Graphic Design by Rene Choy Cover and 60th Anniversary art by Lisa Congdon
It is with immense joy and gratitude that we welcome you to our 60th anniversary season —a milestone that celebrates not only the history of this company but the unwavering support of patrons like you, who have been with us through every note, every story, and every triumph.
This season holds special significance as we prepare to move into our new artistic home . It is a place where we will continue to share the transformative power of opera, creating experiences that stir the soul and reflect the rich tapestry of our collective humanity. This new chapter represents growth, possibility, and the deep connection we’ve fostered with our community over the decades.
We are also beyond excited to present our second world premiere from Portland Opera to Go’s Our Oregon series. Shizue: An American Story tells the powerful story of the extraordinary Japanese-American woman Shizue Iwatsuki, shedding light on resilience and courage from a historically under-represented voice. Later this fall, we will present Elvis Costello’s The Juliet Letters , an evocative song cycle that explores the heartbreak and hope found in letters written to Shakespeare’s tragic heroine. In the spring, we venture into the psychological and chilling world of The Shining , an opera that brings Stephen King’s terrifying novel to the stage in a way that’s sure to haunt and captivate. To round out the season, we’ll offer Falstaff, Verdi’s comedic masterpiece that celebrates the joy and folly of human nature.
This season’s offerings promise to take you on a journey through the full spectrum of human emotions—from laughter to horror, heartbreak to joy. Opera has an unmatched ability to touch the heart, and our hope is that these performances will speak to you in ways that are deeply personal and profoundly moving.
Thank you, from the bottom of our hearts, for being a part of this incredible journey. Your presence and support mean everything to us. Together, we will continue to make art that matters, telling stories that inspire and unite us.
With heartfelt gratitude,
SUE DIXON Portland Opera General Director
PORTLAND OPERA TO GO’S
WORLD PREMIERE
Composed by KENJI OH
Libretto by DMAE LO ROBERTS
Director
DMAE LO ROBERTS
Music Director
GYAN SINGH MARIA
Scenic Designer
rhiza A+D / JOHN KASHIWABARA
Costume Designer
WANDA WALDEN
Lighting Designer
CARL FABER
Choreographers
MICHELLE FUJII & TORU WATANABE
Assistant Conductor
NICHOLAS FOX
Stage and Tour Manager
STEPHEN KRIZ GARDNER
THE CAST
Elder Shizue CHIHIRO ASANO
Young Shizue LINDSEY NAKATANI
Kamegoro
JIETONG FU
The Man
EDWARD TAVALIN
THE INSTRUMENTALISTS
Cellist
CASEY JOHNSON
Pianist
GYAN SINGH MARIA
Shizue: An American Story is the second installment of Portland Opera to Go’s Our Oregon series, commissioned by Portland Opera.
Scenery, costumes, and properties built by Portland Opera.
Projected English titles written by Ethan Cope Richter for Portland Opera. Shizue Iwatsuki’s poetry translated by Stephen Kohl.
Total running time is approximately 50 minutes without an intermission. Performed in English with English captions.
SYNOPSIS
By Alexis Hamilton, Portland Opera Manager of Education & Community Engagement
Elder Shizue is busy packing. Her eyes land on the wedding photo on the table and tenderly she remembers her wedding to Kamegoro. A young Kamegoro enters and approaches Young Shizue, promising her a good life working his orchard in Hood River, Oregon. Young Shizue, hopeful and excited, agrees to join him, dreaming of the many flowers in America.
Arriving in Oregon, Young Shizue sees the reality of Kamegoro’s spare living situation. She and Kamegoro reflect that the same stars shine both in Hood River and Japan. Time passes. The couple face many challenges, but still, they persevere. Shizue learns to drive. Oregon passes Anti-Alien Land Laws, endangering their claim to their orchard. They vow to stay strong and work for their community.
Elder Shizue wakes from her reverie and continues packing. She finds a Mason jar in which an elaborate flower arrangement of yarn and sticks nestles, unleashing a flood of memories. Younger Shizue and Kamegoro are confronted by Executive Order 9066 ordering all persons of Japanese Ancestry into illegal incarceration camps after the bombing of Pearl Harbor. They are transported with thousands of others to Pinedale Assembly Center.
They endure privation and difficulties as they are moved from camp to camp until they finally find themselves at Camp Minidoka. The Iwatsukis are released and return home to find that they have lost their home and orchard. They must begin again. Time passes. They re-establish their orchard. Then tragedy strikes. Kamegoro falls from a ladder and is paralyzed. Shizue learns to run the orchard.
