotel, where the boundaries between reality and the supernatural blur.
We are honored to share this powerful work with you and invite you to lose yourself in its gripping narrative and evocative music. Thank you for supporting the arts and for being part of this unforgettable evening.
Enjoy the performance — if you dare.
SUE DIXON
Portland Opera General Director
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Music by PAUL MORAVEC
Libretto by MARK CAMPBELL
Based on the novel by STEPHEN KING
Published by and presented with the permission of SUBITO MUSIC CORPORATION
A Co-Production by OPERA PARALLÈLE
HAWAIʻI OPERA THEATRE
PORTLAND OPERA
Performed in English with projected English captions written by Alexis Hamilton.
There will be one intermission.
Total running time is approximately two hours.
Portland Opera appreciates the continuing support of the Regional Arts and Culture Council, the Oregon Arts Commission and the National Endowment for the Arts. Portland Opera is a member of OPERA America.
PORTLAND OPERA PRESENTS
THE CAST
(in order of vocal appearance)
Wendy Torrance
REBECCA KRYNSKI COX *
Jack Torrance
ROBERT WESLEY MASON *
Stuart Ullman
NATHAN GRANNER
Danny Torrance
FLASH INOUYE *
Danny Torrance Cover
AMELIA CHU *
Dick Hallorann
QUINTON GARDNER *
Bill Watson
NATHANIEL CATASCA +
Mark Torrance
RICHARD ZELLER
Mafia Guy #1/Ensemble
AARON LANGE *
Mafia Guy #2/Ensemble
ADRIAN ROSALES
Delbert Grady
NATHAN GRANNER
THE SHINING GHOST CHORUS
Soprano
GINA ADORNO **
KARI BURGESS **
DRU RUTLEDGE **
+ Portland Opera Resident Artist
* Portland opera debut
Grady Girl #1
JENNA ARENIVAR *
Grady Girl #2
MARYN ARENIVAR *
Mrs. Grady/Ensemble
GINAIA BLACK+
Mrs. Massey/Ensemble
ERIN ROTH THOMAS +
Crooner/Ensemble
BRANDON MICHAEL*
Horace Derwent
MATTHEW MAISANO +
Ranger/Ensemble
BRIAN LANGFORD *
Lloyd, the bartender
NATHANIEL CATASCA +
Senator/Ensemble
GREGORY BRUMFIELD
Man in Dog Mask/Ensemble
TIMOTHY LAFOLETTE
Partygoer/Ensemble ONRY *
Danny Torrance Double
ASPEN CLAYTON *
Mezzo-soprano
SADIE GREGG **
ANNA JABLONSKI **
SARAH MAINES **
** Vested choristers who have been a regular member of the Portland Opera Chorus for more than two years and have sung in five or more productions.
CREATIVE TEAM
Conductor
DAMIEN GETER
Original Stage Director
BRIAN STAUFENBIEL
Stage Director
ERIN NEFF *
Choreographer & Assistant Director
SETH HOFF
Scenic Designer
JACQUELYN SCOTT *
Costume Designer
ALINA BOKOVIKOVA*
Lighting Designer
JIM FRENCH *
Projection Designer
DAVID MURAKAMI *
Sound Designer/Engineer
BRIAN MOHR
THE SHINING ORCHESTRA
Violin
MARGARET BICHTELER, Concertmaster
JAMES M. MCLENNAN, Asst. Concertmaster
NELLY KOVALEV, Principal Second Violin
JAMIE CHIMCHIRIAN
JENNIFER ESTRIN
Viola
HILLARY OSEAS, Principal
ANGELIKA FURTWANGLER
Cello
DYLAN RIECK, Principal
Bass
CLINTON O’BRIEN, Principal
Flute/Piccolo
GEORGEANNE RIES, Principal
Oboe/English Horn
KELLY M. GRONLI, Principal
ˆ Substitute orchestra musician.
Original Wig & Makeup Designer
Y. SHARON PENG
Hair & Makeup Designer
SARA BEUKERS
Associate Lighting Designer
MARCELLA BARBEAU *
Associate Projection Designer
SAM CLEVENGER *
Chorus Master/Assistant Conductor/ Principal Accompanist
NICHOLAS FOX
Assistant Chorus Master/Offstage Conductor
PAUL FLOYD *
Chorus Accompanist
CLAIRE FORSTMAN +
Fight Choreographer
JOHN ARMOUR
Production Stage Manager
JON WANGSGARD
Clarinet/Eb/Bass Clarinet
LOUIS DEMARTINO, Principal
Bassoon/Contrabassoon
SAMUEL RHOTON, Principal
French Horn
MICHAEL HETTWER, Principal
Trumpet
CHARLES R. BUTLER, Principal
Tenor/Bass Trombone
JOHN CHURCH, Principal
Timpani/Percussion
BRIAN GARDINER, Principal
Percussion
GORDON RENCHER, Principal
Synthesizer
CLAIRE FORSTMAN, Principalˆ
Orchestra Musicians are represented by the American Federation of Musicians Local 99.
Chorus, principal singers, dancers, and staging staff are represented by the American Guild of Musical Artists.
Production designers are represented by United Scenic Artists 829 (a subsidiary of International Alliance of Theatre and Stage Employees).
