Moby Dick (2010)
Libretto by Gene Scheer & Music by Jake Heggie
Moby Dick premiered at the Dallas Opera in 2010.
...reveals a composer whose depth and sophistication is growing with time, and the music world is the better for it.
...Mr. Heggie's opera was an undeniable success: The end of its maiden voyage was greeted with a sustained, rousing ovation, with shredded programs fluttering down from the highest seating level. The strongest response was reserved for Mr. Heggie and Mr. Scheer, received at the end with a triumphal roar.
[Heggie & Scheer's] powerful and emotionally irresistible new work, which opened over the weekend at the Dallas Opera, doesn't shy away from the challenges presented by Melville's landmark novel. Instead, it deftly sidesteps them, drawing from the source only those things needed for the drama and using Heggie's lush, expressive music to carry the show. The result is a vibrant, compelling piece of musical theater...easily Heggie's finest creation since Dead Man Walking first put him on the map a decade ago. Heggie's great achievement in Moby-Dick is to write melodies that are memorable without being predictable, using harmonies that are clear but flavorful. The formal dramaturgy, too, is sleek and uncluttered, unfolding in a series of crisply rounded arias, choruses and especially duets.
...probably one of the most successful new operas to reach the stage in the past quarter century.
The score is studded with vivid scenes in many modes. But the distinction of Moby-Dick lies less in its parts than in the whole. Though the action is episodic, the libretto holds a taut arc. The score holds together, too, shaped by the gravitational pull of the ties, ever-changing in the music yet ever-present. Ribbons of silken melody, played by solo winds and reeds, ripple high above, like wayward breezes. Pizzicati conjure up pinpricks of starlight on the waves. Under the baton of Patrick Summers, the score unfolded majestically, never rushed yet never meandering, the dramatic incidents clearly set off within the greater flow.
The seamless combination of projections, the physical set and live action is astounding, seeming to blend opera with theatre, circus, cinema and visual art into a multimedia extravaganza. It has to be seen to be believed.
When it opened on April 30, Moby-Dick turned out to be the hit of the season. The audience screamed approval, and performances promptly sold out... ...Moby-Dick is about as popular as a new opera can get. Not only was it a box-office success, but before it even opened, Heggie's name also had attracted four co-producers...Therefore, this successful production will be seen again...
Moby-Dick turned out to be one of the most satisfying new operas I've seen premiered... the opening-night crowd in Dallas broke into spontaneous applause three times during the first half, and screamed and yelled its approval at the curtain calls. It was a wonderful and rare reminder that new opera truly can excite people if it's done right.
Earlier this month I saw the future of opera. It is Moby-Dick at Dallas' Winspear Opera House.
Not only do I suspect that Moby-Dick will propel Heggie to the first rank of the extraordinary current crop of contemporary American opera composers, I believe that it quite possibly...will become the most popular opera written so far during our young century.
3 flutes (one doubles piccolo), 3 oboes (one doubles English Horn), 3 clarinets (one doubles bass clarinet), 3 bassoons (one doubles contrabassoon), 4 horns in F, 3 trumpets in C, 2 trombones, 1 bass trombone, 2 percussion, 1 timpani, harp, strings
The following companies have performed or scheduled future performances of the opera:
- The Dallas Opera (Apr 2010)
- State Opera of South Australia (Aug/Sept.2011)
- Calgary Opera (Jan 2012)
- San Diego Opera (Feb 2012)
- San Francisco Opera (Oct 2012)
- The Washington National Opera (Feb 2014)