VERDI’S REQUIEM
WELCOME
Tonight marks Portland Opera’s first-ever performance of Verdi’s Requiem and for me, it marks a return to a work that has shaped me since the very first time I heard it.
I was a graduate student at Northwestern when I first encountered this Requiem in earnest. The performance I heard sent me searching for more, and what I found was the recording with Leontyne Price as the soprano soloist. I will never forget the first time I heard her enter, soaring on that opening iteration of the theme, lifting Kyrie eleison (Lord, have mercy) into a place I did not know the human voice could reach. And later, when her voice became the lone voice in Libera me (Deliver me) , and at the very end soared up to a high B-flat on the word Requiem, it was breathtaking. I have carried that moment with me ever since.
Tonight, I get to share this work with you.
What we are bringing you is, quite simply, pure sound. No staging, no additional layers, just the full force of voice and orchestra meeting this monumental score head-on.
The Requiem is often framed through death. But I have always heard it differently. To me, this work is about ending and it is about what comes after. It is a meditation on transformation, on the light that exists on the other side of grief, on the possibility of renewal. Verdi gives shape to sorrow, yes, and to hope, to release, and to the quiet courage of starting again. The Requiem does not ask us to look away from change. It asks us to listen for the beginnings inside every ending.
Portland Opera itself stands inside that question.
Like the music you will hear tonight, we are at an inflection point, navigating change with intention, clarity, and a deep belief in what comes next. Our lives, well beyond this stage. We are embedded in our community, partnering with local organizations, reaching students across the region, and making sure opera is present, relevant, and accessible to all.
Our KEEP PORTLAND OPERATIC campaign is how we sustain that work. It is how we keep the door open for the next graduate student to be undone by a soprano soaring on a high B-flat. It is how we make sure that what moves you tonight will move someone else tomorrow.
If this performance moves you, stay with us. Invest in what we are building. Because the next act begins now and depends on all of us.
With gratitude,
ALFRELYNN ROBERTS Artistic Director #pdxoperasos
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.
REQUIEM
Composed by GIUSEPPE VERDI
Premiere MAY 22, 1874, MILAN, SAN MARCO CHURCH
Portland Opera Premiere MAY 16, 2026
SOLOISTS
Soprano TAMMIE C. WOODS *
Mezzo-soprano CASSANDRA ZOÉ VELASCO *
Tenor BERNARD HOLCOMB
Bass ZAIKUAN SONG *
featuring the PORTLAND OPERA CHORUS & ORCHESTRA and CHORAL ARTS ENSEMBLE OF PORTLAND
CREATIVE TEAM
Conductor DAMIEN GETER
Assistant Conductor/Chorus Master NICHOLAS FOX
Principal Accompanist/Chorus Rehearsal Pianist CLAIRE FORSTMAN Δ
Lighting Designer CARL FABER
Stage Manager JAMIE LYNNE SIMONS
Assistant Stage Manager BEATRICE ANTONIE MARTINO
* Portland Opera Debut
Δ Former Portland Opera Resident Artist
Total running time is approximately 90 minutes.
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 Portland Opera is a member of OPERA America.
VERDI’S REQUIEM CHORUS
Soprano
GINA ADORNO *
MEGAN CONROY-PETERS *
KARI COURTNEY *
HENRIËT FOURIE
LINDSEY RAE JOHNSON *
ABIGAIL KRAWSON *
CRISTINA MARINO *
MADELINE ROSS *
DRU RUTLEDGE *
JOCELYN THOMAS *
Mezzo-Soprano
CELINE CLARK *
SADIE GREGG *
ANNA JABLONSKI *
ALLISON KIM-YOK KNOTTS *
SARAH MAINES *
LISA NEHER *
JENA SLATER
KATE STROHECKER *
SHERRIE VAN HINE *
Tenor
JOHN BOELLING *
SCOT CRANDAL * ALEX FIEKEN
JIM JEPPESEN *
AARON DOUGLAS LANGE *
SHANE MAGARGAL
BRANDON MICHAEL *
ANTHONY NGUYEN
ONRY *
ANDREW WALTON
PAUL WRIGHT *
Bass-Baritone
GREGORY BRUMFIELD *
QUINTON GARDNER
DAN GIBBS *
ERIK HUNDTOFT *
TIMOTHY LAFOLETTE *
BRIAN LANGFORD *
DANIEL PICKENS-JONES
ADRIAN ROSALES *
PAUL SADILEK *
PATRICK SCOFIELD *
STEFAN SIMANTON
VERDI’S REQUIEM WILL BE PERFORMED WITHOUT AN INTERMISSION.
* 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.