Stage crew provided by IATSE Local #28
Admission staff provided by IATSE Local #B20
SYNOPSIS
ACT I
AUTUMN 1975
High in the Colorado Rockies, the Torrance family arrives at the remote Overlook Hotel. Jack and Wendy hope for a new beginning for themselves and their small son, Danny.
At the Overlook, the summer staff prepares to leave. The general manager, Mr. Ullman, shows the family around, and introduces them to Mr. Hallorann, the hotel cook. While Hallorann takes Wendy and Danny to the kitchen, Ullman expresses his doubts about Jack’s suitability for the position of winter caretaker.
The maintenance person, Watson, explains the importance of releasing the pressure in the hotel boiler to Jack, lest it explode and take the Overlook and the Torrances with it. Jack also learns what became of the previous caretaker, Delbert Grady, and his family: a gruesome murdersuicide.
Hallorann chats privately with Danny explaining “the shining” to him. People like Danny and Hallorann have visions and understand what others are thinking, feeling, and doing. Halloran tests Danny’s power to communicate telepathically and tells Danny to send a blast of psychic energy to him if things get bad.
Several weeks later, Jack and Wendy share a moment of tenderness. Checking on Danny, Wendy discovers that he has locked himself in the bathroom and will not respond. Jack forces the door and emerges with Danny, who is catatonic and babbling incomprehensibly.
Once alone, Jack is terrorized by visions of his long-dead, abusive father.
Jack discovers a scrapbook in the basement. As he examines it, scenes from the Overlook’s violent past play themselves out around him, including a mob hit and a jilted woman’s suicide. Inspired, Jack decides to write a tell-all about the Overlook. Ghostly partygoers appear. Jack shakes off the reverie and finds a giant croquet mallet on the floor.
Danny tells Wendy that the hotel is trying to get inside Jack. Wendy is confused but assures Danny that Jack loves them.
Concerned about Jack’s growing obsession with the hotel, Wendy asks him to consider leaving the Overlook. Jack vehemently refuses.
THE FIRST WEEK OF NOVEMBER
Ullman, Watson, and Hallorann leave for the winter.
The family is alone.
As his family sleeps, Jack sits idly at his typewriter. The elevator lurches to life, then stops. Jack investigates. In the ballroom, a huge party swirls around him. Jack retrieves the croquet mallet on the floor. Shaken, Jack returns to the caretaker’s quarters.
Jack tells Wendy only that the elevator shortcircuited.
Later, Danny, fascinated by Room 217, enters and walks to the bathroom…
A blizzard warning crackles over the radio. Jack turns it off, longing for a drink. Suddenly, his father’s voice blares, “KILL HIM,” through the CB. Horrified, Jack snatches up the mallet and destroys the receiver. Weeping, Jack explains to Wendy that he had to shut his father up.
Both realize that Danny is missing. Panicked, they yank open their door to find Danny, sopping wet, with bruises on his neck and smeared lipstick on his cheeks.
Wendy begs Jack to leave the hotel, but he abusively rebuffs her as ghosts slowly emerge.
The storm rages as Danny shrieks, “Hallorann! Come quick!”
Jack careens into the ballroom and orders drinks from the bar that has materialized with the ghostly party. Jack passes out, drunk. The ballroom goes dark.
Wendy enters cautiously. Seeing Jack on the floor, she rushes over to help. He attacks her and begins to choke her. Wendy seizes a bottle and knocks Jack out.
Wendy and Danny lock Jack in the pantry. Wendy retrieves a large kitchen knife before retreating.
Grady appears and chides Jack. Jack promises to finish off Wendy and Danny, and Grady reminds him of the safety lock inside the pantry before disappearing.
Wendy goes to the kitchen to fix dinner, remembering to take the kitchen knife. Danny has a vision of his father escaping and follows her.
Wendy creeps to the kitchen as apparitions appear to her. Jack explodes out of the dark, swinging the mallet. Wendy stabs Jack and flees.
ACT II
EARLY IN DECEMBER
An unravelling Jack shuffles through the basement, muttering. The ghost of Delbert Grady invites Jack upstairs to a party. Grady tells Jack that that he must teach his family to respect the Overlook…violently if necessary.
Wendy makes Danny a sandwich in the kitchen. Abruptly, Danny says, “They got him!” Confused, Wendy probes further, but Danny can tell her no more. She goes to find Jack.
Back at the apartment, Wendy realizes Danny is gone. Jack arrives and bashes at the door. He is nearly inside the apartment when Derwent and Grady order him to leave her and find the boy.
Halloran enters the Overlook. Jack brutally beats him and comes for Danny. Danny reminds Jack of his words, “Never forget how much your father loves you.” Jack tells Danny to run…Danny tells Wendy and Hallorann that they all must leave. Now.
