Produced by MET from Mobi Dick.
Photo: Karen almond/Opera
After 15 years of sailing from one house to another Pequod It finally floats in MET, and the wood, frozen iron, and amazing ropes were moved to the digital drawing. Mobi DickOpera has been implemented by Librettist Gene Scheer and Composer Jake Hegigie on a large scale (in Dallas, San Francisco, Los Angeles, and Washington) since the first show of 2010, where he qualifies well. Consequently, the first company’s premiere has a feeling of a fully joking width: smart, fun, and low on roughness or risks. The opera tells a clear story in which the boy did not get the whale and not everyone dies, but why should we tell us that it is not completely clear. On the opening night, the Brandon Jovanovich team was in the role of Ahab and Steven Costello in the role of Greenhorn (you can call it Ishmael), and Thomas Glass for Mattei in Starback-on a trip around the world on a group of carpenters of sound. In this opera around Monania and despair, the risks appear low in one way or another.
The excitement does not come from characters or hole orchestra (although the strong Karen Camins) but from theatrical work. The forgery of the bowl rises above the deck, and the cradle of the cat is from the mast, ropes and sails. In the Robert Brill collection, the theater is formed like a half tube with degrees, so that the members of the acting team, the stadium, square, and flimsy kinfields on the huge waves scramble. The hero of the one -legged novel (which he sings before a period of legs) is a man with a limited kinetic that tends to fix on the deck and serve Aryas, and therefore the frantic movement that occurs around him becomes necessary.
Milville Mobi Dick It is a profound physical book, and its sentences transmit readers residing in a world of swinging actions, slippery floors, deep terrorism, the smell of whales, and the roundabout of mania. These are all the rich things of the composer, because music is a tool for translating a feeling to another. Sunlight, pain, waves, and cracks that all can be transferred.
Hegie tries all this. He knows the law of marine music, including Briton Billy PodDebus No MirAnd wagner’s Dutch aviation. Some of the amazing ropes stream may have flowed into the result from John Adams Klinghoffer deathWhich takes on a hijacked cruise ship. Heggie is aware of how to call the orchestra storm and draw a proud hunter image. He studied opera conflicts between leaders and LED. He was right to make the boy Pep a role in the soprano pants (sang here by the only angered member, JANAI BRUGGER), and emphasizing the spiritual endeavor of AHAB instead of tyranny by making him Menor instead of the Parton. Scheer was smart to put out the camels of the winding novel to short and sharp likes and CURT instructions – and also to be loyal to Melville delivery to the captain’s dictation. When Starbook suggests finding a port to repair barrels that leak from whale oil, AHab responds incredibly, and with strength: “To to here for a week to connect a group of old hoops?” Hegigie knows how to put such a rich set of clips so that you are not lost in a game of open cause letters. However, despite all these professionalism, there is a group of civilized literature between his music and the events he describes. It swells and then fades, and the storms become angry, but they are not reasonably killed. There may be few phrases in the English language more suggesting the musical mood of “Wild and Water Unit” in Melville. The opera is very domesticated, flexible, and accompanied to transfer this severe depression.
Mobi Dick In Metropolitan Opera until March 29.
