- 600-page novel condensed into 64-page operatic libretto
- Groundbreaking climbing wall projections create nautical illusions
- Tenor Stephen Costello reprises role as transformative Greenhorn
- Critical acclaim since 2010 Dallas Opera world premiere
- Daring staging demands aerial singing and physical endurance
When the Metropolitan Opera unveils its production of 'Moby-Dick' this March, audiences will witness one of the most ambitious literary adaptations in modern operatic history. Composer Jake Heggie and librettist Gene Scheer faced the Herculean task of distilling Melville's 600-page maritime epic into a taut 2.5-hour performance, preserving nearly half of the original text through strategic edits and lyrical adaptations.
The production's most striking innovation comes through Robert Brill's industrial set design and Elaine J. McCarthy's projections. A curved climbing wall serves as both ship and sea, with digital animations creating immersive storm sequences. This technical marvel reaches its apex during the harpooning scenes, where singers appear to leap between whaling boats in 3D-enhanced sequences.
Stephen Costello's portrayal of Greenhorn (the renamed Ishmael) anchors the human drama, charting a novice sailor's transformation into Melville's iconic narrator. Brandon Jovanovich's Captain Ahab delivers visceral intensity, while Janai Brugger's aerial mad scene as Pip pushes operatic performance into new physical territory. The production's demands extend to Ryan Speedo Green's Queequeg, who sings complex melodies while scaling mast-like structures.
Since its Dallas Opera debut, this adaptation has reshaped expectations for literary operas. Melville scholar Bob Wallace notes the creative team 'preserved the novel's philosophical depth while achieving pure theatrical magic.' The current revival demonstrates growing industry trends: 68% of new operas in the last decade adapted existing works, with multimedia integration increasing audience engagement by 41% according to OPERA America reports.
Regional success in Texas proved crucial to the production's evolution. Commissioned for the Winspear Opera House's 2009 opening, the work's initial run attracted 12,000 attendees and spurred six North American productions. This Met engagement marks its largest staging yet, utilizing a 96-foot-wide projection surface and custom hydraulic systems to create oceanic immersion.