VERDI’S REQUIEM ORCHESTRA
Violin
JAMES M. MCLENNAN, Acting Concertmaster
JANET GROH DUBAY, Acting Assistant Concertmaster
JENNIFER ESTRIN, Acting Principal Second
MARGARET BICHTELER, Acting Assistant Principal Second
LUCIA ATKINSON
JAMIE CHIMCHIRIAN
JANET GEORGE ^
KAREN HILLEY ^
TATIANA KOLCHANOVA ^
NELLY KOVALEV
ANN MEDELLIN ^
ELIZABETH PEYTON
NIC PRICE ^
LINDA VASEY
LUCIE ZALESAKOVA ^
Viola
ANGELIKA FURTWANGLER, Acting Principal
MICHELLE MATHEWSON, Acting Assistant Principal
JULIE ASPARRO ^
ADAM HOORNSTRA ^
CARSON MANGUM ^
KATIE WHITE SWANSON ^
Cello
DYLAN RIECK, Principal
KATHERINE SCHULTZ, Acting Assistant Principal
HEATHER BLACKBURN ^
JAE CHOI
DAVID EBY ^
Bass
DAVID PARMETER, Acting Principal
CHANG MIN LEE, Acting Assistant Principal
KEVIN BROWN ^
A.G. HARMON ^
Flute
GEORGEANNE RIES, Principal
SYDNEY CARLSON
Flute/Piccolo
RACHEL RENCHER
Oboe
KELLY M. GRONLI, Principal
KAREN STRAND
Clarinet
RICKY SMITH, Acting Principal ^
THERESA MARKS
ˆdenotes substitute musician
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
Bassoon
ANN KOSANOVIC-BROWN, Acting Principal ^
VINNY LAMONICA ^
NIK HOOKS ^
ADAM FARMER ^
French Horn
MICHAEL HETTWER, Principal
JEN HARRISON
STEVE HAYWORTH ^
LEANDER STAR
Trumpet
JOSEPH KLAUSE, Acting Principal
SARAH VIENS ^
STEVEN CONROW ^
BRUCE DUNN ^
Offstage Trumpet
NICHOLAS SLAGGERT, Principal ^
RICHARD TITTERINGTON ^
SCOTT C. WINKS ^
JOAN HAALAND PADDOCK ^
Trombone
LARS CAMPBELL, Acting Principal ^
DAVID BRYAN
DOUGLAS PEEBLES ^
Tuba
JOSEPH READY, Principal
Timpani
WILL RENO, Principal
Percussion
JEFFREY PEYTON, Acting Principal ^
CHORAL ARTS ENSEMBLE OF PORTLAND
Under the Direction of MAESTRO DAVID DE LYSER
Soprano
RACHEL COOPER
KELLY MILLER
SYLVIA NELSEN
EMMA WHEATCROFT
ANNA YRJANSON
Mezzo-Soprano
ANNIE BAKER
ANA CLYDE
MEGAN ELLIOTT
ALEXANDRA THOMPSON
LAUREN VELASQUEZ
Tenor
CAMERON CREITZ
ANDY DUPONT
ZACH HEATH
JACKSON MILLER
JUAN POLANCO PALACIOS
Bass-Baritone
RICHARD RYAN DALTON
STEPHEN FRANCISCO
BAO HUYNH
MATT KOVICH
MICHAEL REXROAT
With the guest talents of Mezzo-Soprano LESLIE HASSBERG
CAST & CREW BIOS
DAMIEN GETER
Pronouns: he/him
Role: Conductor
Portland Opera Debut: Alcindoro, La Bohème , 2017
Damien Geter is an acclaimed American composer whose work includes chamber, vocal, orchestral, and full operatic works. Praised by The New Yorker for writing “beautifully for voices and elegantly for orchestra,” his “emotionally driven” ( Opera ) compositions are widely hailed for their “skillful vocal writing” ( Wall Street Journal ). As a conductor, Geter lead Symphony New Hampshire, and Redlands Symphony. Geter has been recognized by the Library of Virginia with its honorary Patron of Letters degree, was honored at the 2025 Strong Men & Women in Virginia History awards presented by Dominion Energy and the Library of Virginia. He hosts the podcast ARTillery.
TAMMIE C. WOODS
Pronouns: she/her
Role: Soprano Soloist
Portland Opera Debut
Soprano Tammie C. Woods is renowned for her rich timbre and deeply communicative artistry. She has appeared with major opera companies, including The Metropolitan Opera, where she participated in two Grammy Award-winning productions, Lyric Opera of Chicago, San Francisco Opera, Cincinnati Opera, and The Dallas Opera. She is an alumna of The Peabody Institute of the Johns Hopkins University, Guildhall School of Music & Drama (London), and Texas Woman’s University, where her research focused on music education and neurodiversity. This Presidential Scholar continues to cultivate a career that merges artistic excellence with a profound dedication to integration and education.
CASSANDRA ZOÉ VELASCO
Pronouns: she/her
Role: Mezzo-Soprano Soloist
Portland Opera Debut
Ms. Velasco led a multifaceted career appearing in a wide-ranging repertoire at such illustrious venues as the Metropolitan Opera House, Carnegie Hall, Lyric Opera of Chicago, Palacio BOZAR and Palacio de Bellas Artes. At the age of 25, she made her debut at the The Metropolitan Opera. Since then she has been a part of 10 different operatic production. She has performed under the batons of conductors such as Levine, Gergiev, Domingo and Elder in productions like La Cenerentola, The Barber of Seville, Carmen, Werther, The Tales of Hoffmann, Maria de Buenos Aires, Orlando and Dido and Aeneas . She is the Artistic Director of the Estudio de la Ópera de Bellas Artes.
BERNARD HOLCOMB
Pronouns: he, him
Role: Tenor Soloist
Portland Opera Debut: Kevin Richardson, The Central Park Five , 2022
Bernard Holcomb continues to distinguish himself as a dynamic and compelling presence on today’s operatic stage. After making his Metropolitan Opera debut in Terence Blanchard’s Fire Shut Up in My Bones he returned in the 2024/25 season for Salome He recently appeared as the Duke in Rigoletto with Eugene Opera, sang the title role in The Pigeon Keepe r with Opera Parallèle, and was featured in several performances at Carnegie Hall. Last December he made his Lincoln Center Theater debut as King Kaspar in Amahl and the Night Visitors , presented as the company’s first-ever family offering, alongside Joyce DiDonato.
ZAIKUAN SONG
Pronouns: he/him
Role: Bass Soloist
Portland Opera Debut
Zaikuan Song, operatic bass and native of China, is known for his resonant voice and strong dramatic presence. His roles include The Bonze ( Madama Butterfly ), Colline ( La Bohème ), Raimondo ( Lucia di Lammermoor ), Dragon/Dog ( The Big Swim ), Rambaldo ( La Rondine ), King and Ramfis ( Aida ), Timur ( Turandot ), Commendatore ( Don Giovanni ), Banco ( Macbeth ), Sarastro ( The Magic Flute ), Figaro ( The Marriage of Figaro), Dulcamara ( The Elixir of Love ), and Mr. Emerson ( A Room with a View ). He has appeared with Utah Opera, Opera Tampa, Opera Delaware, Opera Orlando, Houston Grand Opera, Opera Carolina, Toledo Opera, Opera Southwest, Opera Grand Rapid, and Opera Theatre of Saint Louis.
