Libretto by Gene Scheer & Music by Jake Heggie
Moby Dick premiered at the Dallas Opera in 2010.
Composer Jake Heggie achieved his goal Friday night with an achingly beautiful, magnificently sung and gorgeously staged world premiere of his Moby-Dick, the highlight of the Dallas Opera's first season at the sparkling new Winspear Opera House. The audience responded with an eight-minute standing ovation. Heggie is a rarity, an accessible composer whose melodic lines and sense of drama are aimed at audiences rather than academics. With librettist Gene Scheer, he has transformed Melville's sprawling novel into an active stage work.
[Moby-Dick] is a large, epically proportioned work … the music is flawlessly beautiful, like a jewel. It is intensely lyrical, powerfully moody and superbly well paced. There are no disjunctures of style or breaks in dramatic flow; instead, Heggie has created a giant symphonic poem through which he threads the voices majestically and gloriously.
The operatic version [of Herman Melville’s 1851 novel “Moby-Dick”] manages to condense the book’s sprawling action into 2 1/2 hours without compromising the essential elements or the emotional power of the original.
Mr. Scheer’s libretto was an economical wonder, casting off Melville’s landlocked opening and stretches of minutiae regarding whales and whaling. What remained was a taut, two-act adventure yarn, bound by the relationships between Ahab and his conscientious first mate, Starbuck, and between the neophyte seaman Greenhorn (Melville’s Ishmael, renamed with dramatic intent) and Queequeg, the noble-savage harpooner.
... an astounding journey. The Great American Novel has become a grand new opera.
Earlier this month I saw the future of opera. It is Moby-Dick at Dallas' Winspear Opera House.
...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.
...probably one of the most successful new operas to reach the stage in the past quarter century.
Moby-Dick, the opera, is a triumph. Stunningly staged and sung, it captures the elemental forces of the sea and Captain Ahab's obsession with the great white whale that has maimed him. Scheer seamlessly tunes his own prose and poetry to Melville's. Heggie composes vocal lines that make sense vocally and illumine words and emotions.
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.
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)