[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.
Moby-Dick is a triumph! ... a total and memorable experience. What an exciting city and time we live in that gives rise to an international collaboration that produces a modern masterpiece such as Moby-Dick.
... an astounding journey. The Great American Novel has become a grand new opera.
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...
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.
...probably one of the most successful new operas to reach the stage in the past quarter century.
...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.
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.
[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.