NICHOLAS FOX
Pronouns: he/him
Role: Assistant Conductor/Chorus Master
Portland Opera Debut: Conductor, The Elixir of Love , 2015
Described by Oregon Arts Watch as “…a flipping genius,”Conductor Nicholas Fox has served as Assistant Conductor, Chorus Master, and now Associate Music Director at Portland Opera since the fall of 2013. During his tenure at Portland Opera, he has conducted seven mainstage productions, numerous chamber opera performances, and countless concerts, in repertoire ranging from Gluck’s Orfeo ed Euridice to Philip Glass’ In The Penal Colony . In 2019, Fox stepped in at the last moment, without rehearsal, to lead a triumphant opening night performance of Portland Opera’s production of Puccini’s Madama Butterfl y. In addition to his local engagements, Fox made his debut at New Orleans Opera in April 2025 conducting Donizetti’s The Elixir of Love
CLAIRE FORSTMAN
Pronouns: she/her
Role: Principal Accompanist
Portland Opera Debut: Music Staff, Chorus Rehearsal Pianist, The Marriage of Figaro, 2023
Praised for her “masterful” playing ( Bend Bulletin ), Claire Forstman is a music director, chorusmaster, pianist, and vocal coach currently based in Portland, Oregon. Her current season includes shows with Seattle Opera, Portland Opera, Ping & Woof Opera, Renegade Opera, Vashon Opera, Resonance Ensemble, Willamette University’s Opera Department, Portland State University’s Opera Department, and OperaBend. A sought-after collaborator in the Pacific Northwest, she has also worked for the Oregon Bach Festival, Portland’s Opera on Tap, New Wave Opera, the Portland Symphonic Choir, Opera in the Park, Musica Mixta, the Sage Singers, the choir A Notion, A Scream, and Amadeus Chamber Orchestra.
CARL FABER
Pronouns: he/him
Role: Lighting Designer
Portland Opera Debut: Assistant Lighting Designer, La Bohème , 2017
Recent: Hair (Portland Center Stage), Portland Revels, How To Be A Visitor (American Dance Festival), Grease (Broadway Rose). Lighting Supervisor at Portland Opera since 2017. Touring Production for Bon Iver, The National, and Bruce Springsteen & The E Street Band. Lead Associate Lighting Designer for Disney Cruise Lines. Member: United Scenic Artists Local USA 829.
JAMIE LYNNE SIMONS
Pronouns : they/them
Role: Stage Manager
Portland Opera Debut: Assistant Stage Manager, Rigoletto, 2018
Jamie Lynne Simons is the resident stage manager for Oregon Ballet Theatre and grew up in the Pacific Northwest. Their career has varied from large stage opera to black box puppetry, from Las Vegas style shows with pyrotechnics, dancers in feather backpacks, magic, and aerial artists – to calling remote live-stream and hybrid productions. Tour: production stage manager for Hundred Day s. Other local credits: Jefferson Dancers, Portland Center Stage at the Armory, Third Rail Repertory, Portland Playhouse, Third Angle New Music, Portland Baroque Orchestra, Chamber Music Northwest - and Oregon Health & Sciences University - aiding in medical education as a simulated patient. Jamie spent five years seeing the world and running the backstage on cruise ships with Carnival Cruise Lines. BFA Applied Theatre Arts, University of the Arts, Philadelphia. Unions: Actors’ Equity Association and the American Guild for Musical Artists.
BEATRICE ANTONIE MARTINO
Pronouns: they/them
Role: Assistant Stage Manager
Portland Opera Debut: Assistant Stage Manager, La Bohème, 2025
Beatrice Antonie Martino holds a B.A. in Dance and Psychology from UC Santa Barbara, and an M.A. in Grief Studies from NYU Gallatin School of Individualized Study (Artistic Thesis: What Remains - Ritual Spaces for the Contemporary Mourner). Bea has worked as a performer, designer, producer, choreographer, and stage manager in New York, California, and Oregon. They are the Assistant Stage Manager at Oregon Ballet Theatre, and this is their second production with Portland Opera. Other credits include Kate Digby Dance, Brave New World Repertory Theater NYC, and OrpheusPDX. Bea is a member of the American Guild of Musical Artists.
