My Year of Opera: Moby Dick

I live-tweeted watching Jake Heggie’s Moby Dick when it was broadcast on Great Performances this past Friday night (performed by the San Francisco Opera). All in all, it was a great production. Well sung, well staged, well plotted, with great video elements that enhanced the staging considerably. A very impressive adaptation of the story and one that hit all the major themes of the book while still being dramatic.

Musically, I could have used about 15% less conventional harmony. I don’t know a lot of Heggie’s music but what I’ve heard has been very straight ahead in terms of melody and harmony. While Moby Dick steered clear of being cliche in terms of its musical language, I feel like it needed more pungent harmonies at times. In many ways, it sounded like an opera from about 120 years ago. Or Janaceck, I suppose. I suppose that is the smart thing to do if you want an opera to enter the repertoire but…well…it didn’t do it for me.

Basically, Moby Dick was the opposite experience of Unsuk Chin’s Alice in Wonderland. THAT opera was musically adventurous while totally destroying the drama/plot elements. Who would have thought that Alice would be a more angst-ridden and expressionist experience than Moby Dick?

So what do you do? Do you favor clear dramatic storytelling over a more contemporary musical language? Does one really have to be at the expense of the other? How much of opera is a musical experience vs. a dramatic one? There are operas I’ve really enjoyed musically recently but found them dramatically lacking. In my own writing, I have been trending towards clear shapes/drama/trajectories but I think I’ve been doing it in a less-than-conventional pitch language. Of course, no opera company has invested six to seven figures in the staging of anything I’ve done.

This entry was posted in Uncategorized. Bookmark the permalink. Post a comment or leave a trackback: Trackback URL.


  1. Posted November 5, 2013 at 12:59 pm | Permalink

    All of Heggie’s music is pretty straight-forward as far as pitch and rhythm goes. He moves into jazz inspired elements every so often, but he’s pretty straight ahead. The most “adventurous” work of his I’ve heard is his cello concerto…which I’m sure isn’t played very often.

    I only know so much about Heggie because he did a one week residency with my undergrad. He’s definitely about storytelling first, and not letting the music get in the way (he more or less said I did that on the two songs of mine he heard).

    I do think Dead Man Walking was pretty good, and I’m sad I missed Moby Dick because I’ve been dying to hear see it for quite some time.

  2. Posted November 5, 2013 at 1:20 pm | Permalink

    Thanks John, I had heard a disc of his songs earlier and a lot of Moby Dick was in line with that disc (thick texture, good lines, traditional/conservative harmonies). I do know that Moby Dick is coming to DVD and I’m planning on getting a copy. It was wonderful storytelling, a good mix of action, great use of visual effects, and just a great viewing experience.

Post a Comment

Your email is never published nor shared. Required fields are marked *

You may use these HTML tags and attributes <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>


  • Pages

  • Archives