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Jake Heggie chose to cast Ahab as a tenor—a voice type traditionally assigned to brave and valiant heroes. Why do you think Heggie made this choice? Do you think Ahab is the “hero” of Moby-Dick? Though Moby-Dick has many big and sweeping scenes, it also includes some quieter moments for just one or two characters. Do you think these moments contribute to the overall impact of the opera or do you think they slow the action down? Why? ■
The men swear allegiance to Ahab and vow to destroy Moby Dick.
■
Librettist Gene Scheer has likened the characters in Moby-Dick, particularly Captain Ahab, to those in Shakespeare. Does Ahab remind you of a character you’ve seen or read before? Which one? Do you think there are scenes in which the music gives away something that the characters don’t yet realize? When and where do these scenes occur?
WHAT TO LISTEN AND WATCH FOR... ■
The female singer in the cast who plays Pip, the cabin boy. This kind of role for a woman is called a “pants role” and it’s a typical way of portraying young boys in opera.
■
The melancholy four-chord theme at the opening of the opera that repeats throughout the performance. What might this theme represent? Why do you think it gets repeated?
■
Direct quotations from Melville’s famous novel. Can you spot the book’s most famous line “Call me Ishmael”?
■
Scenes in which characters sing from on top of the masthead or while “floating” in mid-air. What challenges do you think these special effects presented for the designers and the singers?
■
■
David M. Rubenstein Chairman
WASHINGTON NATIONAL OPERA WO R K I N G R E H EAR SAL
Michael M. Kaiser President
JAKE HEGGIE and GENE SCHEER’S
Darrell M. Ayers Vice President, Education
Moby-Dick
Michael L. Mael Executive Director Francesca Zambello Artistic Director Student Dress Rehearsals are made possible in part by the generous support of the U.S. Department of Education. Additional support for Performances for Young Audiences is provided by Adobe Foundation, The Clark Charitable Foundation; Mr. James V. Kimsey; The Macy’s Foundation; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; Paul M. Angell Family Foundation; an endowment from the Ryna and Melvin Cohen Family Foundation; Washington Gas; and by generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas. Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.
PERFORMANCE GUIDE
■
Cuesheet
THINGS TO THINK ABOUT...
Music by Jake Heggie Libretto by Gene Scheer Based on the novel by Herman Melville Production by Leonard Foglia Conducted by Evan Rogister
Hoist sail, raise anchor, and join the hunt for the great white whale! An enormous cast and crew are about to take you on a musical journey through Herman Melville’s epic tale of obsession, madness, and death-defying adventure. Look out for 3D animation, movie projections, and characters that sing in mid-air as Moby-Dick comes to life on the modern operatic stage.
www.kennedy-center.org/artsedge Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center. Learn more about education at The Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government. © 2014 The John F. Kennedy Center for the Performing Arts
Projections and animations that help set the scene and create a sense of atmosphere.
To learn more about opera, visit
The scenes of conflict between Ahab and Starbuck. Why do you think these characters are always at odds?
www.kennedy-center.org/ artsedge/kc-connections
David and Alice Rubenstein are the Presenting Underwriters of WNO.
Performances for Young Audiences is made possible by
KC_MobyDick_WkgRehearsal_Final:Layout 1
1/3/14
1:44 PM
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About Moby-Dick AN OPERA BASED ON MOBY-DICK ? About as impossible as chasing an elusive white whale, you may say. Still, despite the challenging nature of the project, creators Jake Heggie and Gene Scheer believed this famous story and its complex characters were worthy of song. Together, they spent years editing and re-arranging Melville’s difficult plot and finding just the right musical sound to enhance the human drama behind this great American novel. MAIN CHARACTERS Ahab, captain of the Pequod Starbuck, first mate Stubb, second mate Flask, third mate Queequeg, an island native and harpooner Greenhorn, a young whaler Pip, cabin boy
Three months later, the restless crew dances aboard the Pequod, but a fight soon breaks out. The scuffle is interrupted, however, when Greenhorn spies a pod of whales. Ahab gives permission to begin the hunt and the whaling boats are launched. The hunt is successful, but Pip, the cabin boy, falls overboard. Back aboard the Pequod, the men gather oil from a whale carcass. Ahab and Starbuck have a violent disagreement about the fate of the ship, and the captain threatens Starbuck at gunpoint. Elsewhere, Queequeg daringly rescues the cabin boy and Greenhorn is impressed by the harpooner’s bravery and kindness. Below deck, Starbuck approaches Ahab yet again, but finds the captain asleep. Because of their combative relationship, Starbuck considers murdering the captain. He decides against it, however, and the Pequod sails on.