Finally, Japanese residents are allowed to become American citizens. Kamegoro and Shizue proudly pledge their allegiance to the United States of America. Shizue becomes deeply involved in her community and teaches ikebana and tea ceremony to the children of Hood River. One evening she returns after teaching to find that Kamegoro has died.
We rejoin Elder Shizue packing for Japan. She embraces her wedding photo and places it in her suitcase. After her return, Shizue reminisces about her long and eventful life. She is joined by Kamegoro and the others to sing about our place in the world.
CAST & CREW BIOS
KENJI OH
PRONOUNS: he/him
HOMETOWN: Los Angeles, CA
ROLE: Composer
PORTLAND OPERA DEBUT
WORKS: The Emissary , Opera Parallèle; Sacred Chichibu Peaks at Spring Dawn , piano four hands, ZOFO; Yoshitsune Senbon Zakura , prepared guitar, Giacomo Fiore; In The Forest , mixed choir, The Esoterics
UPCOMING: Tidal Echoes of Shirahama in Evening Glow, two pianos, premiere in Nishinomiya, Japan
DMAE LO ROBERTS
PRONOUNS: she/her
HOMETOWN: Taipei, Taiwan
ROLE: Librettist, Stage Director
PORTLAND OPERA DEBUT
RECENTLY: Stage Director, Yohen , PassinArt Theater Co., Where The Mountain Meets The Moon , Oregon Children’s Theatre; Executive Producer, MediaRites, 1991 - Present
UPCOMING: Collaboration with artist Horatio Law, Serenading The Departed , Lone Fir Cemetery
GYAN SINGH MARIA
PRONOUNS: he/him
HOMETOWN: Los Angeles, CA
ROLE: Music Director/ Collaborative Pianist
PORTLAND OPERA DEBUT
RECENTLY: Assistant Conductor, FargoMoorhead Symphony Orchestra; Music Director & Principal Coach, Gate City Bank Young Artist Program, FargoMoorhead Opera; Resident Coach, Chicago Summer Opera
CHIHIRO ASANO Mezzo-soprano
PRONOUNS: she/her
HOMETOWN : Tokyo, Japan
ROLE: Elder Shizue
PORTLAND OPERA DEBUT
RECENTLY: Title role, La Cenerentola , Hansel, Hansel and Gretel , Opera 101, Boston Lyric Opera; Johnna, Naomi in the Living Room , Boston Opera Collaborative
UPCOMING: Soloist, Musicians from Marlboro , Marlboro Music
LINDSEY NAKATANI
Soprano
PRONOUNS: she/her
HOMETOWN: Bellingham, WA
ROLE: Younger Shizue
PORTLAND OPERA DEBUT
RECENTLY: Blanche, Dialogues of the Carmelites , Bronx Opera; Pamina, The Magic Flute , Pacific Lutheran University; Title role, Princess Ida , The Seattle Gilbert and Sullivan Society; Ilia, Idomeneo , Princeton Opera Alliance
JIETONG FU Tenor
PRONOUNS: he/him
HOMETOWN: Yinchuan, China
ROLE: Kamegoro
PORTLAND OPERA DEBUT
RECENTLY: Tamino, The Magic Flute , Loudoun Lyric Opera; Alfred, Die Fledermaus , Peabody Opera Theatre; Servant, Cendrillon , Peabody Opera Theatre, Soloist, Messiah , United Methodist Church; Soloist, Requiem , Peabody Symphony Orchestra; Tamino, The Magic Flute , Texas Tech University Opera Theatre
EDWARD TAVALIN
Baritone
PRONOUNS: he/him
HOMETOWN: Ben Lomond, CA
ROLE: The Man/Various Men
PORTLAND OPERA
DEBUT: Alidoro, Portland Opera to Go’s Cinderella
RECENTLY: Dr. Falke, Die Fledermaus , Santa Cruz Opera Project; Angelotti and a Jailor, Tosca , Opera Modesto; Enrico, Lucia di Lammermoor, Independent Opera Company; Sharpless (cover), Madama Butterfly , Lakeland Symphony and Orchestra
UPCOMING: The Father, Hansel and Gretel , Opera Modesto
CASEY JOHNSON
PRONOUNS : she/her
HOMETOWN: Cordova, TN
ROLE: Collaborative Solo Cellist
PORTLAND OPERA DEBUT
RECENTLY: Assistant Principal Cellist, A Midsummer Night’s Dream , Boston Conservatory Opera; Principal Cellist, Kiss of the Spider Woman , A Common Thread Theatre Company; Principal Cellist, Don Giovanni , Boston Summer Opera
UPCOMING: Cello Masterclass with MET Orchestra Principal Cello Jerry Grossman , Lessonface and The Metropolitan Opera Company
JOHN KASHIWABARA
PRONOUNS: he/him
HOMETOWN: Portland, OR
ROLE: Scenic Designer
PORTLAND OPERA DEBUT
RECENTLY: Scenic Designer, Where the Mountain Meets the Moon, Journal of Ben Uchida: Citizen 13559, Legend of Rock Paper Scissors , Oregon Children’s Theater
WANDA WALDEN
Pronouns: she/her
Hometown: Oakland, CA
ROLE: Costume Designer
PORTLAND OPERA DEBUT: Costume Designer, The Central Park Five
RECENTLY: Costume Designer, God’s Favorite , PassinArt Theater Co.; Amélie , Portland Playhouse; Infinite Life , Third Rail Repertory Theatre
UPCOMING: Costume Designer, Black Nativity , PassinArt Theater Co.; Joe Turner’s Come and Gone, Notes from the Field , Portland Playhouse
CARL FABER
PRONOUNS: he/him
HOMETOWN: Portland, OR
ROLES: Lighting Designer
PORTLAND OPERA DEBUT: Assistant Lighting Designer, La Bohème (2017)
UPCOMING: Co-Directors and Performers, Constant State of Otherness, Unit Souzou
Shizue: An American Story Scenic Design by John Kashiwabara.
