It's got massive human emotions played out on a big scale. Mason Bates: It's got betrayal, obsession, sex and death. Listening Post: The subject is certainly rich with angles to explore. Love him or hate him, across the board, everybody has a relationship with him because they carry around these innovations in their pockets and they all communicate through his devices. Steve Jobs is both a protagonist and antagonist. Mason Bates: It’s almost as if you're dealing with an opera about Jesus or Satan or anybody else with whom everybody has some sort of relationship. How did you approach writing the score for The (R)evolution of Steve Jobs? John Adams’ Nixon in China comes to mind, but not much else. _Listening Post: New operas about recently deceased contemporary figures are a rare breed. Listening Post recently interviewed Bates by phone from Miami about his operatic work. Much interest in The (R)evolution of Steve Jobs, has been focused on the score by Mason Bates whose work, according to the composer’s website, revolves around “the magical intersection between music and technology.” Indeed, the music for The (R)evolution of Steve Jobs is an engagingly propulsive mix of techno dance and familiar orchestral elements. “This idea allows us to shorten the rehearsal period and cut down on costs relating to rehearsal, costumes, staging and other elements,” Zvulun said. Katy Tucker have previously mounted the production in Austin, Texas, and Kansas City, Missouri. Likewise, creative team members including set and costume designer Jacob Climer and projection designer S.
With The (R)evolution of Steve Jobs, the practice of shared responsibilities across multiple cities and venues extends to cast members including baritone John Moore (Steve Jobs), mezzo-soprano Sarah Larsen (Laurene Powell Jobs), tenor Bille Bruley (Steve Wozniak) and bass Adam Lau (Kōbun Chino Otogawa).
The added benefits are PR, social media and travel opportunities for our patrons.” “This concept allows us to create new productions with high artistic values while sharing the expenses with other opera companies. “We have been utilizing the concept of co-productions throughout my tenure here in productions such as The Flying Dutchman, Eugene Onegin and Silent Night,” said Zvulun in an email to Listening Post. A co-production with Lyric Opera of Kansas City, Austin Opera, Utah Opera and Calgary Opera, The (R)evolution of Steve Jobs is an appropriately scaled grand opera for the year 2022.
SEATTLE OPERA STEVE JOBS PORTABLE
The (R)evolution of Steve Jobs is now sleeker, and more portable than the original edition, which means it can be more easily and economically presented in venues of varying size. Directed by Tomer Zvulun, General and Artistic Director of The Atlanta Opera, this new production was developed from the original Grammy-winning version, which premiered in 2017 as a co-production of the Santa Fe Opera, San Francisco Opera, Seattle Opera and the Jacobs School of Music at Indiana University. The Atlanta Opera’s production of The (R)evolution of Steve Jobs with a score by DJ and composer Mason Bates and libretto by Mark Campbell runs from Saturday, April 30 through Sunday, May 8.
Given opera’s origins as a 16th century movement spawned by the desire to revive Greek drama, it seems inevitable that Steve Jobs, the tyrannical visionary who, as founder of Apple Computer, changed the world of modern communication (for better and worse), would become the subject of a 21st century opera production.
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