Jack stands motionless before the boiler. He begins to release the pressure but stops, paying no heed to the ghosts desperately warning him that it is about to explode…
CAST & CREW BIOS
DAMIEN GETER
PRONOUNS: he/him
HOMETOWN: Matoaca, VA
ROLE: Conductor
PORTLAND OPERA DEBUT: Alcindoro, La Bohème , 2017
RECENTLY: Composer, American Apollo , Des Moines Metro Opera
UPCOMING: Composer, Loving v Virginia , Virginia Opera/Richmond Symphony; Composer, American Apollo , Chautauqua Opera Conservatory
BRIAN STAUFENBIEL
PRONOUNS: he/him
HOMETOWN: San Francisco, CA
ROLE: Original Director, The Shining
RECENTLY: Director, Das Rheingold , Seattle Opera; Director, The Shining , The Atlanta Opera; Director, The Pigeon Keeper, Opera Parallèle
UPCOMING: Director, Harvey Milk Reimagined, Fellow Travelers, Silent Night
ERIN NEFF
HOMETOWN: San Francisco, CA
ROLE: Director
PORTLAND OPERA DEBUT
RECENTLY: Stage Director at San Francisco Opera Center, Mendocino Music Festival, The Telluride Music Festival, The Jewish Music Festival, Island City Opera, and others; Co-directing Birds and Balls , two one-act operas set in the 1970’s hit show, The Wide World of Sports, Opera Parallèle. Ms. Neff has created numerous sound installations in galleries, museums and open spaces with collaborator Lewis de Soto, including Carlotta (featured in Joshua Tree Nat’l Park)
UPCOMING: Staged performances of Dominic Argento’s From the Diary of Virginia Wolf
REBECCA KRYNSKI COX
Soprano
PRONOUNS: she/her
HOMETOWN: Charlotte, NC
ROLE: Wendy
PORTLAND OPERA DEBUT
RECENTLY: Mimì, La Bohènme , Florida Grand Opera; Leonore, Fidelio, Opera Company of Middlebur; Soprano Soloist, Verdi Requiem , Sarasota Key Chorale
UPCOMING: Contessa, Le Nozze Di Figaro, Northern Lights Music Festival; Leonore, Il Trovatore , North Carolina Opera; Soprano Solost, Serenata Romantica , Charleston Opera Theater
ROBERT WESLEY MASON
Baritone
PRONOUNS: he/him
HOMETOWN: Norfolk, VA
ROLE: Jack Torrance
PORTLAND OPERA DEBUT
RECENTLY: Belcore, The Elixir of Love , Grand Rapids Opera; Baritone, Europeras 3 & 4 , Detroit Opera; Baritone, American Patriots , Salina Symphony
UPCOMING: Richard Loving, Loving v. Virginia , Virginia Opera
NATHAN GRANNER
Tenor
PRONOUNS: he/him
HOMETOWN: Santa Maria, CA
ROLE: Stuart Ullman/Delbert Grady
PORTLAND OPERA DEBUT: Korey Wise, Central Park Five , 2023
RECENTLY: Arthur Chipping, Goodbye, Mr. Chips , Opera on Film and Pentatone Music; Rodolfo, La Bohéme , Tacoma Opera; Cavaradossi, Tosca , Opera Orlando
UPCOMING: Rádames, Aïda , Dayton Opera; Korey Wise CP5 , Detroit Opera; Hal aka Henry V/Shallow, Plump Jack , Opera on Film and Pentatone music release
QUINTON GARDNER
Bass-Baritone
PRONOUNS: he/him
HOMETOWN: Binghamton, NY
ROLE: Dick Hallorann
PORTLAND OPERA DEBUT
RECENTLY: Pastor Leeroy, The Factotum (Workshop), Portland Opera; Rev. Billy Noble, Adam’s Run , Renegade Opera
UPCOMING: Chorus, Falstaff, Portland Opera
NATHANIEL CATASCA
Tenor
PRONOUNS: he/him
HOMETOWN: Albuquerque, NM
ROLE: Bill Watson/Lloyd the Bartender
PORTLAND OPERA DEBUT: Soloist, The Juliet Letters , 2024
RECENTLY: Radio Announcer, Two Corners , Finger Lakes Opera; Le Remendado, Carmen , Sarasota Opera; Ferrando, Così fan tutte , Opera Arlington
UPCOMING: Bardolfo, Falstaff, Portland Opera
MATTHEW MAISANO
Baritone
PRONOUNS: they/them
HOMETOWN: Philadelphia, PA
ROLE: Horace Derwent
PORTLAND OPERA DEBUT: Soloist, The Juliet Letters , 2024
RECENTLY: Soloist, The Juliet Letters , Portland Opera; Director/Gendarme, Les mamelles de Tirésias , Hogfish; Sergeant, La Bohème , Opera Philadelphia; Leporello, Don Giovanni , Lancaster Symphony
UPCOMING: Pistola, Falstaff, Portland Opera
RICHARD ZELLER
Bass-Baritone
PRONOUNS: he/him
HOMETOWN: Portland, OR
ROLE: Mark Torrance
PORTLAND OPERA DEBUT: Masetto, Don Giovanni (1989)
RECENTLY: Haydn The Creation, Anchorage Chamber Singers; Tonio, Pagliacci, Greensboro Opera; Wrestling Bradford, Merry Mount , Rochester Philharmonic Orchestra
UPCOMING: Fauré Requiem , George Fox University. Lots of teaching for Portland Opera, Portland State University, and my private studio!