STAFF
INTERIM GENERAL DIRECTOR
Tracy Wenckus
MUSIC DIRECTOR
Damien Geter
ARTISTIC AMBASSADOR
Karen Slack
ARTISTIC & MUSIC
Alfrelynn Roberts, Artistic Director
Alexis Hamilton, Associate Director of Education Outreach
Nicholas Fox, Associate Music Director
Amrit-Sadhana Boyd, Artistic Administrator
Ethan Richter, Music Administrator and Librarian
Quinn Kun Liu, Music Assistant
Sherrie Van Hine, Shane Magargal, AGMA Delegates
Lisa Neher, Chorus Secretary
Michael Hettwer, Orchestra Manager
DEVELOPMENT
Beth Lewis, Director of Development
Jasmine Johnson, Campaign & Partnerships Manager
Carleena Manzi, Development Manager
Alexis Walker, Donor Benefits Coordinator
FINANCE & ADMINISTRATION
Alexander Chester, Director of Finance
Paul Lovincey, HR & Operations Manager
Michael Martinez, Senior Accountant
MARKETING
Christina Post, Director of Marketing & Communications
Lizzie Adelsheim, Marketing Project Manager
Ervanny Astari , Social Media Manager
PATRON SERVICES
Magdalena Travis, Patron Services Manager
Chris Kim, Patron Services Supervisor
Jordan Catmull, Patron Services Representative
PRODUCTION
Anna B. Labykina, Director of Production
Kyle Spens, Technical and Production Director
Ivy Thompson, Costume Shop Manager
Cindy Felice, Properties Director
Carl Faber, Lighting Supervisor and Assistant Lighting Designer
Pascaline LeFèbvre, Production Coordinator
Addison Nuttbrock, Production Assistant and Event Coordinator
Eric Adams, Production Carpenter
Iain Chester, Warehouse Head
Mark M. James, Production Electrician
Jenessa Raabe, Pre-production Electrician
FOR BROADWAY IN PORTLAND
Tracy Wenckus, General Manager, Broadway
Ella Black, Broadway Ticketing & Database Manager
Sophie Stebbins, Broadway Group and Customer Service Supervisor
Rachel Allred, Customer Service
Rep
Liz Allred, Customer Service Representative
Bradford Johnson, Technical Liaison
Kelsey Wenckus, Marketing Assistant
FOR THE KELLER AUDITORIUM
Marty Rugger, Head Carpenter
Jay Spottswood, Head Flyman
Scott Bartel, Head Propertyman
Alex Hammond, Head Electrician
Brandon Houget, Head Soundman
PORTLAND OPERA BOARD OF DIRECTORS
OFFICERS
Kregg Arntson, PRESIDENT; Director, Community Impact | Executive Director, PGE Foundation
Carole Morse, PAST PRESIDENT; Past President, PGE Foundation
Linda Brown, VICE PRESIDENT; Owner, Brown’s Blueberries
Christine Lewis, VICE PRESIDENT; Metro Councilor, District 2
Larry D. Roper, TREASURER ; Emeritus Professor of Language, Culture and Society, Oregon State University
Carol Turner, SECRETARY; Civic Volunteer
MEMBERS
Nichole Anglin, Attorney, Innova Legal Advisors PC
Mayra Arreola, Chief Shared Prosperity Officer, Port of Portland
Laura Howe, Accounting Manager, On Point Community Credit Union
Ayaka Jones, Senior Account Executive, FINN Partners
Vanessa Valencia, Vice President of Financial Planning, On Point Community Credit Union
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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.
METRO
Lynn Peterson, Metro Council President
CITY OF PORTLAND
Keith Wilson, Mayor
METROPOLITAN EXPOSITIONRECREATION COMMISSION
Karis Stoudamire-Phillips, Chair
Damien Hall, Vice-Chair
Deidra Krys-Rusoff, SecretaryTreasurer
Dañel Malán-González
Chris Oxley
Deanna Palm
David Penilton
Craig Stroud, Visitor Venues General Manager
PORTLAND’5 CENTERS FOR THE ARTS
Rachael Lembo, Executive Director
Stephanie Torres De Los Santos, Director of Events
Stephanie Viegas Dias, Director of Ticket Services
Ruby Joy White, Director of Culture and Community
Nancy Strening, 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
NOTES ON THE WORK
by Dr. Hannah Penn, Zeller Chair for Dramatic Vocal Arts, Willamette University
Why, you may ask, is an opera company presenting a liturgical mass for the dead? The answer lies in the work’s intrinsic nature. Famously dubbed an “opera in ecclesiastical dress” by conductor Hans von Bülow, Giuseppe Verdi’s Requiem occupies a singular space—liturgical in text, but unmistakably theatrical in spirit. In Verdi’s hands, the traditional sacred text functions as the foundation for a deeply human and universal drama.
The death of the great Italian writer Alessandro Manzoni—whom Verdi deeply revered—provided the impetus for the Requiem’s composition, and its premiere on May 22, 1874, in Milan’s Church of San Marco, marked the first anniversary of Manzoni’s death. After this somber premiere, however, the piece quickly moved to the operatic stage at La Scala, where all pretext of liturgical function was dropped. For this second performance, the female soloists wore bright blue and pink dresses; three numbers received encores; and the performance concluded with Verdi being presented with a silver crown on a velvet cushion! Subsequent performances in Paris, Vienna, and London were characterized by ever-increasing excess, culminating with a performance in Albert Hall which featured a 1,200-voice chorus. Verdi seems to have objected to modified forces only when they were reduced, encouraging his publisher, Ricordi, to use the full force of the law to prevent the performance of “unauthorized and mutilated” adaptations for piano four-hands and wind band.
Taking the Requiem out of a liturgical setting created the freedom for non-canonical interpretations of the text. A requiem mass is, ostensibly a prayer for the peace of the departed; traditionally, its purpose is to comfort the living and reaffirm their faith. In Verdi’s hands, however, the text becomes the desperate plea of the living as they seek to escape annihilation. As the human soul contemplates its own extinction, it journeys through a wide range of responsesdoubt, fear, anger, grief, and horror. Verdi’s deep mastery of vocal
writing allows him to explore a myriad of emotional responses with incredible nuance and specificity, mimicking organic human sounds. The chorus whispers a sotto voce “requiem”, then wails in despair in the Dies Iræ ; the bass gasps a horror-struck “mors”; the mezzosoprano declaims the appearance of the fearful judge; the tenor sobs his confession of guilt. The harmonic tension is relentless, the rhythms driving and frenetic. The effect is spectacular, electrifying, breathtaking; but almost never comforting. In Verdi’s lifetime, the tone and implied message were shocking enough that approximately thirty years after its premiere, Pope Pius X added Verdi’s Requiem to a list of mass settings barred from liturgical performance.
Verdi’s Requiem serves the living. Like all great art, it exists to thrill, to challenge, and to stimulate; to awaken deep emotional responses; and to affirm humanity. It asks more questions than it answers. Verdi brings to the most universal of subjects—death— his mastery of all the potent communicative tools of the lyric theater. The result is a Requiem that does not merely commemorate the dead, but speaks urgently to the living, regardless of creed. For an opera company, then, this work is not an outlier but an intuitive choice.
REQUIEM MASS
The text as set by Verdi
I. REQUIEM
CHORUS
Requiem aeternam dona eis, Domine, Grant them rest eternal, Lord, et lux perpetua luceat eis. and may perpetual light shine on them.
