The American Gothic Opera in Europe

The European premiere of Paul Moravec’s The Shining in Regensburg brings a specifically American narrative idiom to the German stage. Moravec’s score avoids the mid-century atonality (music that lacks a tonal center or key) of the avant-garde, opting for cinematic directness. This production marks a rare instance of a contemporary American work finding a foothold in the German house system, suggesting a shift in European programming toward tonal drama. The Regensburg staging demonstrates that the technical requirements of the 'cinematic opera' can be successfully integrated into the repertory house. This export signals a potential convergence of American and European tastes in contemporary musical theater.