Sit down for The Turn of the Screw—if you dare!

Seattle Opera marketing image for The Turn of the Screw. Photo by Philip Newton

By Gabrielle Kazuko Nomura Gainor

As Halloween approaches, the movies aren’t the only place for a thrill in a darkened theater. This October, a ghost story will come alive through live music at Seattle Opera’s The Turn of the Screw directed by Peter Kazaras and conducted by Maestro Constatin Trinks. Set in an old mansion in the countryside, Benjamin Britten’s opera depicts a tale of haunted children that fans of Stranger Things, The Shining, and The Sixth Sense would love.

An unnamed Governess moves to an English country house to take care of two siblings, Miles and Flora, only to experience supernatural goings-on, and ominous whispers about the past. As she gets to know her young charges the Governess becomes increasingly convinced they are suffering some form of demonic possession. Britten dials up audiences’ adrenaline by leaving no easy answers: Are Peter Quint and Miss Jessel actual ghosts, returned from the dead, or are they products of the Governess's hysteria? Are the children demonically possessed, neglected victims of abuse, or just normal mischievous kids? Britten was fascinated by the mysteries of human behavior. What makes people act as they do? What hidden forces compel their choices? His operas (The Rape of Lucretia, Billy Budd, and Peter Grimes to name a few) were filled with moral ambiguities and loss of innocence, and The Turn of the Screw is a perfect example.

Britten's operas are haunted by moral ambiguities and loss of innocence, not unlike classic movies such as The Shining and other eerie horror films and TV shows that place children at the center of a dark, supernatural plot. 

Alternating in the role of Miles are two 13-year-old boy-sopranos making Seattle Opera debuts: Rafi Bellamy Plaice of England, who was named the BBC Radio 2 Chorister of 2017, and Forrest Wu of Seattle who sings with the Northwest Boychoir. Inspired by the ethereal qualities of the adolescent voice, Britten’s operas often gave children opportunities to sing just as much as their adult co-stars.

“This piece offers a chance to see incredible young singers holding their own with adult professionals—not something you see every day in opera,” said Aren Der Hacopian, Seattle Opera’s Director of Artistic Administration and Planning, who helped cast the show. “When a storyteller adds a plot twist to create tension, this can be referred to as a ‘turn of the screw.’ These accomplished young artists play a big role in creating that scary and suspenseful experience.”

The cast also includes four singers returning to McCaw Hall. Cuban American soprano Elizabeth Caballero, who most recently sang here as Donna Elvira in Don Giovanni (2014), returns as the Governess. Frequent performer on The Metropolitan Opera stage Maria Zifchak, Ragonde in Seattle Opera’s Count Ory (2015), returns as the housekeeper Mrs. Grose. Starring as the two ghosts-in-residence, Peter Quint and Miss Jessel are Ben Bliss and Marcy Stonikas respectively. British/Iranian soprano Soraya Mafi makes her Seattle Opera debut as Miles’ sister, Flora.

Rafi Bellamy Plaice (left) and Forrest Wu (right) make Seattle Opera mainstage singing debuts as Miles in The Turn of the Screw. 

The Turn of the Screw opens Saturday, Oct. 13 and runs through Saturday, Oct. 27. 

Tickets are available online at seattleopera.org/turnscrew. 

A letter to the Community From Aidan

Aidan Lang; photo by Philip Newton.

To the Seattle Opera community,

I am writing to share some bittersweet news. My time with you in Seattle will come to an end this June 2019, as I have been appointed as General Director of Welsh National Opera. This decision has not come lightly as I love dearly both this community and opera company. Coming to Seattle Opera was one of the greatest honors of my life and I am still absolutely thrilled to have had created opera with you. Seattle Opera is known around the world for its enthusiastic and generous opera community, for its warmth and welcoming atmosphere for artists, and more recently, for our commitment to racial equity.

Some of you know that Welsh National Opera holds a special place in my heart. It is where my career in opera began. I consider WNO to be my artistic home—the only company for which I would even consider departing the Pacific Northwest.

We have accomplished much at Seattle Opera in the past five years, and I’m so very grateful to you. With your help, Seattle Opera has increased its audiences, particularly, young people, created a new civic home for opera at Seattle Center, introduced new chamber opera productions in locations around the city, and spurred complex conversations surrounding race, justice, and representation.

Many people who are new to Seattle or people visiting the area stop me at McCaw Hall to say how well we have done with bringing younger audiences into the opera house. They assure me (and I agree), this is not the case elsewhere in the US, and they worry about the future of opera in their cities. Young people in this city want to see opera and we should be proud of the fact that 40 percent of our ticket buyers are younger than age 50, a huge increase in the last four years. The future of opera in Seattle is bright.

In the meantime, the Seattle Opera Board of Trustees will soon appoint a search committee to identify the next General Director, who will carry out our mission and vision. Following my departure, Seattle Opera will will continue its commitment to being an equity leader in the opera industry, and among arts institutions in the Pacific Northwest and beyond.

I look forward to greeting you at McCaw Hall again soon, and enjoying the next ten months in this great city.

With gratitude,

Aidan