FLASH INOUYE
HOMETOWN: Portland, OR
ROLE: Danny
PORTLAND OPERA DEBUT AMELIA CHU
Soprano
PRONOUNS: she/her
HOMETOWN: Portland, OR
ROLE: Danny (Cover)
PORTLAND OPERA DEBUT
RECENTLY: Matilda, Matilda , Portland Drama Club
ASPEN CLAYTON
ROLE: Danny Torrance Double
JENNA ARENIVAR
Soprano
HOMETOWN: Portland, OR
ROLE: Grady Girl
PORTLAND OPERA DEBUT
RECENTLY: Anna, Frozen Jr. , Five Oaks Middle; Veruca Salt, Willy Wonka Jr. , FOMS
MARYN ARENIVAR
Alto
PRONOUNS: she/her
HOMETOWN: Portland, OR
ROLE: Grady Girl
PORTLAND OPERA DEBUT
RECENTLY: Elsa, Frozen Jr. , Five Oaks Middle; Violet, Willy Wonka Jr. , FOMS
GINAIA BLACK
Soprano
PRONOUNS: she/her
HOMETOWN: Birmingham, AL
ROLE: Mrs. Anna Mae Grady
PORTLAND OPERA DEBUT: Soloist, The Juliet Letters , 2024
RECENTLY: Soloist, The Juliet Letters , Portland Opera; Nuria/Ainadamar/Juliette, Roméo et Juliette , Indiana University Opera and Ballet and Theater; Shannon (Cover), The Righteous , Santa Fe Opera
UPCOMING: Nannetta (Cover), Falstaff, Portland Opera
ERIN ROTH THOMAS
Mezzo Soprano
PRONOUNS: she/her
HOMETOWN: Lufkin, TX
ROLE: Mrs. Massey
PORTLAND OPERA DEBUT: Soloist, The Juliet Letters , 2024
RECENTLY: Juditha, Juditha Triumphans ; American Baroque Opera); Acis, Acis y Galatea , American Baroque Opera; Soloist, Mahler Symphony No. 2 , Plano Symphony Orchestra
UPCOMING: Meg Page, Falstaff, Portland Opera; Alto Soloist, Messiah , Canterbury Singers; Resident Artist, Santa Fe Desert Chorale Winter Festival
BRANDON MICHAEL Tenor
PRONOUNS: he/him
HOMETOWN: Bellevue, WA
ROLE: The Crooner
PORTLAND OPERA DEBUT: Chorus, Carmen , 2022
RECENTLY: David, Pepit o, New Wave Opera; Nemorino, L’Elisir d’Amore , Ping and Woof Opera; Father, Free men , Astoria Chamber Opera
UPCOMING: Rodolfo, La Bohème , Astoria Chamber Opera; Chorus, Falstaff, Portland Opera
ONRY
PRONOUNS: he/him
HOMETOWN: Portland, OR
ROLE: Partygoer/Ensemble
PORTLAND OPERA DEBUT: 2023
RECENTLY: Madame Butterfly, Marriage of Figaro, Show Boat, Carmen, Faust, La Traviata
UPCOMING: Falstaff
AARON DOUGLAS LANGE
Tenor
PRONOUNS: he/him
HOMETOWN: Gresham, OR
ROLE: Mafia Guy #1
RECENTLY: Frederic, The Pirates of Penzance , Light Opera of Portland; Tenor soloist, Messiah , Bravo! Concerts Northwest; Messenger, Aida , Opera in the Park Portland
ADRIAN ROSALES
Baritone
PRONOUNS: he/him
HOMETOWN: Portland, OR
ROLE: Mafia Guy #2
PORTLAND OPERA DEBUT: Man 2, Frida , 2021
RECENTLY: Belcore, L’Elisir d’Amore , Cascadia Chamber Opera/Dancairo, Carmen , Opera San Luis Obispo/ Baron Douphol, La Traviata , Opera Bend
UPCOMING: Schaunard, La Bohème , Cascadia Chamber Opera; Figaro, The Barber of Seville , Opera Bend
GREGORY BRUMFIELD
Bass
PRONOUNS: he/him
HOMETOWN: Philomath, OR
ROLE: Senator/Ensemble
PORTLAND OPERA DEBUT: La Bohème , 2017
RECENTLY: Sam, The Factotum , Portland Opera Workshop; Lillas Pastia, Carmen , Portland Opera; Sweeney Todd, Sweeney Todd , the Demon Barber of Fleet Street , Majestic Theater
UPCOMING: Chorus, Falstaff, Portland Opera
BRIAN LANGFORD
Baritone
PRONOUNS: he/him/they/them
HOMETOWN: Portland, OR
ROLE: Ranger/Opera Chorus
PORTLAND OPERA DEBUT: Chorus, La Traviata , 2001
RECENTLY: Puccini Night, Rusalka , Portland Opera Chorus
UPCOMING: Chorus, Falstaff, Portland Opera
TIMOTHY LAFOLETTE
Baritone
PRONOUNS: he/him
HOMETOWN: San Francisco, CA
ROLE: Man in the Dog Mask
PORTLAND OPERA DEBUT: Juan (Muleteer), Man of La Mancha , 2017
RECENTLY: Pepito, Pepito , New Wave Opera; Swing/ Ensemble, Sweeney Todd , Portland Center Stage; Raphael/Bretodeau, Amélie , Magenta Theater
UPCOMING: Chorus, Falstaff, Portland Opera
ALINA BOKOVIKOVA
PRONOUNS: she/her
HOMETOWN: San Diego, CA
ROLE: Costume Designer
PORTLAND OPERA DEBUT
RECENTLY: Costume Designer for play Cancelina , Potiker Theatre; opera La Bohème , San Jose; panto, Peter Pan , Presidio Theatre
UPCOMING: Costume Designer for opera Harvey Milk Opera Parallèle; musical 5& Dime TheatreWorks; play Beside Myself, Laguna Playhouse
JIM FRENCH
PRONOUNS: he/him
HOMETOWN: San Francisco, CA
ROLE: Lighting Designer
PORTLAND OPERA DEBUT
RECENTLY: Opera: The Atlanta Opera, Opera Parallèle, Kronos Quartet, Houston Symphony, West Edge Opera, San Francisco Opera’s Merola program, and SF Jazz; Global Climate Action Summit, and volunteers for Dancers Responding to AIDS and Bike East Bay.
