The Opera Tattler

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SF Opera’s Moby-Dick


Sf-opera-moby-dick* Notes * 
Moby-Dick (Jay Hunter Morris as Captain Ahab, Stephen Costello as Greenhorn, and Jonathan Lemalu as Queequeg pictured left; photograph by Cory Weaver) opened at San Francisco Opera on Wednesday evening. The opera premiered at Dallas Opera, and the production has traveled to the State Opera of South Australia in Adelaide, Calgary Opera, and San Diego Opera. Composer Jake Heggie and librettist Gene Sheer managed to distill the sprawling source material into a compelling theatrical work. The music has much appeal, and the production provides spectacle. Some of the staging is not visible in the upper balcony, and some of the voices are not heard to their best advantage from certain parts of the set. However, most of the visual effects are striking, and even beautiful.

Maestro Patrick Summers conducted a fluid orchestra. The performance seemed clean and brilliant, though at times the singers were somewhat muffled by the orchestration. The chorus sounded wonderfully in unison in the scene where the whale boats are lowered to give chase to Moby Dick. The principal cast is formidable. Joo Won Kang's diction was rather good and his Captain Gardiner was sympathetic. Robert Orth (Stubb) and Matthew O'Neill (Flask) were comical. Talise Trevigne's Pip sounded eerie and angelic. Jonathan Lemalu seemed rather creaky as Queequeg at first, but has a robust voice. Morgan Smith was a tormented but tender Starbuck, while Stephen Costello made for a sweet, vulnerable Greenhorn. Jay Hunter Morris triumphed as Ahab, sounding authoritative and full. The baritonal qualities of his voice came out in last night's performance. He was also utterly frightening and commanding in the role.

* Tattling * 
There was light talking during Act I, but the chief offenders near me all cleared out by Act II.

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10 responses to “SF Opera’s Moby-Dick”

  1. Upstairs Tenor Avatar
    Upstairs Tenor

    How much of the stage is blocked from the balcony? Is the stuff in the rigging blocked? the scenes on the “upper deck?” the boats on the back wall? Seems a shame to miss any of this production, but I guess it was unavoidable since the set wasn’t buildt for this house. I saw it (at the dress) in the orchestra, from which it looked amazing.

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  2. Joe Avatar
    Joe

    I was in the “front” of the rear balcony.
    95% was visible. Only a few minutes when Ahab was aloft was there visual impairment. And of course the sound is always stunning up in the rear balcony. I loved the production.

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  3. Lilacrobin Avatar
    Lilacrobin

    Charlise, I know you have seen this is San Diego, but hope you can sit a bit lower soon to see all the enchanting visuals that bring the Peaquod to life! Got a seatlast night, in the last row of the Orchestra…but having seen it 5 times – from Row E and from up above….the further one is, the more powerful the experience. Oh those whaling boats….I know this word has been overused…but…it’s magical!
    Last night, was a bit flawed vocally..due to (superstitious me) the PERFECT FINAL DRESS….but the mistakes were minimal… this IS the highlight of our Autumn Season…. Jay IS brilliant! The rest of the cast too… and, as a sidenote, when I left last night, I ran into Jake Heggie..(who has never moved me with all of his music)….and I hugged him and thanked him for this BRILLIANT Opera!
    Wonderful to see you again!
    Ah, it’s Opera like Moby and Heart and Nixon that have brought inspiration and innovativeness to Sf Opera!
    Big Hugs,
    ♥ Robin ♥

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  4. CMSiefer Avatar
    CMSiefer

    Uh Oh! “Moby” “Heart” and “Nixon” have brouth “innovativeness” to SF Opera. Is “innovativeness” even a word? . . .

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  5. CMSiefer Avatar
    CMSiefer

    Error: The correct spelling is b-r-o-u-g-h-t. My point still stands regarding “innovativeness”. I am wondering if the word innovation might suffice?

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  6. Doug G. Avatar
    Doug G.

    I saw it last night and loved the visual spectacle — very impressive and I think it totally worked. I found the music rather uninteresting. I wish it had evoked more passion, since the story is a very passionate one (or at least it seems so to me). The cast was often strong, but I was surprised by how many times I couldn’t really hear them from the 4th row of the orchestra. The projections really made the show and were fantastic. I’m glad SF Opera did this piece. Off to the Bellini on Tuesday. I kinda like the idea of an aria sung from a sink, so I’m excited!

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  7. The Opera Tattler Avatar
    The Opera Tattler

    I know this is late, but it is mostly the stuff in the rigging that is blocked. It is only about 10 or 15 percent of the opera that it is really annoying. The sound is so great in the balcony though, as you know.

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  8. The Opera Tattler Avatar
    The Opera Tattler

    I ended up seeing this from the boxes, the back of the orchestra, and the Grand Tier.

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  9. The Opera Tattler Avatar
    The Opera Tattler

    Ah, but making up words is such fun! In this case, you might well be right though.

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  10. The Opera Tattler Avatar
    The Opera Tattler

    The visual aspects of this opera were arresting. Not totally convinced musically after four hearings, but I am such an Early Music fiend, so that’s no surprise.
    Hope you enjoyed the Bellini!

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