PORTLAND OPERA TO GO ORIGINS
By Alexis Hamilton, Portland Opera Manager of Education & Community Engagement
For 25 years, Portland Opera to Go (POGO) has toured Oregon and SW Washington, introducing audiences of all ages to the joy and excitement of opera and live performance. Since its creation, Portland Opera has been committed to bringing opera to the people. Portland Opera’s education and community engagement efforts have grown and adapted to meet the region’s needs. From schools and libraries to community centers and continuing care retirement facilities, from the Portland Metro Area to to the tiny town of Fields and beyond, POGO performs high quality, accessible operas for everyone.
Part of our commitment to serving our audiences is our willingness and ability to evolve and adapt. The Our Oregon project is part of that evolution. Our Oregon was conceived as a series of four original youth operas (since expanded to five) that would feature Oregon history through a variety of underrepresented lenses. Our first new opera, Beatrice , told the story of African American civil rights activist Beatrice Morrow Cannady, and premiered in 2022. This year, we are very proud to present Shizue: An American Story , composed by Kenji Oh, with a libretto by Dmae Lo Roberts. This opera centers the life of the poet and artist, Shizue Iwatsuki.
Work on Shizue began two years ago, when we reached out to Dmae Lo Roberts, with whom we’ve collaborated in the past. Dmae, founder and executive producer of MediaRites, a nonprofit dedicated to telling the stories of diverse cultures, has deep ties in Oregon’s Asian American community, making her a fantastic first stop in creating an opera about Asian American Oregonians. Dmae was excited about the project from the start, and as an accomplished playwright, her involvement was ideal. She in turn brought Linda Tamura into our orbit as a consultant, and it was Linda who suggested the remarkable story of Shizue Iwatsuki. Mrs. Iwatsuki was, among many other things, an award-winning poet. We are pleased to feature several of her gorgeous, thought-provoking poems (in sensitive translations by Stephen Kohl) throughout the opera.
Finding Kenji Oh was another stroke of luck! After one listen to his gorgeous music, we knew we had a real possibility. We reached out and,
coincidentally, he was just putting the finishing touches on his first opera! He, too, was enthusiastic about the project. Kenji brings so much to the table through his own story—his music reflects his Japanese childhood, quoting and adapting many Japanese children’s and folk songs and the gradual integration of both Japanese and American musical idioms which mirror both Mrs. Iwatsuki’s and his own immigration journeys.
The story of Japanese Americans in the United States has some very dark history—especially in Oregon, where white supremacist groups were particularly strong. But in stories like Shizue Iwatsuki’s, we also find their resilience, determination, and grit to not only survive, but to make something better for themselves, their children, and ultimately, the United States. While Mrs. Iwatsuki’s experiences are remarkable, she is one of thousands of Japanese Americans who survived imprisonment in illegal incarceration camps.
Throughout the development of this project, one word kept surfacing: gaman . Roughly, this Japanese word translates to perseverance or grit. But it is a little more than that. According to “The Art of Gaman,” gaman is a “Japanese term of Zen Buddhist origin which means ‘enduring the seemingly unbearable with patience and dignity.’” Certainly, Mrs. Iwatsuki embodied this ideal.
The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps 1942-1946, by Delphine Hirasuna.