DAVID MURAKAMI
PRONOUNS: he/him
HOMETOWN: Los Angeles, CA
ROLE: Original Projections Designer
PORTLAND OPERA DEBUT
RECENTLY: Ainadamar at Opéra de Montréal, American Idiot at the Mark Taper Forum, and American Apollo at Des Moines Metro Opera
UPCOMING: Falstaff at Portland Opera, Aida at Arizona Opera, Harvey Milk at Opera Parallèle
BRIAN MOHR
PRONOUNS: he/him
HOMETOWN: Palo Alto, CA
ROLE: Sound Designer/Engineer
PORTLAND OPERA DEBUT: Nixon in China , 2006
RECENTLY: Sound Designer: Central Park Five , Frida , Portland Opera; Kronos Quartet 50th Season
UPCOMING: Sound Design and Production: Sun Valley Music Festival, Sun Valley Writers Conference, A Charlie Brown Christmas: Live!
SARA BEUKERS
PRONOUNS: she/her
HOMETOWN: San Jose, CA
ROLE: Wig and Makeup Designer
PORTLAND OPERA DEBUT: Wig and Makeup Designer, Belle Helene , 2001
RECENTLY: Wig and Makeup Department Head, T he Hard Nut , Mark Morris Dance Group; Wig and Makeup Designer, Acis, Galatea and Polyphemus & The Rose Elf, OrpheusPDX; Wig and Makeup Designer, La Bohème, LOON Opera; La Bohème, Orpheus PDX
UPCOMING: Wig and Makeup Designer, Marilyn , Oregon Ballet Theater; Wig Designer, Chris Grace as Scarlet Johansson , Portland Center Stage; Wig and Makeup Designer, Falstaff, Portland Opera
MARCELLA BARBEAU
PRONOUNS: she/her
HOMETOWN: New York, NY
ROLE: Associate Lighting Designer
PORTLAND OPERA DEBUT
RECENTLY: L’elisir d’amore , Florida Grand Opera, Florentine Opera; Acis & Galatea , Florentine; Much Ado About Nothing , OSF; Carmen , Austin Opera; Murder on the Orient Express , Playmaker’s Rep; La Traviata , Opera Omaha; L’amant Anonyme , Madison Opera; Lucy and Charlie’s Honeymoon , Lookingglass Theatre; Santa Cruz Shakespeare’s 2023 & 2024 festivals; Maria de Buenos Aires , Opera San Antonio, Opera Columbus
UPCOMING: The Merry Wives of Windso r, Into the Woods , Oregon Shakespeare Festival
SAM CLEVENGER
PRONOUNS: he/him
HOMETOWN: Los Angeles, CA
ROLE: Associate Projection Designer
PORTLAND OPERA DEBUT
RECENTLY: Projections Designer for Ride the Cyclone at Chapman University, Associate Projections Designer for Pacific Overtures at East West Players, Projection Designer for Unbroken Blossoms at East West Players
UPCOMING: Media Designer for Petrov at Synchromy, Associate Projections Designer for Frozen at Red Mountain Theatre, Media Creation for Aida at Arizona Opera
SETH HOFF
PRONOUNS: he/him
HOMETOWN: Madison, WI
ROLE: Assistant Director, Choreographer
PORTLAND OPERA DEBUT: Assistant Director, Aida , 2008
RECENTLY: Assistant Director, Choreographer, Le Nozze De Figaro, Portland Opera; Assistant Director, The Barber Of Seville , Cincinnati Opera; Assistant Director, We Shall Not Be Moved , Pittsburgh Opera
PORTLAND OPERA DEBUT: Conductor, The Elixir of Love, 2015
RECENTLY: Conductor, Puccini: In Concert , Portland Opera; Conductor, The Nutcracker, Oregon Ballet Theatre; Conductor, Giselle , Oregon Ballet Theatre
UPCOMING: Conductor, The Elixir of Love , New Orleans Opera; Conductor, Falstaff, Portland Opera; Conductor, Carmen , Opera in the Park, Portland
PAUL FLOYD
PRONOUNS: he/him
HOMETOWN : West Linn, OR
ROLE: Assistant Chorus Master/Offstage Conductor
RECENTLY: Portland Opera Resident Artist Primary Coach
UPCOMING: Assistant Chorus Master, Falstaff, Portland Opera; Conductor, The Marriage of Figaro, Hawaii Performing Arts Festival
CLAIRE FORSTMAN
PRONOUNS: she/her
HOMETOWN: Birmingham, AL
ROLE: Chorus Accompanist
PORTLAND OPERA DEBUT: Music Staff, Chorus Rehearsal Pianist, The Marriage of Figaro, 2023
RECENTLY: Pianist, Amahl and the Night Visitors , Ping and Woof Opera; Music Director, The Gift of the Magi , Portland State University; Pianist, The Blacknificent 7, Resonance Ensemble; Principal pianist, The Juliet Letters , Portland Opera
UPCOMING: Principal pianist, Falstaff, Portland Opera
JOHN ARMOUR
PRONOUNS: he/him
HOMETOWN: Portland, OR
ROLE: Fight Choreographer
PORTLAND OPERA DEBUT: Various productions since 1990s, notably multiple Carmens
RECENTLY: Founding acting company member, Tygres Heart Shakespeare Company, Portland, OR; John has choreographed violence for companies throughout the Pacific Northwest and the US since 1988.
