The Making of an Epic Opera: "Moby-Dick" Comes to Life

The Visionary Director’s Journey: Leonard Foglia and the Daunting Task of Adapting "Moby-Dick"

When Leonard Foglia was approached to direct an opera based on Herman Melville’s iconic novel, Moby-Dick, his initial excitement quickly turned to awe. “Moby-Dick. That’s great!” he exclaimed, but the enormity of the task soon hit him. He rushed to a used bookstore to revisit the novel and was overwhelmed by its complexity. “Oh my God, what am I in for here?” he thought. Despite the daunting challenge, Foglia and his team embarked on a creative journey to bring this masterpiece to the stage. The result will be showcased at the Metropolitan Opera starting March 3, in an opera composed by Jake Heggie with a libretto by Gene Scheer.

Foglia’s journey began with a deep dive into the novel, understanding the layers of Melville’s prose and the epic tale of obsession, revenge, and the human condition. He teamed up with librettist Gene Scheer, who faced the monumental task of condensing Melville’s 600-plus-page novel into a 64-page libretto. Scheer maintained as much of Melville’s original language as possible, with an estimated 40% to 50% of the libretto drawn directly from the source material. However, he tweaked the phrasing to make it more singable, ensuring the operatic adaptation stayed true to the novel’s spirit while being audience-friendly.

A Libretto Born of a Novel: Gene Scheer’s Masterful Adaptation

The process of adapting Moby-Dick for the opera involved significant creative decisions. Scheer and composer Jake Heggie, along with their initial collaborator Terrence McNally (who later withdrew due to health reasons), decided to focus the entire story aboard the whale-hunting ship, Pequod. This choice allowed the opera to maintain the novel’s core themes while streamlining the narrative. One pivotal change was renaming the narrator from Ishmael to Greenhorn, a name that reflects his status as a novice sailor. This alteration also shifted the iconic opening line, “Call me Ishmael,” to the end of the opera, symbolizing the character’s growth and maturity.

Scheer explained, “In the novel, Ishmael is telling a story that happened many years ago, but in the theater, you want to see it happen in real time. We’re watching him take in all the experiences so that when he says ‘Call me Ishmael,’ he’s ready to write the book. In essence, this opera is the education of Ishmael.” This approach not only modernized the story but also made it more relatable for audiences.

The Cast: Bringing Melville’s Characters to Life

The opera boasts a stellar cast, with tenor Stephen Costello reprising his role as Greenhorn (Ishmael) for the fifth time, making him the only cast member from the 2010 Dallas premiere. Costello views his character as the emotional anchor of the story, noting, “He goes on the Pequod because there was nothing for him on land. So he’s either going to die at sea or figure out who he is.” His performance captures the journey of self-discovery that defines Ishmael’s arc.

Other standout cast members include tenor Brandon Jovanovich as the vengeful Captain Ahab, whose obsession with the white whale drives the plot. Soprano Janai Brugger plays Pip, the cabin boy, in a “trousers role,” adding a unique dynamic to the production. Baritone Peter Mattei takes on the role of Starbuck, the first mate, while bass-baritone Ryan Speedo Green brings Queequeg to life. Conductor Karen Kamensek leads the ensemble through eight performances, ending on March 29. Together, the cast and crew deliver a powerful interpretation of Melville’s timeless tale.

A Stage Spectacular: The Production’s Visual and Technical Marvels

The opera’s production is as visually stunning as it is emotionally gripping. Sets designed by Robert Brill and projections by Elaine J. McCarthy create a multimedia-rich environment that immerses the audience in the world of the Pequod. One of the most breathtaking effects is the use of animated projections on a curved climbing wall, which simulates the crew boarding whaling boats. Critics, including Steve Smith of The New York Times, have praised the staging as “striking to near-miraculous.”

The production also pushes the physical limits of the performers. Pip’s dramatic mad scene, sung while suspended high above the stage, is a highlight. Queequeg and Greenhorn climb ladders to sing from the mastheads, and Ahab navigates the stage on a wooden prosthesis, reflecting his physical and emotional scars. Foglia jokingly remarked, “I joke with them that everything opera singers count on in life — having both feet planted on the ground — I’ve taken away from them.” The result is a production that combines physical theater, cutting-edge technology, and powerful performances to create an unforgettable experience.

Critical Acclaim and Scholarly Praise: A Triumph of Artistic Collaboration

The opera has been a resounding success since its premiere in Dallas in 2010, earning accolades from audiences, critics, and scholars alike. Bob Wallace, a professor at Northern Kentucky University and past president of the Melville Society, was so impressed that he wrote a book about its creation. “Scheer and Heggie did a brilliant job of shrinking the novel to make it fit the stage and yet preserve so much of the essence of it,” he said.

Critics have lauded Scheer’s libretto for its faithful yet inventive adaptation, Heggie’s score for its tuneful, atmospheric, and gripping quality, and the production team for their groundbreaking work. The opera’s ability to balance the novel’s complexity with the demands of the stage has made it a triumph of artistic collaboration. As Foglia reflected, “You imagine it the way you want it, and let me figure out how to do it.” The result is a masterpiece that honors Melville’s vision while reinventing it for a new medium.

In conclusion, the Metropolitan Opera’s production of Moby-Dick is a testament to the power of collaboration, creativity, and innovation. It not only brings Melville’s classic novel to life but also reimagines it for the 21st century, offering audiences a thrilling and deeply moving experience.