ACT 2 ACT 1 The Pequod, a Nantucket whaling ship, has sailed for one week without any word from its captain. Greenhorn, a novice whaler, watches as Queequeg, an island native harpooner, chants a prayer. At dawn, the crew arrives and chief mates Starbuck, Stubb, and Flask chat about the mysterious captain. As the crew sings, the peg-legged Captain Ahab finally arrives. He tells captivating stories of Moby Dick, a dangerous white whale that chewed off his leg, and promises a gold doubloon (coin) to the first man to spot the whale. Despite doubts from Starbuck, the crew vows to capture and kill the creature. Ahab readies his men for a meeting with a monstrous whale.
A year has passed and Queequeg and Greenhorn have become great friends. Yet, as a storm looms on the horizon, Queequeg unexpectedly collapses. The harpooner announces he is dying and asks Greenhorn to help build a coffin for the burial. On deck, Ahab rages at the storm and tells his crew to remain steadfast. After the storm, the voice of Captain Gardiner, commander of the nearby ship the Rachel, is heard asking for help finding his son—a boy adrift at sea. Pip, who has lost his mind, cries out to Gardiner in sympathy. In his madness, Pip cuts himself and his blood splashes onto Ahab. Ignoring Captain Gardiner, Ahab prepares to do battle with Moby Dick by baptizing his harpoon in Pip’s blood.
PHOTO BY ELLEN APPEL
ABOUT JAKE HEGGIE American composer Jake Heggie (b. 1961) began his musical studies as a pianist and trained both in Paris and at UCLA, but turned to composing later in life. Though he wrote many classical songs, Heggie didn’t pursue composition fulltime until his music was discovered by chance while he was employed at the San Francisco Opera in 1994. Since then, he has written several operas that have been produced across the globe, including Dead (left) Manand Walking Hammerstein Kern (right) and The End of the Affair.
ABOUT WASHINGTON NATIONAL OPERA Originally founded in 1956, Washington National Opera (WNO) ranks as one of today’s largest American opera companies. WNO presents several operas each year at the Kennedy Center and its artists regularly perform throughout the city. WNO is also active in commissioning new operas. Among the most popular of WNO’s community programs is Opera in the Outfield, which brings free broadcasts of opera to Nationals Park.
Later that day, Ahab and Starbuck consider all they have sacrificed in their pursuit of this terrible whale. Yet, just as Ahab seems moved by Starbuck’s impassioned plea to return home, the captain sets eyes on Moby Dick. A wild chase begins—but can the men survive? Will Ahab’s all-consuming quest succeed in destroying him at last?
ALL PERFORMANCE PHOTOS BY CORY WEAVER FOR THE SAN FRANCISCO OPERA
KC_MobyDick_WkgRehearsal_Final:Layout 1
1/3/14
1:44 PM
Page 2
About Moby-Dick AN OPERA BASED ON MOBY-DICK ? About as impossible as chasing an elusive white whale, you may say. Still, despite the challenging nature of the project, creators Jake Heggie and Gene Scheer believed this famous story and its complex characters were worthy of song. Together, they spent years editing and re-arranging Melville’s difficult plot and finding just the right musical sound to enhance the human drama behind this great American novel. MAIN CHARACTERS Ahab, captain of the Pequod Starbuck, first mate Stubb, second mate Flask, third mate Queequeg, an island native and harpooner Greenhorn, a young whaler Pip, cabin boy
Three months later, the restless crew dances aboard the Pequod, but a fight soon breaks out. The scuffle is interrupted, however, when Greenhorn spies a pod of whales. Ahab gives permission to begin the hunt and the whaling boats are launched. The hunt is successful, but Pip, the cabin boy, falls overboard. Back aboard the Pequod, the men gather oil from a whale carcass. Ahab and Starbuck have a violent disagreement about the fate of the ship, and the captain threatens Starbuck at gunpoint. Elsewhere, Queequeg daringly rescues the cabin boy and Greenhorn is impressed by the harpooner’s bravery and kindness. Below deck, Starbuck approaches Ahab yet again, but finds the captain asleep. Because of their combative relationship, Starbuck considers murdering the captain. He decides against it, however, and the Pequod sails on.
ACT 2 ACT 1 The Pequod, a Nantucket whaling ship, has sailed for one week without any word from its captain. Greenhorn, a novice whaler, watches as Queequeg, an island native harpooner, chants a prayer. At dawn, the crew arrives and chief mates Starbuck, Stubb, and Flask chat about the mysterious captain. As the crew sings, the peg-legged Captain Ahab finally arrives. He tells captivating stories of Moby Dick, a dangerous white whale that chewed off his leg, and promises a gold doubloon (coin) to the first man to spot the whale. Despite doubts from Starbuck, the crew vows to capture and kill the creature. Ahab readies his men for a meeting with a monstrous whale.
A year has passed and Queequeg and Greenhorn have become great friends. Yet, as a storm looms on the horizon, Queequeg unexpectedly collapses. The harpooner announces he is dying and asks Greenhorn to help build a coffin for the burial. On deck, Ahab rages at the storm and tells his crew to remain steadfast. After the storm, the voice of Captain Gardiner, commander of the nearby ship the Rachel, is heard asking for help finding his son—a boy adrift at sea. Pip, who has lost his mind, cries out to Gardiner in sympathy. In his madness, Pip cuts himself and his blood splashes onto Ahab. Ignoring Captain Gardiner, Ahab prepares to do battle with Moby Dick by baptizing his harpoon in Pip’s blood.
