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(单词翻译:双击或拖选)
Opera combines traditional musical styles with 21st century video effects
Bill Zeeble | Dallas, Texas 08 June 2010
Crewmen on a whale hunt in the American opera based on Herman Melville's epic1 tale, 'Moby Dick.'
"Moby Dick" is often called the great American novel, and a new American opera based on Herman Melville's epic tale is playing to rave2 reviews in Dallas, Texas.
It tells the story of Captain Ahab and his quest for revenge against the great white whale that destroyed his ship and bit off his leg.
The dramatic allegory of good and evil — first published in 1851 — has all the ingredients of grand opera, which is why it appealed to composer Jake Heggie.
Soprano Talise Trevigne as 'Pip' treading water after being lost at sea in the only role for a woman's voice in the opera.
Special effects
"It's a tremendous adventure story. It's got real human drama," says Heggie. "It makes sense for people to sing rather than say these words, because the emotions are so huge. The conflicts are so large and so real."
When he was approached about writing a work for the Dallas Opera company, Heggie convinced the artistic3 director he could turn the epic novel into a navigable three-hour opera. And he did.
Like the novel, the opera "Moby Dick" starts quietly. Brooding music conjures4 a restless sea. On the dark backdrop on stage, video-projected stars shine against a stark5 night sky. Constellations6 morph into navigational routes, which become sailing charts, and then form a ship.
Award-winning special effects artist Elaine McCarthy, whose credits include the Broadway hits, "Spamalot" and "Wicked," as well as operas, tried to match her projection7 design to the story.
"It's a very poetic8 work and if we went in there and made it a ship on the stage with a horizon line and the sky and the water, it would have just killed it," she says. So the stage itself becomes the ship deck, with masts, harpoons9 and rigging.
Ben Heppner as Captain Ahab (left) encourages his crew to keep a sharp eye out for the white whale, Moby Dick.
A realistic portrayal10 of Captain Ahab
One of the more literal translations from the novel is Ahab's peg11 leg.
Tenor12 Ben Heppner bends his left leg back so the stage crew can tie it up. It's hidden under his long coat with the peg attached at his knee. Heppner says there was no getting away from what, for him, is this opera's biggest challenge.
"It hasn't threatened to cramp13, thank heavens," says Heppner. "But when I go out for that last entrance in Act 2, and then I know, from that moment on, I'm onstage until the end of the opera, I'm thinking, 'Oh boy, this is gonna be difficult.'"
On the other hand, Heppner says the music is anything but. A favorite scene occurs in Act 2, when Ahab almost gives up his chase for Moby Dick. Baritone Morgan Smith, as first mate Starbuck, sings the duet with Heppner. The tranquil14 scene follows a rough storm before the action again turns turbulent.
Smith sees the entire opera as a kind of storm, "characters spinning out of control, Ahab's descent into madness. .... Starbuck's descent into disorder15, into a world where everything is going against what he knows to be true and right."
Hitting the right notes
The opera tells the story using Herman Melville's words almost verbatim. The performers praise Heggie's ability to turn that language into music.
The composer says Moby Dick forced him to work in a new way. "The combination of the sweep and scope of Melville's language, the beauty of the story, the depth of characters all pushed me into a whole new realm of composing and thinking of what music is onstage."
Music critics like James C. Taylor, who writes for Opera Magazine, felt Heggie hit just the right notes with his interpretation16. "A lot of times American operas can feel cobbled together, the music is just sort of laid on top of an existing masterpiece. And with this, they integrated that nicely."
Taylor enjoyed the performance. "It's rare in any new opera for you to sort of lose sight of the fact that you're watching something new and get caught up in the action, and [with this work], you were able to follow it as musical drama, not just some new orchestral piece."
The Dallas opera co-commissioned Moby Dick with four other companies. The work travels to Australia next year, then moves on to Calgary, Canada, San Diego and San Francisco. Critic Taylor says he would not be surprised if additional companies pick up the opera in years to come, and add it to their repertoire17.
Many new operas disappear after their world premieres. But this one, he says, has legs — or at least one good leg and a very strong peg leg
1 epic | |
n.史诗,叙事诗;adj.史诗般的,壮丽的 | |
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2 rave | |
vi.胡言乱语;热衷谈论;n.热情赞扬 | |
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3 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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4 conjures | |
用魔术变出( conjure的第三人称单数 ); 祈求,恳求; 变戏法; (变魔术般地) 使…出现 | |
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5 stark | |
adj.荒凉的;严酷的;完全的;adv.完全地 | |
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6 constellations | |
n.星座( constellation的名词复数 );一群杰出人物;一系列(相关的想法、事物);一群(相关的人) | |
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7 projection | |
n.发射,计划,突出部分 | |
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8 poetic | |
adj.富有诗意的,有诗人气质的,善于抒情的 | |
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9 harpoons | |
n.鱼镖,鱼叉( harpoon的名词复数 )v.鱼镖,鱼叉( harpoon的第三人称单数 ) | |
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10 portrayal | |
n.饰演;描画 | |
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11 peg | |
n.木栓,木钉;vt.用木钉钉,用短桩固定 | |
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12 tenor | |
n.男高音(歌手),次中音(乐器),要旨,大意 | |
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13 cramp | |
n.痉挛;[pl.](腹)绞痛;vt.限制,束缚 | |
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14 tranquil | |
adj. 安静的, 宁静的, 稳定的, 不变的 | |
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15 disorder | |
n.紊乱,混乱;骚动,骚乱;疾病,失调 | |
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16 interpretation | |
n.解释,说明,描述;艺术处理 | |
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17 repertoire | |
n.(准备好演出的)节目,保留剧目;(计算机的)指令表,指令系统, <美>(某个人的)全部技能;清单,指令表 | |
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