Steven King hated ‘The Shining’ film. Lyric Opera plans to bring soul back to Jack

When I had just graduated from high school, Stanley Kubrick’s film “2001: A Space Odyssey” was re-released for a one-week run at a downtown movie theater. I went every single night.

“2001” is still my all-time favorite film, with Kubrick’s “Dr. Strangelove” not far behind. While “The Shining,” also directed by Kubrick, isn’t a top 10 film for me, it is still, in my opinion, one of the greatest horror films ever made.

So I am excited and intrigued that Stephen King’s novel has now been turned into an opera.

The Lyric Opera of Kansas City will present “The Shining,” with music by Paul Moravec and libretto by Mark Campbell, for three performances — March 11, 17 and 19 — at the Muriel Kauffman Theatre.

Kubrick’s film played up the horror element of King’s novel with brilliant touches: a score that used carefully selected classical music, psychologically thrilling one-point perspective and the director’s typically chill approach to human relationships. It was Kubrick’s detached approach to the characters that reportedly irritated King.

According to film critic John Tibbetts, the novel, while “scaring our socks off,” has a sympathetic human dimension that Kubrick’s film lacks.

“King hated the Stanley Kubrick screen adaptation because it was a nihilistic attack upon the characters that King so sympathetically wrought,” Tibbetts said. “And this is why King has supported the opera version — because it is more empathetic to the character of the deranged Jack Torrance.”

Tibbetts said the opera emphasizes the tragic nature of the Torrance character and shows him to be “a tormented man who earns our sympathies.”

Deborah Sandler, CEO and general director of the Lyric Opera of Kansas City, agrees that the opera is not a sung version of the movie.

“We believe that at its heart, the opera is about a family trying to keep it together and work through things,” Sandler said. “Of course, there is a little bit of the supernatural, but this is not scary. There’s no Jack Nicholson scene. The twin girls do make an appearance, but it’s very atmospheric. The production elements are beautifully designed. There’s just enough.”

Kubrick was noted for his inspired used of classical music, and in “The Shining” he did not disappoint. From the opening of the film, with Wendy Carlos’ electronic take on the Requiem chant “Dies Irae,” to music by György Ligeti, Béla Bartók and Krzysztof Penderecki, the director’s film is a delightful, if horrifying, Easter egg hunt for classical music fans.

Tibbetts said Moravec’s opera “eschews the willful hysteria of Kubrick’s soundtrack and instead treats us to music that is frankly more tuneful and easier on our ears.”

Grove Music Online considers Moravec a “new tonalist.” The Pulitzer Prize-winning composer wants to write music that connects with audiences.

“His music is hard, as any of the singers will tell you,” Sandler said. “But he is a remarkably accomplished composer, and he writes what he needs to write. There are melodies in there. To me, it’s a remarkably rich, beautifully orchestrated, wonderful score.”

It will be conducted by a very distinguished maestro, Gerard Schwarz, the former music director of the Royal Liverpool Philharmonic Orchestra and the Seattle Symphony. Sandler said that the Lyric Opera will make the original cast recording, with Schwarz conducting the Kansas City Symphony. It is scheduled to be released on Pentatone, a much-acclaimed classical label.

“This is a big achievement, and I think it will shine a great light on the opera, on the Kansas City Symphony and Kansas City,” Sandler said. “It’s further proof that there is a high level of artistic excellence here. You’ve got the airport and you’ve got the arts. And when people get off their planes, they’re going to see an ad for ‘The Shining,’ too.”

Minnesota Opera presented the first production of “The Shining” in 2017. Kansas City will be the third city where the opera will be performed.

“Everywhere it’s played, it has drawn large audiences, and we hope it will be the same in Kansas City,” Sandler said.

The Lyric has also organized some creative community events in connection with “The Shining.” For example, “The Shining: From Book to Opera” Wednesday March 8 at the Durwood Film Vault at the Central Library, will feature Moravec and Campbell talking through their process of creating the opera. And March 7 at the Apple Store on the Country Club Plaza, the duo will discuss how composers are using the latest technology to compose their works.

Sandler said that while the opera version is not exactly like the book or the movie, hearing the story sung shines a new light on “The Shining.”