PHOTO BY ELLEN APPEL
ABOUT JAKE HEGGIE American composer Jake Heggie (b. 1961) began his musical studies as a pianist and trained both in Paris and at UCLA, but turned to composing later in life. Though he wrote many classical songs, Heggie didn’t pursue composition fulltime until his music was discovered by chance while he was employed at the San Francisco Opera in 1994. Since then, he has written several operas that have been produced across the globe, including Dead (left) Manand Walking Hammerstein Kern (right) and The End of the Affair.
ABOUT WASHINGTON NATIONAL OPERA Originally founded in 1956, Washington National Opera (WNO) ranks as one of today’s largest American opera companies. WNO presents several operas each year at the Kennedy Center and its artists regularly perform throughout the city. WNO is also active in commissioning new operas. Among the most popular of WNO’s community programs is Opera in the Outfield, which brings free broadcasts of opera to Nationals Park.
Later that day, Ahab and Starbuck consider all they have sacrificed in their pursuit of this terrible whale. Yet, just as Ahab seems moved by Starbuck’s impassioned plea to return home, the captain sets eyes on Moby Dick. A wild chase begins—but can the men survive? Will Ahab’s all-consuming quest succeed in destroying him at last?
ALL PERFORMANCE PHOTOS BY CORY WEAVER FOR THE SAN FRANCISCO OPERA
KC_MobyDick_WkgRehearsal_Final:Layout 1
1/3/14
1:44 PM
Page 4
■
Jake Heggie chose to cast Ahab as a tenor—a voice type traditionally assigned to brave and valiant heroes. Why do you think Heggie made this choice? Do you think Ahab is the “hero” of Moby-Dick? Though Moby-Dick has many big and sweeping scenes, it also includes some quieter moments for just one or two characters. Do you think these moments contribute to the overall impact of the opera or do you think they slow the action down? Why? ■
The men swear allegiance to Ahab and vow to destroy Moby Dick.
■
Librettist Gene Scheer has likened the characters in Moby-Dick, particularly Captain Ahab, to those in Shakespeare. Does Ahab remind you of a character you’ve seen or read before? Which one? Do you think there are scenes in which the music gives away something that the characters don’t yet realize? When and where do these scenes occur?
WHAT TO LISTEN AND WATCH FOR... ■
The female singer in the cast who plays Pip, the cabin boy. This kind of role for a woman is called a “pants role” and it’s a typical way of portraying young boys in opera.
■
The melancholy four-chord theme at the opening of the opera that repeats throughout the performance. What might this theme represent? Why do you think it gets repeated?
■
Direct quotations from Melville’s famous novel. Can you spot the book’s most famous line “Call me Ishmael”?
■
Scenes in which characters sing from on top of the masthead or while “floating” in mid-air. What challenges do you think these special effects presented for the designers and the singers?
■
■
David M. Rubenstein Chairman
WASHINGTON NATIONAL OPERA WO R K I N G R E H EAR SAL
Michael M. Kaiser President
JAKE HEGGIE and GENE SCHEER’S
Darrell M. Ayers Vice President, Education
Moby-Dick
Michael L. Mael Executive Director Francesca Zambello Artistic Director Student Dress Rehearsals are made possible in part by the generous support of the U.S. Department of Education. Additional support for Performances for Young Audiences is provided by Adobe Foundation, The Clark Charitable Foundation; Mr. James V. Kimsey; The Macy’s Foundation; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; Paul M. Angell Family Foundation; an endowment from the Ryna and Melvin Cohen Family Foundation; Washington Gas; and by generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas. Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.
PERFORMANCE GUIDE
■
Cuesheet
THINGS TO THINK ABOUT...
Music by Jake Heggie Libretto by Gene Scheer Based on the novel by Herman Melville Production by Leonard Foglia Conducted by Evan Rogister
Hoist sail, raise anchor, and join the hunt for the great white whale! An enormous cast and crew are about to take you on a musical journey through Herman Melville’s epic tale of obsession, madness, and death-defying adventure. Look out for 3D animation, movie projections, and characters that sing in mid-air as Moby-Dick comes to life on the modern operatic stage.
www.kennedy-center.org/artsedge Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center. Learn more about education at The Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government. © 2014 The John F. Kennedy Center for the Performing Arts
Projections and animations that help set the scene and create a sense of atmosphere.
To learn more about opera, visit
The scenes of conflict between Ahab and Starbuck. Why do you think these characters are always at odds?
www.kennedy-center.org/ artsedge/kc-connections
David and Alice Rubenstein are the Presenting Underwriters of WNO.
Performances for Young Audiences is made possible by