Te decet hymnus, Deus in Sion, A hymn to you is fitting, God of Zion, et tibi reddetur votum in Jerusalem, and to you shall a vow be made in Jerusalem.
exaudi orationem meam, Listen to my prayer; ad te omnis caro veniet. unto you all flesh shall come.
Requiem aeternam dona eis, Domine, Grant them rest eternal, Lord, et lux perpetua luceat eis. and may perpetual light shine on them.
SOLO QUARTET AND CHORUS
Kyrie eleison; Lord, have mercy. Christe eleison; Christ, have mercy. Kyrie eleison. Lord, have mercy.
II. DIES IRÆ
CHORUS
Dies irae, dies illa, Day of wrath, that day solvet saeclum in favilla, the world will dissolve in ashes, teste David cum Sibylla. as witness David and the Sibyl.
Quantus tremor est futurus, What trembling there will be, quando judex est venturus, when the judge shall come cuncta stricte discussurus. to examine all things thoroughly.
Tuba mirum spargens sonum, The trumpet, spreading its wondrous sound per sepulchra regionum, through the tombs of all regions, coget omnes ante thronum. will gather all before the throne.
BASS SOLO
Mors stupebit et natura,
Death will be stupefied, also nature, cum resurget creatura, when all creation arises judicanti responsura. to answer to the judge.
MEZZO-SOPRANO SOLO AND CHORUS
Liber scriptus proferetur, A written book will be brought forth, in quo totum continetur, in which everything shall be contained, unde mundus judicetur. by which the world shall be judged.
Judex ergo, cum sedebit,
When the judge is therefore seated, quidquid latet, apparebit, whatever is hidden will be exposed; nil inultum remanebit. nothing shall remain unavenged.
CHORUS
Dies irae, dies illa,
Day of wrath, that day solvet saeclum in favilla, the world will dissolve in ashes, teste David cum Sibylla. as witness David and the Sibyl.
SOPRANO, MEZZO-SOPRANO AND TENOR SOLOS
Quid sum miser tunc dicturus, What am I, a miserable one, to say then? quem patronum rogaturus, What patron shall I request, cum vix justus sit securus? when the righteous are scarcely secure?
SOLO QUARTET AND CHORUS
Rex tremendae majestatis, King of fearful majesty, qui salvandos salvas gratis, who freely saves the redeemed, salva me, fons pietatis. save me, fount of mercy.
SOPRANO AND MEZZO-SOPRANO SOLOS
Recordare Jesu pie, Remember, merciful Jesus, quod sum causa tuae viae, that I am the cause of your journey; ne me perdas illa die. do not abandon me on that day.
Quaerens me, sedisti lassus, Seeking me, you sat down exhausted; redemisti crucem passus, you redeemed me by suffering the cross. tantus labor non sit cassus. Such great labor should not be in vain.
Juste judex ultionis,
Just judge of vengeance, donum fac remissionis, make the gift of remission ante diem rationis. before the day of accounting.
TENOR SOLO
Ingemisco, tanquam reus, I sigh as one accused; culpa rubet vultus meus, shame reddens my face. supplicanti parce, Deus. Spare the supplicant, God.
Qui Mariam absolvisti,
You who absolved Mary [Magdalene] et latronem exaudisti, and listened to the thief mihi quoque spem didisti. have given me hope also.
Preces meae non sunt dignae, My prayers are not worthy, sed tu bonus fac benigne, but you, good one, be merciful, ne perenni cremer igne! lest I burn in everlasting flames!
Inter oves locum praesta,
Place me prominently among your sheep, et ab haedis me sequestra, and from the goats separate me, statuens in parte dextra. placing me in the portion on the right.
BASS SOLO AND CHORUS
Confutatis maledictis, Silencing the accursed, flammis acribus addictis, to acrid flames consigning them, voca me cum benedictis. call me with those blessed.
Oro supplex et acclinis, I pray, bowed and kneeling, cor contritum quasi cinis, my heart contrite as ashes; gere curam mei finis. take care of me at the last.
CHORUS
Dies irae, dies illa, Day of wrath, that day solvet saeclum in favilla, the world will dissolve in ashes, teste David cum Sibylla. as witness David and the Sibyl.
SOLO QUARTET AND CHORUS
Lacrymosa dies illa, That tearful day, qua resurget ex favilla, when guilty man shall rise judicandus homos reus. from the embers to be judged. Huic ergo parce Deus. Oh, therefore spare him, God.
Pie Jesu Domine, Merciful Lord Jesus, dona eis requiem. Amen. grant them rest. Amen.
III. OFFERTORIUM
SOLO QUARTET
Domine Jesu Christe, Rex gloriae, Lord Jesus Christ, glorious King, libera animas omnium fidelium free the souls of all the faithful dead defunctorum de poenis inferni from punishment in the inferno, et de profundo lacu. and from the deep pit.
Libera eas de ore leonis,
Deliver them from the lion’s mouth, ne absorbeat eas tartarus, lest the abyss swallow them up, ne cadant in obscurum: lest they fall into darkness.
Sed signifer sanctus Michael But may the standardbearer St. Michael repraesentet eas in lucem sanctam, bring them into the holy light, quam olim Abrahae promisisti as once you promised to Abraham et semini ejus. and his seed.
Hostias et preces tibi, Sacrifices and prayers we offer Domine, laudis offerimus. to you, Lord, with praise. Tu suscipe pro animabus illis, Receive them for the souls of those quarum hodie memoriam facimus; whom today we commemorate; Fac eas, Domine, make them, Lord, de morte transire ad vitam, to pass from death to life, quam olim Abrahae promisisti as once you promised to Abraham et semini ejus. and his seed.
Libera animas omnium fidelium
Free the souls of all the faithful dead defunctorum de poenis inferni. from punishment in the inferno. Fac eas de morte transire ad vitam. May they pass from death to life.
IV. SANCTUS
CHORUSES I AND II
Sanctus, sanctus, sanctus, Holy, holy, holy, Dominus Deus Sabaoth. Lord God of the Hosts.
Pleni sunt coeli et terra The heavens and earth are filled gloria tua. with your glory.