DIRECTOR’S NOTES
By Erin Neff
The world of Opera is a wild one. It is extreme. Not unlike some of the punk shows I went to in the 80’s. The energy can be exhilarating.
I want that immediacy in opera. The challenge is how to bring it all together: sets, lighting, costume, orchestra, movement, singing, and acting to create a world that is unquestionably and immediately believable.
While it has been around for hundreds of years, opera keeps reinventing itself. The Shining is a perfect example of this. It is classical music meets horror and like all other operas, it is absolutely absurd and perfect. Opera companies are desperately trying to keep up with change and continue to usher in new ideas of what opera can be. They are listening to their audiences and keenly want to know what they want to see besides all the opera standards. Cutting edge opera used to be a setting of Handel in modern day. Now, we are seeing things like Innocence by Kaija Saariaho about a school shooting — not a theme that was relevant in the 1700s.
There is so much pressure on a singer for vocal perfection in the industry and the amount of work it has taken them to get to this point in their career is tremendous. It is not my job to make them sing better, but to make their character come to life. Hopefully this brings dimension and excitement to their singing, which is then transmitted out to the audience, but also gives them a deep connection to what they are doing. I have an extreme intolerance for missed dramatic opportunities. When I work on a show I want to see the full emotional expression even sometimes at the cost of vocal perfection. I look for the small
details that make up the big picture. I want the singers to take chances and use their dramatic range. If it is a tragedy, I also want to see the absurd that is happening underneath.
Projections are a centerpiece of this production. I remember when they first started appearing in productions; suddenly you could create any kind of environment that could be changed in a split second. Brian Staufenbiel’s concept of The Shining incorporates the work of longtime collaborator David Murakami. His projections and video work create an incredible opera/theatre/ film hybrid experience. In The Shining they eerily show the hotel as an entity that is alive and pulsing. Phantoms can appear and disappear; blood can pour down walls and then suddenly be restored. Stephen King’s frightening world comes to life.
Many have read the book by King, but nearly everyone has seen the classic film by Kubrick. Talk about indelible images! However, Kubrick took liberties with the story which Stephen King did not like and felt not only that the characters lacked any emotional depth, but that the messaging of the novel was missed. In Moravec’s opera version, the characters are vivid, complex, and very human. The opera moves quickly between emotionally driven moments back to the supernatural and back again to a human interaction, but with an increasing unease as the menace of the hotel becomes more and more powerful. Opera is such a good medium for this story, because after all, opera singing is controlled screaming.
THE HORRORS OF WRITING OPERA
by Conductor Damien Geter
Imagine you’re in the shower washing the day away when all of a sudden you feel a bit uneasy — a bit like someone might be standing on the other side of the curtain, preparing to help you meet your demise. You hastily unfurl the plastic shield, and [GEE! EE! EE! EE! EE! *Enter a series of violent, dissonant chords.*
Since the inception of moving pictures, composers have used music to elevate the audience’s senses, shaping the overall experience while watching film. Imagine seeing the example above from Psycho without the music. Would it evoke the same sense of dread and doom? Bernard Herrmann, the composer of Psycho, changed the way we participate in the act of watching a horror film, and he has been the example for many composers in that genre today.
How does this translate to writing a horror opera? Having written five operas myself, and dabbled a little bit in film, I can confidently say that there are many parallels between the two. The composer’s job is to tell the story through music — guiding the audience through the character’s innermost and outermost thoughts and feelings, creating a sense of place, enhancing conflict and resolution, creating themes and motifs that represent people, places, and things — these are just some examples of how the marriage of music and film (or the libretto) come together to produce what Wagner called the Gesamtkunstwerk , or total work of art.
We have only a few examples from the horroropera cate’gory’: Benjamin Britten’s The Turn of the Screw, Gian Carlo Menotti’s The Medium , Béla Bartók’s Bluebeard’s Castle , Giacomo
Meyerbeer’s Robert le diable, and Sergei Prokofiev’s The Fiery Angel , to name a few. A true fan of horror, my latest opera, a chamber piece about the Faustian legend of Robert Johnson, arguably the most important American musician, meanders in the realm of the supernatural. Other “more standard” repertoire. like Verdi’s MacBeth , and Mozart’s Don Giovanni contain elements of horror without going full on [GEE! EE! EE! EE!’