Photos courtesy of the Iwatsuki family.
DIRECTOR NOTES
By Dmae Lo Roberts
When Alexis Hamilton first asked me to write the libretto, my first call was to Linda Tamura, a scholar and author who wrote about Nisei soldiers and Hood River Issei. Linda then suggested Shizue Iwatsuki, a writer of tanka poetry and orchard owner in Hood River, Oregon. The more I learned about Shizue, the more I knew I wanted to write about her. Her story is inspiring on so many levels as a survivor of three different camps and as a woman who, through hard work and persistence ( gaman ), became a respected and honored community leader in Hood River.
Linda introduced me, Alexis, and Kenji Oh, our amazing composer, to Harry Iwatsuki, Shizue’s grandson. The most emotional moment in our conversation came when Harry showed us a bottle encasing an ikebana flower arrangement made out of yarn, wire and sticks. Harry said that his “granny” made that in Minidoka Camp with found materials in lieu of flowers. Said she taught him in ikebana you need to have one flower above to represent heaven, and one below for the earth. Harry went on to say, his granny pointed to him and said, “and here in the middle, this is where we are.” I felt chills, and I knew that was the recurring motif we would visit at the beginning, middle and end of the opera.
Alexis then asked if I would direct this new opera and I immediately said “yes!” It’s meaningful to me that some of the singers and creative team have a personal family connection to this history. I love Alexis’ mission to share BIPOC Oregon stories with youth and communities around Oregon. Shizue: An American Story is the first East Asian American opera to be staged at Portland Opera and I’m so honored to be a part of this new creation. I grew up in a small rural town and I picture young people now in more isolated areas being able to have this chance to learn about Shizue and to experience a fresh, new opera with such beautiful music and singers.
COMPOSER NOTES
By Kenji Oh
Being involved in the Our Oregon Project and POGO as a composer is a profound honor for me. As a Shin-Issei born and raised in Japan, with an immigrant father and a Japanese mother, Shizue’s story resonates with me on a personal level. Throughout the composition process, I have experienced many emotionally intense moments, and alongside my gratitude for this opportunity, I have felt a significant sense of responsibility.
After the libretto workshop, I continued with meticulous research before translating it into musical notes. This process provided me with deep insights into the Japanese American community and its history. A moving episode shared by a survivor during my visit to the Santa Anita Racetrack, once the Santa Anita Assembly Center, was particularly impactful. She recounted how a man in the next section of the horse stable had brought a disassembled shamisen among his few belongings. In the camp, she and other children learned and performed Kabuki, bringing solace and entertainment to the elderly. Inspired by this, I’ve incorporated the “sawari” (buzzy sound) of the shamisen into the cello part by preparing it with paper clips, highlighting both the cultural tradition and the pain of displacement.
At the Japanese American Museum of Oregon, old Japanese textbooks caught my attention. I subsequently acquired replicas of songbooks used in elementary schools during that era. I incorporated well-known Japanese melodies into the opera to enrich the portrayal of Oregon’s landscapes and the camp’s harsh conditions.
The libretto incorporates many of Shizue’s tanka poems, including one that reads, “Writing the history of these events for later generations.” This serves as a reminder that humanity must learn from history to avoid repeating it. This opera reflects on the past and serves as a hopeful plea for a peaceful future. I am grateful for the chance to share this story with the world and have composed this work with the aspiration that peace may prevail for all living beings on Earth.
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
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.