Hosanna in excelsis. Hosanna in the highest.
Benedictus, qui venit
Blessed is he who comes in nomine Domini. in the name of the Lord.
Hosanna in excelsis! Hosanna in the highest!
V. AGNUS DEI
SOPRANO AND MEZZO-SOPRANO SOLOS AND CHORUS
Agnus Dei, Lamb of God, qui tollis peccata mundi, who removes the world’s sins, dona eis requiem. grant them rest.
Agnus Dei, Lamb of God, qui tollis peccata mundi, who removes the world’s sins, dona eis requiem sempiternam. grant them rest everlasting.
VI. LUX ÆTERNA
MEZZO-SOPRANO, TENOR AND BASS SOLOS
Lux aeterna luceat eis, Domine, May eternal light shine on them, Lord, cum sanctis tuis in aeternum, with your saints for eternity, quia pius es. because you are merciful.
Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord, et lux perpetua luceat eis, and may perpetual light shine on them, cum sanctis tuis in aeternum, with your saints for eternity, quia pius es. because you are merciful.
VII. LIBERA ME
SOPRANO SOLO AND CHORUS
Libera me, Domine, de morte aeterna, Deliver me, Lord, from eternal death, in die illa tremenda, on that dreadful day, quando coeli movendi sunt et terra, when the heavens and earth shall be moved,
dum veneris judicare when you come to judge saeculum per ignem. the world through fire.
Tremens factus sum ego et timeo, I am made to tremble and to fear, dum discussio venerit awaiting the judgement that shall come, atque ventura ira, and also at your coming wrath, quando coeli movendi sunt et terra. when the heavens and earth shall be moved.
Dies illa, dies irae,
That day, day of wrath, calamitatis et miseriae, of calamity and misery, dies magna et amara valde, great and exceedingly bitter day, dum veneris judicare when you come to judge saeculum per ignem. the world through fire.
Requiem aeternam dona eis, Domine, Grant them rest eternal, Lord, et lux perpetua luceat eis. and may perpetual light shine on them.
Libera me, Domine, de morte aeterna, Deliver me, Lord, from eternal death, in die illa tremenda, on that dreadful day, quando coeli movendi sunt et terra, when the heavens and earth shall be moved, dum veneris judicare when you come to judge saeculum per ignem. the world through fire.
THANK YOU DONORS
Portland Opera would like to recognize the following donors of $100 or more for their generous contributions and support for the 2025/26 season. To learn more about giving to Portland Opera or for any corrections to your listing, please contact Giving@PortlandOpera.org.
Contributions received between 4/1/2025 and 4/20/2026.
Kay and Roy Abramowitz
Farouk Al-Hadi
Katherine Alderson
Anonymous
Joseph Alexander and Janine Clayton
Daniel Anderson and Joy Strand
Christopher Andrews
Sona Karentz Andrews
Nichole Anglin
Claire Ankrum
Anonymous
Elizabeth and Stephen Arch
Margaret and Scott Arighi
Iain Armstrong
Kregg Arntson and Ted Fettig
Ron Attrell and Michael Oard
Nancy Babka and Michael Morgan
Liz Bacon Brownson
Robert Barham and Brad Jefferson
Jaime Barnard
Julia and Mark Barnes
Brent Barton
James and Kathryn
Bash
Anonymous
Wayne Bautista and Alfredo Pedroza
Phyllis L. Beemsterboer
Kate Beland
Richard and Myra
Bennett
Sharlen Bennett
John and Dyann
Bernatz
Jonathan Betlinski
Alene and Bruce Bikle
Elaine Blatt
Helen and Brian Blum
Barry Bolding
Liz Bonnett
Kathryn Bork
TM Boulton
Bobbie Bowser
The Breunsbach Family
William Bridge
Verlea Briggs
Frances Britt, In Memory of Maryann Dutton
Lily M. Brodrick
Jennifer Brooks
Matt and Marian Brouns
Doug and Deb Brown
Linda and Marcia Brown
Gregory Brumfield and Roberta Riportella
James Brunberg
Judy Brunner
Sherman Bucher
Kevin Bumatay
Virginia V. Burgess
Zoe Burke
Melissa Buxton
Leroy E. Bynum, Jr., DMA
Anonymous
Laurie Campbell-Leslie
Maurine and Paul Canarsky
Ross Carey
Len Carpenter
Dr. Carlos CastroPareja and Lori Dunkin*
Joanna E. Ceciliani and Douglas G. Beckman
Shelly Chabon
Kevin Chan
Gagandeep Choudhary and Aprajita Jagpal
David Christopher
Sarah L. Claiborne
Ann Marie and David Coghill
Bradley Coiteux and Robert Halberg
Heather Coleman-Cox
Kristine Connolly
Tim and Tammy Cooper
Evelyn H. Couser
Berlioz the Cat
Lauri Noell Crocker
Stacy Cross
Janet Cruz*
Robert J. Currier
Tracy Curtis and Rick Nagore
Triston Dallas
Eloise Damrosch and Gary Hartnett
May D. Dasch
Joseph and Carol Davids
Katherine De La Forest and Zach Reichert
George and Barbara Dechet
Anonymous
Florence M. DiLoreto
Susan C. Dixon
William and Suzanne Dolan
Christopher Domschke
Kate Donovan
In honor of Beverly Downer
Patricia Dresler
Shari L. Dunn
Susan Dunn
Dr. David Dunning
Michael A. Duvall
Ryan Dyson and Louise Hoover
In Honor of Dolores King
Se-ah-dom Edmo
Laura Engle
Anonymous
Angelica Espinosa
Matthew and Emmanuella Essieh
Dr. Marilyn Farwell and Catherine King
Anonymous
Richard and Anne Feeney
Edward and Jeanette Feldhousen
Lynn Ferguson
Nicole Forbes
Anne Francis
Regena Frieden
Anonymous
Emilie F. and Don C. Frisbee Fund of Oregon Community Foundation
Anonymous
Paul Gehlar
Larry and Marlis Gilman
Mark Greenfield
Diane Greenman and Kari Miller
Nancy Greiff
Stephen L. Griffith
John Grigsby
Ed Gronke*
Marsha Gulick
Paul Gunderson
Anton Haas Jr.