Paul Moravec, the composer of The Shining , uses boiling, pointed, and smearing harmonic and melodic language together with Mark Campbell’s alluring, and at times bewitching libretto to settle us (or unsettle us) in the haunted spaces of the gleaming, ghastly hotel where Jack Torrance has taken a job, unknowingly putting himself and his family in a rather precarious situation. Listen to how Moravec uses the low instruments like double bass, bass clarinet, bass trombone, and the ever scary contrabassoon to represent how the hotel rumbles, and slides as if the occupants of the hotel are in the belly of a very hungry beast! Listen to how the demonically inhabited voice of Danny is trumpeted through a multi-voice treble ensemble who sing a series of clustered chords that tell us, ‘something ain’t right.’ Listen to the synthesizer which is used throughout the show, and how it adds an eerie texture that summons up a cautious and curious ‘spirit’ in all of us.
So, while you’re sitting in the Newmark watching the opera, if you feel a cold draft of air or notice something move in your periphery, if you feel your seat gently shake, or if something gently grazes the back your neck, ask yourself is it your subconscious at play, or is it THE SHIIIIIIINIIIIIIIIING! ( [GEE! EE! EE! EE!)
PROGRAM NOTES
By Composer Paul Moravec, May, 2023
Stephen King’s novel The Shining is naturally operatic: it sings. The story dramatizes three of the most basic aspects of opera — love, death, and power. To me above all, it is about the power of love in the presence of evil and destructive forces. For all of the supernatural elements and high-voltage action, it’s a very human story about an ordinary family trying to stay together under extraordinary duress. It was a joy for me and Mark Campbell to imagine this timeless predicament in musically dramatic form, along with the novel’s evocation of terror and the supernatural. Opera Parallèle’s world premiere of this new, intimate, up-close orchestration and staging is a thrill and honor of a lifetime.
From the start of our collaboration, Mark and I agreed to focus on the musical characterization of Jack Torrance as a genuinely conflicted, threedimensional person. Much of the music in the opera, including the orchestral interludes, works to get us inside Jack’s mind and central nervous system so that we can feel the transformation of a basically decent guy trying to do the right thing
as he is overwhelmed by madness and evil. Deeply resonant archetypes are the stuff of operatic treatment. Among the archetypes in Mr. King’s story guiding my composition of the score are those of Abraham-and-Isaac, Jekyll-andHyde, and even Siegfried/Götterdämmerung .
I have composed for each character a distinctive group of Leitmotivs that continually evolve and combine over the course of the drama. The two disparate aesthetics — the natural and the supernatural — are reflected in two distinct musical sound-worlds that periodically converge and diverge as the drama requires.
In the final analysis (odd as this may seem) I want the members of the audience to forget that they’re watching an opera. For all of its complexity and sophistication in the synthesis of drama and music, the power of opera as an artform arises from its essentially primal, irrational nature and from “the primitive underworld of our souls,” in the words of Robertson Davies. “Opera speaks to the heart as no other art does, because it is essentially simple.”
‘SHINING’ DARKLY LIKE A CLASSIC TALE
by Portland Journalist Marty Hughley
The talk-show host Charlie Rose once described the author Stephen King as “the Grim Reaper of Mass-Market Media.” But in a 1993 interview with Rose, King acknowledged an ambition to go beyond just the thrills and chills that pay the bills and into the realm of an enduring stature.
“If I could write one book, let’s say, in my genre that would be remembered the way that Dracula has been remembered…,” he said, sounding at once frank and a touch misty. “It’s shameless pulp fiction and it’s melodramatic and it has a lot of things in it that critics consider to be vices; and yet it’s enjoyed its own life over a period of time.”
King’s work, at least in the early part of his long and prolific career, often was derided as shameless pulp fiction. (In one 1980s movie, a writer recovering from a car crash mentions his line of work to the hospital orderly pushing his wheelchair. “A writer, huh? I’m a Stephen King man, myself!,” the orderly replies. The writer softpedals his criticism: “Stephen King? He’s, uhh… fast.”) Yet King has outworked, outlasted, and arguably outperformed such literary quibbles to earn respect almost commensurate with his success.
And if he’s launched any one book toward Dracula’s level in the Grand Hall of Cultural Properties, The Shining is the top candidate. Nearly a half-century since it was published, the book has been a bestseller (with lowend estimates of about 700,000 copies sold), spawned sequels and adaptations (most notably, Stanley Kubrick’s celebrated 1980 film and the 2016 opera by Pulitzer winners Paul Moravec and Mark Campbell), and inspired all manner
of arcane interpretive theories (ranging from the assertion that the film is Kubrick’s stealth confession that he helped NASA fake the moon landing, to the tongue-in-cheek claim that it’s all an elaborate construction of “breakfast symbolism”).
