* Notes *
Mason Bates' The (R)evolution of Steve Jobs, opened at San Francisco Opera last night, after being postponed for three years because of the pandemic. The opera has a propellent energy and lots of great singing.
This opera, with libretto by Mark Campbell, about the Apple co-founder and CEO does not seem like it could work, but somehow the circular structure, fast-moving non-linear scenes, and humor pull it together. In certain ways the opera is pretty traditional, there's a hero's journey, a mentor, and a true love that saves the protagonist. There's even some moralizing at the end, which reminded me of the final ensemble of Don Giovanni.
The set, by Vita Tzykun, flows easily from scene to scene as it is mostly segments of walls that can have projections on them plus props that are rolled on and off or picked by singers or stagehands. Kevin Newbury's direction is straightforward. There were times when the projections were slightly tiresome, like the moving motherboard ones (pictured, photograph by Cory Weaver), which reminded me of The PeopleMover Thru The World Of Tron ride at Disneyland back in the 1980s and 90s.
The music is percussion heavy, there are lots of mallets and seven timpani drums. The composer performs electronics in the piece using two MacBook Pros with the orchestra in the pit. There is also an acoustic guitar. Everything is amplified, including the singers, which is not unexpected but does somehow flatten the sound for me.
The chorus sounded very much together. Members of the chorus would have soli as Apple employees but would seamlessly rejoin the group. The principals were all quite strong as well. Adler mezzo-soprano Gabrielle Beteag was startlingly beautiful as she sang about calligraphy as a teacher at Reed College and Adler soprano Olivia Smith's Chrisann Brennan was crystalline yet flexible. Tenor Bille Bruley was convincing as Steve Wozniak, his bright sound is pleasing.
Baritone John Moore also has a bright, resonant voice, portraying Steve Jobs as a cruel megalomanic and a vulnerable human being. His interactions with bass Wei Wu (Kobun Chino Otogawa) and mezzo-soprano Sasha Cooke (Laurene Powell Jobs) were best. Wu had the most entertaining lines as the Zen priest and spiritual mentor of Jobs, though Moore has a pretty good one about Bach and mosquitos in Scene 10. Cooke was radiant, her voice is ethereal but well-supported.
* Tattling *
The orchestra audience did not whisper or talk, but I did hear some cellophane being rustled by someone around Row G Seat 6. Worse yet was the cellular phone that rang in the middle of Row H during Scene 17. It was very loud, but at least the phone was shut off right away.