Larry Hacek
Patrick G. Hager and Alessandra Capperdoni
Lois Haley
Kirk Hall
In Memory of Karyn Halloran - Tim Halloran
Mary Ellen Hamilton
Jamey Hampton and Ashley Roland
Charlene Hannibal
Katharine Hart
Laura Hassell
Judith A. Heath
Emily Hebbron
Fred and Harriet Hegge
Andrea and Ted Heid*
Wendy and Eric Hein
Jean Herrera
James S. Heuer
Dr. Sharon M. Higgins
Glenda Hill
Gaynor Hillsand Greg Fleming
Andrew and Karina Hoan
Tom and Jane Hogan
Maryanne and David Holman
Anita Holser
Kimberly Howard
Carol and Tom Hull
Jennifer Humphreys
Romeo Ilie-Nicolof
Dan and Elsa Impens
In Memory of Marie Colasurdo - Marita
Ingalsbe
Robina Ingram-Rich and Tim Rich
In Memory of Donald R. Ebert
Cheryl Johnson
Annette Jolin and Richard U’Ren
Carina Juarez Estrada
Marge and Stephen Kafoury
Carole S. Keefer
Christopher Kemper
Douglas and Dena
Keszler
Suhail and Aisha Khan
Bradley Alan Knotts
Anonymous
Debbie Koreski
Nagamani and Subramania Krishakumar
James Laden and Representative
Robert Nosse
Leroy Landers
Grethe Larson and James Mullins
Drs. Fred and Catherine Lauritsen
John Lebens and Dory Kanter
Katherine Lefever
Brandon Lenzi
Dolores Leon, M.D.
Will Lesh
Julie and Nathan Leverenz
Joan Levers and David Manhart
Beth & Evan Lewis
Christine E. Lewis and Michael Selvaggio
Eleanor Lieber
Auditions Fund of The Oregon Community Foundation
Amy Light
Jason Lim
S. Anne Lince
Marjorie Lindblom
Craig and Anne Lindsay
Lisa K. Lipton
Adrienne Livingston
Henry Louderbough
Michael Louzao and Brandi Tuck
Paul Lovincey
Rob and Theresa Lusardi
Josh Lyons
Anonymous
Bill and Mary Mainwaring
Julia Marchesoni
Christina Marraccini
Joe A. Marrone
Wendy Martel Vilkin
Katsiaryna Masalava
Julie Mathews
Jessica MaxwellAnderson
William Mayclin & Murray Dunlap
Oscar and Mary Mayer
Joe McFerrin
Cleo A. McLeod*
Andrew and Heather McStay
Steve and Anna Mench
Charles Meshul and Maureen Ober
Sandra and Gary Miller
Sohyon Rahe
Cynthia Mooney
Karl and Betty Moore
Douglas and Malinda Moore
Susan D. Morgan, VMD
J. Michael Morrison
Carole Morse
Mueller-Crispin
Cultural and Environment Fund
Martin Muller
Nancy Murray
Anonymous
Yooy and Joey Nelson
John and Ginger Niemeyer
Franco Nieto
Donna G. Noonan
Norris Dermatology & Lasers NW
Richard and Beverly North
Nancy H. Oberschmidt
Barbara and Sebastian Obrzut
John Ogden
Heather Ohta
Kris Oliveira
Janet Olson
Liz Olufson
Anonymous
Anonymous
Rodney and Sandi Page
Sujata Pagedar
Callie Pappas and John Winner
Daniel Mueller and JoAnn Pari-Mueller
James Parker
Jane S. Partridge
Anonymous
John and Jollee
Patterson
Janet and Donal
Pedersen
Pete Perry
David and Karen Petersen
Martha Peterson
Laura Polich
Frances Portillo
Phillip Potestio and Sally Hudson
Scott and Tamara
Prater
Ian and Alicia Preddy
John and Debbie Purcell
Russell Ramsey
Andrew Recinos
Mary and Russell Reid
W. W. & Linda Reid
Haley Reviere
Shannon Reynolds
Mrs. Charles Rhyne
Woody and Rae Richen
Lynne Diane Roe, M.D.
Charlene Rogers
Terence Rokop
Larry D. Roper and Dina Lindquist
Carol Rose
Richard and Mary Rosenberg
Stuart and Holly Rosenblum
Marguerite Russell
Anonymous
Roger Sabbadini
Bunny and Jerry Sadis
Steven Saftig
Steve and Chris Satterlee
In Honor of Larry Roper - Tom and Cesie Scheuermann
Anonymous - (In memory of Mayer D. Schwartz)
Sarah Schwarz
Members of the Portland Opera
Chorus
Hal and Diana Scoggins
Mary Seitz
Anonymous
Anonymous
Robyn Shuey
Darsein and Gary Shull
Brandon Arends and Anne Sires
Caren Smeltzer and Herman Migliore
Cathleen L. Smith
Robert and Patricia Smythe
Sue and Drew Snyder
Neil Soiffer and Carolyn Smith
William Space and Allen Brady
Bob Speltz
Dr. Jessica Spies
Alice Spitzer
Charles and Karen
Springer
Rakesh Sridharan
Beverly and Larry St.
Clair
David Staehely
Michelle Stark
John and Carol Steele
In Memory of Garry Stensland
Barbara A. Stephens
N. Robert and Barre
Stoll
Petar Stoyanov
Eric and Cyndi Strid
L. Susan Sullivan
In Memory of Richard E Swart
Laszlo Szidonya
Charles Talbot
Krista Tappan
Anna Taylor-Richter
Claudia Taylor, M.D.