Why our enduring fascination? Perhaps it’s that, as with any great tale, The Shining is about many things at once, both the intriguingly strange (telepathy, apparitions, supernatural possession) and the distressingly mundane (addiction, anger, madness). Through the character of Danny, the psychically gifted little boy whose family is trapped, like all of us, in a world that plays siren songs to our baser desires, the story posits perceptivity, attunement, and even wisdom as the hard-won by-products of trauma and suffering. And through Jack, Danny’s troubled, psychologically vulnerable father, The Shining examines the source and mechanisms of evil.
It’s on this last matter, the locus of evil, as well as in emotional tone, that The Shining has its great schism, between King’s belief in both otherworldly powers and the human will to resist, and Kubrick’s cynicism, in which human fallibility is both central and cyclical. Interestingly, King manages to have it both ways: He has confessed that the story threads of alcoholism and animosity towards one’s children arose from his own struggles, yet he presents Jack ultimately as a victim of the psychically
predatory force of the haunted Overlook Hotel. Wisely siding with King, Campbell’s empathetic libretto and Moravec’s emotionally stirring music create something at once more truly supernatural and yet more essentially human than Kubrick’s chilly vision.
Speaking of the Overlook, those considering a visit to this particular realm of Stephen King’s
fertile imagination would do well to heed the maxim from a current, unrelated hotel advertisement: It matters where you stay. As one online commentator put it, “We keep going back again and again. Not just to breathe again The Shining ’s misty air, but to try (to) find some answers. It’s almost like The Shining takes possession of the people who watch it.”
Grady Girls, Costume Design by Alina Bokovikova
IT’S A QUIZ!
By Librettist Mark Campbell
The opera The Shining is an adaptation of the novel by Stephen King, not the Stanley Kubrick movie.
As you may know, there are many differences between the two. The novel tells the story of a father struggling with alcoholism and deepening schizophrenia as his wife and son try to help him. In the movie, the story and characters are secondary to its visual brilliance and austerity. Both succeed, but only the first is operatic.
There are other differences, some of which appear in the quiz below. Each item listed is either from the novel, movie, or both. If you don’t know the answer, you may need to call on your own “shining” ability to help.
1. “Here’s Johnny!”
2. A fire axe
3. Moving topiary
4. Dick Hallorann’s murder
5. Twin daughters
6. “All work and no play makes Jack a dull boy.”
7. “Redrum”
8. Room 237
9. Frozen hedge maze
10. The Overlook exploding
11. Roque mallet
12. Man in a dog mask
13. Bloody elevator
14. A cabin in Maine
15. “You are not my daddy.”
16. Mark Anthony Torrance
17. “Take your medicine.”
18. The Overlook scrapbook
19. Room 217
20. Volkswagen bug
Book Movie
20= Expert 15= Brilliant 10= Good
5= Okay 0= Ah, well .
Answers on opposite page
11. Book. 12. Both. 13. Movie. 14. Book. 15. Book. 16. Book. (Jack’s father.) 17. Book. 18. Both. 19. Book. 20. Both. (But it’s red in the book; yellow in the movie.)
10.
a Qui! answers:
It’s
Movie.
Movie.
Book. 4. Movie. (in the book, he becomes the hero!)
5. Movie (they’re not twins in the book). 6. Movie. 7. Both.
8. Movie. (See item number 19)
9. Movie.
Book
PORTLAND OPERA STAFF
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PORTLAND’5 CENTERS FOR THE ARTS
Portland’5 Centers for the Arts includes the Keller Auditorium, Arlene Schnitzer Concert Hall, and Antoinette Hatfield Hall, comprising the Newmark Theatre, Dolores Winningstad Theatre, and Brunish Theatre. All are public facilities owned by the City of Portland and managed by Metro through the Metropolitan Exposition-Recreation Commission. Each year approximately one million people attend more than 1,000 performances in these facilities.
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Lynn Peterson, Metro Council President
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Keith Wilson, Mayor
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PORTLAND’5 CENTERS FOR THE ARTS
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PORTLAND’5 CENTERS FOR THE ARTS ADVISORY COMMITTEE
Greg Brown
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Elisa Dozono
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Jessica Lagunas
Antonio Lara
Chariti Montez
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PORTLAND OPERA MISSION & AUDIENCE STATEMENT
We gather and inspire audiences, artists, and collaborators to create shared opera experiences that enliven and connect us all, enhancing the cultural landscape of the beautiful Pacific Northwest.
We are proud to be Portland’s opera, and to share inclusive opera experiences. Our commitment to cultural equity continues to inform our audience policies and experiences. When we gather, it must be with respect and with care for the entire community.
Let us be clear: there is no place for bigotry, discrimination, hate, harassment, or intolerance at Portland Opera.
Behaviors that are disrespectful, discriminatory, or not aligned with our policies for attendance (including health and safety and firearm policies) will not be tolerated, and audience members may be asked to leave the premises and/or be prohibited from returning in the future.
COMMUNITY SUPPORT
We gratefully acknowledge the ongoing philanthropic support from our generous donors and funders, including James F. and Marion L. Miller Foundation, National Endowment for the Arts, Oregon Arts Commission, Oregon Community Foundation, Regional Arts and Culture Council, including support from the City of Portland, Multnomah County, and the Arts Education & Access Fund.
Portland Opera Association Inc. receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts.
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