“Each art form brings a different lens to the story,” she said “Reading the word ‘sad,’ and hearing somebody play ‘sad’ is very different. But hearing the music of ‘sad’ is extremely powerful. And that’s what we bring. We think that our music and our opera allows people to experience things in a different way, and that will heighten the emotional impact.”

7:30 p.m. March 11 and 17 and 2 p.m. March 19. Muriel Kauffman Theatre, Kauffman Center for the Performing Arts. $33.50-$203.50. 816-471-7344 or kcopera.org.

Park ICM’s Stanislav and Friends

“Stanislav and Friends” is always a doozy of a concert, and this year promises to be especially spectacular. For starters, Van Cliburn International Piano Competition gold medalist Stanislav Ioudenitch is the soloist for Tchaikovsky’s Piano Concerto No. 1 with the Kansas City Chamber Orchestra led by Andrés Franco, a highly sought after international conductor.

But wait, there’s more … London International Piano Competition winner Behzod Abduraimov will perform the complete “Pictures at an Exhibition” by Mussorgsky, and some of Park’s faculty, like violinist Ben Sayevich and pianist Lolita Lisavskaya-Sayevich, will also strut their stuff.

To top it all off, two of the most rapidly ascending stars in classical music, violinist Maria Ioudenitch and pianist Kenny Broberg will perform music by Nikolai Medtner, one of the most devilishly difficult Russian composers.

7 p.m. March 11. Helzberg Hall, Kauffman Center for the Performing Arts. $13.50-$58.50. 816-994-7222 or icm.park.edu.

Kansas City Chorale

The Kansas City Chorale will present a harbinger of spring with two of the most joyful works of the baroque era: Vivaldi’s “Gloria” and Handel’s “Dixit Dominus” March 10 at Village Presbyterian Church. A chamber ensemble of instrumentalists will accompany the chorale.

7:30 p.m. March 10. Village Presbyterian Church, 6641 Mission Road. $20-$25. 816-444-7150 or kcchorale.org.

Musica Vocale — “Brave New World: Music from Puebla de los Àngeles”

We haven’t heard from Arnold Epley’s very fine choral ensemble, Musica Vocale, since the beginning of the pandemic. Well, they’re back, but now Epley is the artistic advisor and conducting duties are in the hands of two very capable musicians, Jay Carter and Ryan Olsen.

Carter is going to lead the group in an intriguing program called “Brave New World: Music from Puebla de los Àngeles” March 12 at Grace and Holy Trinity Cathedral. Carter has chosen works from the Baroque era but by composers from Mexico rather than Europe.

“This is music that has become my favorite over the course of the pandemic, and material that should be getting attention, but isn’t,” Carter said. “I’m trying to do some small part in making sure we start to pay attention to music from the Americas that’s from the same time as European masters like Monteverdi.”

Carter says the works on the program are “uniquely Pan-American” with Spanish, indigenous American and Afro-Caribbean influences, while still sounding distinctly baroque.

3 p.m. March 12. Grace & Holy Trinity Cathedral, 415 W 13th St. Free. musicavocale.org.

Immaculate Conception Cathedral — “Interlude in the Desert”

Many people find the Lenten season a time for calm self-reflection. Mario Pearson, principal organist and director of music at the Cathedral of the Immaculate Conception, was inspired by Jesus’ own time of contemplation when he conceived “Interlude in the Desert.” The program of choral music will be presented March 10 at the gold-domed cathedral.

“Many Church musicians love the Lent because of the rich treasury of choral music, especially suited to the season,” Pearson said. “The concert’s theme is a reminder of what the Lenten season calls people of faith to reflect upon.”

The program, performed by the Cathedral schola, will include a setting of “Agnus Dei,” as well as a pioneer folk hymn and contemporary classical music. Cellist Justin Cowart will be the featured soloist.

6 p.m. March 10. Cathedral of the Immaculate Conception, 416 W. 12th St. $10-$30. kcgolddome.org.

You can reach Patrick Neas at patrickneas@kcartsbeat.com and follow his Facebook page, KC Arts Beat, at www.facebook.com/kcartsbeat.