Rick and Carol Terrell
Charitable Fund of the Oregon Community Foundation
Kenneth Thrasher
In Honor of Sue DixonAndrea Tichy
Dr. Matti and Najla Totonchy
Jo Ann and Ric Tower
Homero Trevino Lopez
Kathleen Tsurumi
Su Tunney and James DePew
Tara Turnbull
David and Carol Turner
Russell Turner and Urszula Iwaniec
Rose Etta Venetucci
Dave and Christine Vernier
Julie Vigeland
Jessica Virnig
Helen Ann Volpe
Jeanette Waddle
Mark Ward
Wendy Ware and Dan Gleason
John Weisensee
Tracy Wenckus
Michael and Lisa Wenzlick
Anonymous The Estate of Ben and Elaine Whiteley
Priscilla Bernard Wieden
Andrew Wilson and Ronnie-Gail Emden
Julie Wilson
Katherine and Keith Wilson
Ana Winner
Athanasia I. Winner
Stephen Winter
Dr. and Mrs. David S. Wisdom
CP Wise
Linda M. Wood
Clark Worth and Leslie Lehmann
David DeMoss and Geoffrey Wren
Dr. Greg Zarelli and Mr. John Bush*
Kathryn Zerbe
John and Nancy Zernel
Thank you to our wine sponsor for Verdi’s Requiem
* Denotes a Monthly Gift to Portland Opera
Andrew Ackman
Jack Wussow and Kyle Adams
Margaret and Scott Arighi
Sue Armitage
Carolyn Arntson
Kregg Arntson and Ted Fettig
Ron Attrell and Michael Oard
Matthew R. Baines and Mario Andreu
Jurgen Sumann
Brent Barton
Howard Beckerman
Phyllis L. Beemsterboer
Aase and John Besson
Maryka Biaggio and Deborah Zita
Alene and Bruce Bikle
Mr. Michael Brown
Hilary Butler
Matthew Carron
Joanna E. Ceciliani and Douglas G. Beckman
Hillary Churchill
A Michael Dianich
Susan C. Dixon
Sandra and Jim Donahue
In Honor of Dolores King
Jane Edwards
L. David and Heidi Ericksen
Anonymous
Edward and Jeanette Feldhousen
Portland Opera would like to recognize the following donors for their generous contributions and support to KEEP PORTLAND OPERATIC. To learn more about giving to Portland Opera or for any corrections to your listing, please contact Giving@PortlandOpera.org.
Contributions received after 3/3/2026.
Regena Frieden
Sara Gray
Laura Hassell
Eveleen Henry
James S. Heuer
Roderick Holden
Robina Ingram-Rich and Tim Rich
Nancy Jerrick
Renus Kelfkens
Norman P. Krasne
James Laden and Representative Robert Nosse
Drs. Fred and Catherine Lauritsen
Joan Levers and David Manhart
Beth & Evan Lewis
Steven Lind
Sara Lindgren
Hung Luu
Margaret and Rodney Macdow
Paul Mallon
Louis Miles
Joseph Mitacek
Janice Mitchell
Mr. Jeffrey Morgan
Nancy Murray
Donna G. Noonan
Nancy H. Oberschmidt
Paul O’Hanlon and Jane Kurtz
Patricia L. Oldham
The Oregon Community Foundation Anonymous
Tatiana Pavlova
Laura Polich
Edith J. Polson
Ryan Porter
Providence Health Plan
Andrew Ragen
Terence Rokop
Sarah Rosenberg
Alison Rosenblum
Charlotte A. Rubin
Uma Sankaram
Jeannie and Leonard Santos
William Space and Allen Brady
Alice Spitzer
N. Robert and Barre
Stoll
Alison Rosenblum
Charlotte A. Rubin
Uma Sankaram
Tom Terpstra
Lyle M. Tucker
Dr. Richard A. Varan
Debra Vinikour
Mark Ward
John Weisensee
Sarah Elizabeth Wetherson
David DeMoss and Geoffrey Wren
Dr. Greg Zarelli and Mr. John Bush
Suzanne Zarling
John and Nancy Zernel
Mattt Zmuda
COMMUNITY SUPPORT
We gratefully acknowledge the ongoing philanthropic support from our generous donors and funders.
The Herbert A. Templeton Foundation
PGE Foundation
Ronald W. Naito MD Foundation
Rose E. Tucker Charitable Trust
Roundhouse Foundation
Utopia Vineyard & Winery
Wildhorse Foundation
Wyss Foundation
IN-KIND SPONSORS
200 Market
Argyle Winery
Audacy, Inc.
Botanica Floral Design
Classic Pianos
Elk Cove Vineyards
Et Fille Wines
Internetworks
Mark Spencer Hotel
Nossa Familia Coffee
Ovum Wines
Portland Wine Storage Inc.
Remy Wines
Résonance Wines
Steven Smith Teamaker
ABOUT THIS SEASON’S ARTIST
Originally from Seoul, South Korea, Samantha Yun Wall immigrated to the United States as a child and comes from a multiracial background. Operating from within this framework, her artwork embodies the experience of navigating transcultural identity. Wall’s art is characterized by her unique approach to traditional techniques combined with a contemporary vernacular that reflects her understanding of the world.
Samantha’s work has been featured in the New York Times, The New Yorker, and on the cover of the Sleater-Kinney album Path of Wellness . She has exhibited globally at galleries and museums including the Frye Art Museum in Seattle and the Smithsonian’s National Portrait Gallery. Featured in the Black Artists of Oregon exhibit at Portland Art Museum, her work is now in their permanent collection. Samantha has recently openedher most extensive solo exhibition to date at the Seattle Art Museum.
ABOUT THE PROJECT
Building upon the success of our 60th anniversary collaboration with illustrator Lisa Congdon, Portland Opera is excited to continue forming annual partnerships with Portland-based fine artists.
These wonderful reciprocal relationships enhance both the artist’s and the opera’s oeuvres, but most importantly contribute to the support and revitalization of our city’s fine and performing arts landscape. Learn more at portlandopera.org.