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Minnesota Opera's La Bohéme; Dan Norman photo. Santa Fe Opera's The (R)evolution of Steve Jobs; Ken Howard photo; and Metropolitan Opera's Carmen; Ken Howard photo. |
By Melinda Bargreen
We’ve all met the operagoers whose list of preferred operas consists
of (1) Carmen, (2) La Bohéme, and (3) “No, thank you.”
Of course, it’s perfectly understandable to want to hear (1)
and (2). But an art form will gradually stultify if it only presents the
beloved classics over and over again. And audiences will stultify right along
with them. If opera as art form and entertainment is to survive, it needs to be
brought into the 21
st century. And that’s exactly what Seattle Opera
is doing with its upcoming production of a work that is already being hailed as
a modern classic: Mason Bates’
The (R)evolution of Steve Jobs.
A visit earlier this month (between snowstorms) to the Seattle Opera rehearsal hall in the new
Opera Center reveals an opera that’s
really a fast-moving, fascinating series of scenes in the life of computer
visionary Steve Jobs – scenes of manic joy and existential despair. These
episodes illuminate some key developments in the life of Jobs (sung by
JohnMoore), each shedding a different light on the genius’ road from brash,
heedless youngster to a reflective adult who must face his mortal illness.
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Madison Leonard portrays Chrisann Brennan, Steve Job's girlfriend, in The (R)evolution of Steve Jobs. Philip Newton photo |
And yet, for all its 21
st-century trappings,”
this opera is utterly familiar. It’s about love and death, just as certainly as
is
La Bohème – another opera about youngsters and mortality. There really is
an “evolution” here, as well as Jobs’ famous “revolution” of the world of
computers (as the co-founder of Apple). We watch him evolve from a heedless,
callous young man who declares to his pregnant girlfriend, “Get rid of it. I
don’t want it – not now, not ever. I’ll say it’s not mine.” With the guidance
of his Buddhist spiritual adviser,
Kōbun Chino Otogawa (Adam Lau), we see Jobs
confronting his mortality, realizing that a key mission for his time on earth
is to “connect.”
Clocking in at about an hour and a half, in a rapid succession of scenes without intermission,
The (R)evolution of Steve Jobs thrives on intimate conversations and confrontations. The score, combining
electronic and acoustic music, is in great hands with conductor
NicolePaiement, whose command of brand-new repertoire has led to an imposing list of world-premiere
and U.S.-premiere credits in major opera centers.
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Ken Howard photo for Santa Fe Opera |
It’s not all angst and Zen. For instance, there’s a gleeful,
exuberant scene in which Jobs and his collaborator Steve Wozniak (Garrett
Sorenson) cavort around Wozniak’s garage after discovering how to make free
phone calls with a “blue box” device. The exultant kids, who call the Vatican
posing as Henry Kissinger, gloat that they’ve “brought Ma Bell to her knees,”
and vow to “take down the corporate giants.” Great as the scene seemed in rehearsal,
the slight, tousle-haired Paiement wasn’t quite satisfied: “Could we do that
again? The timing is just a little off.” Her own sense of timing is certainly
remarkable; in a score with lots of little twists and turns, she cues the
singers with great precision; tiny inaccuracies don’t sneak past her.
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John Moore (Steve Jobs) and Garrett Sorenson (Steve Wozniak) in rehearsal for The (R)evolution of Steve Jobs. Philip Newton photo |
Director Kevin Newbury is still tweaking the action; he is the kind of director who leaps to his feet and shouts, “Hey! I have an idea!” at a key point in Scene 2. His ideas about placement and movement are very specific: “When you come in, be a little more circuitous,” and “I love the walk around the blanket . . . but only once.” Newbury, who directed this opera in its world premiere in Santa Fe last year, is intimately familiar with the challenges of playing Steve Jobs: “It’s pretty formidable, this role,” he remarks to Moore, who agrees (“I’m still getting my head around it”).
Especially in this tech-obsessed region – home of Amazon and
Microsoft – this opera is about as relevant as it gets for Seattle-area music
lovers. Even if your operatic preferences incline toward Spanish toreadors and French
bohemians, it just might be time to give West Coast computer geniuses a try.
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Maestro Nicole Paiement makes her Seattle Opera debut with The (R)evolution of Steve Jobs. Philip Newton photo |
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From back to front: Seattle Opera Head of Coach Accompanists David McDade, Assistant Conductor Phil Kelsey, and Coach Accompanist Jay Rozendaal in rehearsal for Steve Jobs. Philip Newton photo |
Melinda Bargreen is a Seattle music authority. She has been writing about classical music for the Seattle Times and other publications for four decades. Bargreen is also a composer, book author and professor. Learn more about Melinda's work on her website.