When approached to direct an opera adapted from Herman Melville’s renowned tale of a white whale, Leonard Foglia’s initial excitement was palpable. However, upon revisiting the dense narrative of “Moby-Dick,” realization set in about the challenging and extensive task at hand. He reminisced about his decision to undertake this ambitious project.
The results of Foglia and his team’s effort will be showcased starting March 3 at the Metropolitan Opera. The opera features music by composer Jake Heggie and a libretto by Gene Scheer, beautifully rendering Melville’s work for the stage.
Crafting a libretto from a voluminous novel of over 600 pages into just 64 pages was no small feat. Scheer aimed to retain the essence of Melville’s language, estimating that about 40% to 50% of the text in the libretto parallels the original novel. His modifications often served to enhance its suitability for operatic performance.
Significant creative decisions were made early, including condensing the opera’s setting solely on the whaling ship, Pequod, excising the parts of the story taking place on land. The narrator was renamed Greenhorn to represent his inexperience, reserving the famous, “Call me Ishmael,” as a revelation at the close of the performance.
“In the novel, Ishmael recounts past events,” Scheer explains. “However, theatre thrives on present action. This version presents his journey as he evolves, ready to tell his story by the end.”
Tenor Stephen Costello, reprising his role from the 2010 Dallas premiere, portrays Greenhorn and regards his part as the one with the most development. Describing the character’s journey, Costello underscores Greenhorn’s transformation in self-discovery against the unforgiving backdrop of life at sea.
The Metropolitan Opera’s roster boasts tenor Brandon Jovanovich as the ferocious Captain Ahab, with Pip, presented in a “trousers role” by soprano Janai Brugger. Baritone Peter Mattei takes on the role of Starbuck, and bass-baritone Ryan Speedo Green portrays Queequeg. The performances, running until March 29, are under Karen Kamensek’s musical direction.
This opera has garnered acclaim since its debut, lauded by both audiences and critics, and received academic attention. Notably, Bob Wallace, a Melville Society notable, has been so impressed that he documented its creation. “Heggie and Scheer expertly distilled the novel without losing its core,” he commended.
Critics have praised not just the adaptation and the music, but the impressive physical production, with innovative sets by Robert Brill and projections by Elaine J. McCarthy. These elements combined to create a captivating visual experience, described in The New York Times as “striking to near-miraculous.”
A spectacular illusion within the production involves animated visuals projected onto a curved climbing wall, mimicking the Pequod and smaller whaling boats in transition. These imaginative elements, as Scheer mentioned, were masterfully realized by a dedicated team under Foglia’s guidance, who allowed creative freedom while figuring out the practicalities.
The intricate staging required unusual physical demands from the performers. For instance, soprano Janai Brugger performs high above the stage in a harness, depicting Pip adrift at sea in a dramatic operatic breakdown.
Foglia recounts his humorous warning to the cast about defying typical expectations of stage performance. “Everything conventional, like keeping both feet soundly on the ground, we’ve mastered avoiding,” he quips, reflecting the challenges and triumphs of bringing this maritime epic to vibrant life on stage.
