Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Performances

L'ospedale - an anonymous opera rediscovered

‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.

Šimon Voseček : Beidermann and the Arsonists

‘In these times of heightened security … we are listening, watching …’

René Pape, Joseph Calleja, Kristine Opolais, Boito Mefistofele, Munich

Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !

Calixto Bieito’s The Force of Destiny

The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.

Morgen und Abend — World Premiere, Royal Opera House

The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.

Company XIV Combines Classic and Chic in an Exquisite Cinderella

Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.

Monteverdi by The Sixteen at Wigmore Hall

This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.

Dialogues des Carmélites Revival at Dutch National Opera

If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.

Ermanno Wolf-Ferrari: Le donne curiose

Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.

Moby-Dick Surfaces in the City of Angels

On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.

Great Scott at the Dallas Opera

Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.

Schubert and Debussy at Wigmore Hall

The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.

A Bright and Accomplished Cenerentola at Lyric Opera of Chicago

Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.

La Bohème, ENO

Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.

Luigi Rossi: Orpheus

Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).

64th Wexford Festival Opera

Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.

Christoph Prégardien, Schubert, Wigmore Hall London

Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .

The Magic Flute in San Francisco

How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.

La Vestale, La Monnaie, Bruxelles

In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.

Shattering Madama Butterfly Stockholm

An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera



Moby-Dick [Photo by Karen Almond courtesy of Dallas Opera]
10 May 2010

Heggie’s Moby-Dick a whale of an opera

It’s glorious and it’s gripping; it’s grand — and it’s good! Indeed, Jake Heggie’s Moby Dick, premiered by Dallas Opera in its handsome new Winspear Opera House on April 30, is a work that restores meaning to basic vocabulary made banal by overuse through the decades.

Jake Heggie: Moby Dick. Librettist: Gene Scheer

Captain Ahab: Ben Heppner; Greenhorn: Stephen Costello; Starbuck: Morgan Smith; Queequeg: Jonathan Lemalu; Flask: Matthew O'Neill; Stubb: Robert Orth; Pip: Talise Trevigne. Conductor: Patrick Summers. Stage Director: Leonard Foglia. Set Designer: Robert Brill. Projection Designer: Elaine J. McCarthy. Costume Designer: Jane Greenwood.

All photos Karen Almond courtesy of Dallas Opera.


Heggie — assisted by his seasoned librettist Gene Scheer — has achieved something with Moby Dick that American opera has not experienced in a long time: they have created a work of quality that should garner itself an immediate place in the repertory of opera houses around the world.

Announcement of the commission — Dallas Opera’s first for the Wiinspear — raised eyebrows, for few could imagine a less operatic novel than Hermann Melville’s 1851 detailed account of sailing and whaling. Running 500 to 700 pages in standard editions, the book is often dark and diffuse — everything that an opera cannot be, if it is to reach an audience with its story. In a sense, of course, Melville made it easy for Sheer, for the many exegesis on whaling were easily excised as the librettist laid bare the soul of the novel in his focus on its characters.

As told in the opera Moby Dick is now a story that explores the raw basic forces of life, underscoring the darkness that drives men and sends them to perdition. The Great White Whale is only a means to that end. Indeed, Sheer’s Ahab, the man who has lost a leg to the animal upon whom he seeks revenge, is yet another Faust out to defy the less-than-benevolent god embodied in the whale.

It is this confrontation with “the basics,” the unembellished dark drives that send men on impossible adventures, that the audience feels first-hand in this three-hour opera. “Feels,” one emphasizes, for Heggie has written music — always accessible — that requires no major act of mediation through performers. The score speaks always with telling directness. There is never “time out” to be mere opera. It is visceral music; now and then one puts up one’s hand in defense. That’s why one is wrung out at the end of Moby Dick, for one has been through it all with the many sailors on the Pequod. The opera keeps attention riveted on the stage; the mind is not allowed to wander. Most amazing aspect of the opera is that there is no feeling of condensation or that anything has been left out. Heggie more than compensates in mesmerizing music for the liberties taken with Melville’s text.

Heggie’s progress as a composer is documented throughout the score, which is largely through-composed with arias and ensembles seamlessly woven into it. The orchestral interludes are destined to take their place next to the Sea Interludes from Benjamin’s Peter Grimes.

Moby Dick is a Dallas co-commission with San Francisco, San Diego and Calgary Operas and State Opera of South Australia, and one can only hope that the other companies have the high-tech facilities that enabled the Winspear to take full advantage of an awesome world of effects — photos, projections and sets — that added so much to this initial staging.


Director Leonard Foglia worked with the hand of a sorcerer to blend projection designs by Elaine McCarthy into an overpowering and effective whole with designs by Robert Brill and lighting by Donald Holder. Never did these visual aspects threaten the primacy of Heggie’s score, in which there is not one superfluous note.

Scheer achieved dramatic concentration by pairing Ahab — sung to perfection by veteran Ben Heppner - with first mate Starbuck — stunningly portrayed by Morgan Smith, a baritone at home in top German opera houses. They interlock with a second pairing: native and noble Queequeg, engrossingly portrayed by New Zealand Samoan Jonathan Lemalu, and Greenhorn, the young man out — Parsifal-like — to learn fear — so touchingly sung by young American tenor Stephen Costello.

Only in the final minutes of the work does Costello reveal that he is the man called Ishmael who opens the novel. He is of special interest as the one character who — in confronting fear — develops. The other three of this basic quartet remain what they were when the curtain rose.

Sole female in the cast was Talise Trevigne, whose touching incarnation of Cabin Boy Pip offered little hint of the successful Violetta, Lucia and Pamina that have made her famous in Europe.

Moby Dick is rich in powerful choruses — the major show-stoppers of the debut performance — admirable prepared by Alexander Rom.

Patrick Summers, Heggie perennial collaborator, evoked magnificent playing from the Dallas Opera Orchestra in giving birth to what is obviously a modern masterpiece of music theater.

(The opera will enlighten a young generation by revealing the source of the name Starbuck — even if it fails to explain the coffee company’s aversion to apostrophes.)

Wes Blomster

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):