We gratefully acknowledge the following additional individuals and funding organizations who have recently supported Portland Opera and our work, through the Portland Opera to Go program, to share inclusive arts experiences with students, educators, and community members around the region:
BNSF Railway Foundation
Ronald W. Naito MD Foundation
PGE Foundation
Roundhouse Foundation
Sue and Drew Snyder
Many thanks to our Wine Sponsor for Shizue: An American Story:
Alice Spitzer
The Standard
John and Carol Steele
Rose E. Tucker Charitable Trust
STAFF
GENERAL DIRECTOR
Sue Dixon
INTERIM MUSIC
DIRECTOR & ARTISTIC ADVISOR
Damien Geter
ARTISTIC ADVISOR
Karen Slack
FINANCE & ADMINISTRATION
Melissa Buxton, Director of Finance
Paul Lovincey, Human Resources Generalist
PRODUCTION
Anna B. Labykina, Director of Production
Kyle Spens, Technical and Production Director
Jon Wangsgard, Stage & Production Manager
Christine A. Richardson, Costume Director
Cindy Felice, Props Director
Carl Faber, Lighting Supervisor and Staff Assistant Lighting Designer
Pascaline LeFèbvre, Production Coordinator
Jaison Stagg, Production Carpenter
Iain Chester, Warehouse Head
Sumi Wu, Scenic Artist
Jeffery Wilson, Tailor/ Draper
Daniel Wilson, Rebecca Lewis, Properties Assistants
Mark James, Production Electrician
ARTISTIC & MUSIC
Alfrelynn Roberts, Director of Artistic Planning & Operations
Alexis Hamilton, Manager of Education & Community Engagement
Nicholas Fox, Chorus Master & Assistant Conductor
Ethan Cope Richter, Music Administrator & Librarian
Quinn Liu, Music Assistant
Cressa Burris, Artistic Administrator
Jasmine Johnson, Corporate Relationship Manager
Alexis Walker, Ensemble Leaders Fellow
Dylan Rieck, Principal Cello & Coach
DEVELOPMENT
Melody Mikkelsen, Director of Development
Amy Johnson, Major Gifts Officer
Carleena Manzi, Development Database Specialist
Michael Ball, Development Coordinator
MARKETING, COMMUNICATIONS & PATRON SERVICES
Christina Post, Director of Marketing & Communications
Jen Wechsler, Marketing & Audience Development Manager
Lizzie Adelsheim, Marketing Associate
Christy McGrew, Senior Database & Sales Manager
Chris Kim, Patron Services Supervisor
BROADWAY IN PORTLAND
Tracy Wenckus, General Manager, Broadway in Portland
Dereth Salchak, Customer Service Manager
Ella Ratham, Customer Service Supervisor
Hannah Keihl, Customer Service Representative
Bradford Johnson, Technical Liaison
BOARD OF DIRECTORS
OFFICERS
Carole Morse, President; Past President, PGE Foundation
Curtis T. Thompson, MD, Past President; President, Curtis T. Thompson & Associates
Kregg Arntson, Vice President; Director, Community Impact | Executive Director, PGE Foundation
Linda Brown, Secretary; Owner, Brown’s Blueberries
Bill Lockwood, Treasurer; Senior Vice President, Investments at Lockwood & Like Wealth Advisors of Raymond James
MEMBERS
Nichole Anglin, Attorney, Innova Legal Advisors PC
Hugh Harris, Committee Chair; Co-founder, East County Rising
Christine Lewis, Committee Chair; Metro Councilor, District 2
Larry D. Roper, Committee Chair; Emeritus Professor of Language, Culture and Society, Oregon State University
Katherine de la Forest, Sr. Relationship Manager & Sr. Vice President, Key Private Bank
Paul Snyder, EVP of Stewardship, Tillamook County Creamery Association
PORTLAND’5 CENTERS FOR THE ARTS
Portland’5 Centers for the Arts includes the Keller Auditorium, Arlene Schnitzer Concert Hall, and Antoinette Hatfield Hall (comprised of 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.
METRO
Lynn Peterson, Metro Council President
CITY OF PORTLAND
Ted Wheeler, Mayor
METROPOLITAN EXPOSITIONRECREATION COMMISSION
Karis Stoudamire-Phillips, Chair
Damien Hall, Vice-Chair
Deidra Krys-Rusoff, Secretary-Treasurer
Dañel Malán
Chris Oxley
Deanna Palm
David Penilton
Steve Faulstick, Visitor
Venues General Manager
PORTLAND’5 CENTERS FOR THE ARTS
Brian Wilson, Interim Executive Director
Rachael Lembo, Interim Deputy Director
Stephanie Torres De Los Santos, Director of Events
Stephanie Viegas Dias, Director of Ticket Services
Ruby Joy White, Director of Culture and Community
Ed Williams, Director of Operations
Heather Wilton, Director of Programming, Booking,
and Marketing
Dave Woodman, Levy Director of Operations
PORTLAND’5 CENTERS FOR THE ARTS ADVISORY COMMITTEE
Greg Brown
Jim Brunberg
Gus Castaneda, Chair
Elisa Dozono
Heather Kmetz
Jessica Lagunas
Antonio Lara
Chariti Montez
Ombrea Moore
Brian Sanders
Daniel A. Sullivan
Richard Wattenberg
Steve Wenig
PORTLAND OPERA TO GO BRUNISH THEATRE OCTOBER 4 & 5M, 2024
ARTISTS REPERTORY THEATRE
NOVEMBER 15, 16, 17M, 22, 23, 24M, 2024
NEWMARK THEATRE
MARCH 15, 19, 21, 23M, 2025
KELLER AUDITORIUM MAY 10, 16, 18M, 2025
Learn more and get tickets at portlandopera.org (M) matinee performances
