Further performances are already planned in the high-tech communities of Seattle and San Francisco, as well as at Indiana University, and a commercial recording will be released by the Dutch label Pentatone. “Jobs” is the 15th world premiere for Santa Fe and expectations are high. Lila McCall.Lila was the only child of Sonny Corinthos and Sam McCall, who is Alexis’ oldest daughter and Kristina’s older sister. The cards held by Wild Bill Hickcock when he was killed by Sams grandfather.While in search of the card, Sam and Jax captured two surfers who attacked.
“When people start interacting, those sound worlds collide and wash into each other,” Bates said, “and that’s when things get interesting.”īates said he knew immediately he wanted Jobs to be a baritone, “a kind of Billy Budd with a little more edge.” Edward Parks sings the role in Santa Fe, with mezzo Sasha Cooke as Laurene, tenor Garrett Sorenson as Wozniak, bass Wei Wu as Kobun and soprano Jessica Jones as Chrisann. Sam McCall.Sam met Jax when both were searching for the Dead Mans Hand. Kobun, Jobs’ Buddhist spiritual adviser, has “prayer bowls, gongs and chimes” Steve Wozniak, Apple’s co-founder, has “saxophones that associate him with a jazzy world” and Jobs’ girlfriend, Chrisann Brennan, is “our hummingbird with this glittering upper register.” As Bates described it, there are “quicksilver electronics and acoustic guitar picking” for Jobs and “oceanic strings and grounded harmonies” for his wife, Laurene. Read: Martinez: 27 DWI fugitives caught in aggressive pushĮach character has a unique sound world. Because then when they come in, they’re a new element.” Twenty-five percent of the power of electronics is the silence when you’re not playing them. “I’ve found in my symphonic music that electronics are a little bit like a pet snake,” Bates said. But much of the score is richly melodic and relies on more-or-less traditional orchestration to accompany the singers. The opera unfolds in a single act of about 90 minutes, in Campbell’s words, “as quick and streamlined as the technology Jobs created.” This sense of fleetness is reinforced by the production, directed by Kevin Newbury, which uses rectangular screens with projected images that move about the stage for seamless scene changes.īates makes extensive use of the synthesizers and other computer-generated effects for which he is known.
He and Bates also agreed the opera would neither glorify nor vilify Jobs, a genius innovator but flawed human being who long refused to acknowledge a daughter born out of wedlock and drove his employees - and himself - ruthlessly.
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