The overall sound is slick and sometimes jazzy, with plenty of drive. The score draws on electronics, acoustic guitar, and prayer bowls, as well as more typical-for-opera instruments. The beats and melodies continue from one scene to the next, with few pauses for applause. (Not only on opening night – Santa Fe locals who had seen the final dress rehearsal spontaneously recommended the opera to me, without knowing about my interest in opera in general.) It is an opera that seems expressly composed to appeal to the Broadway-going public, with an easy-to-listen-to score, a 90-minute run time, lots of jokes in the libretto, a sprinkling of bathos, and high production values.īates’ music, energetically conducted by Michael Christie, is an unstinting parade of rhythms. I don’t write that just because of the thunderous reception it received.

At opening night on Saturday, representatives from those companies were surely congratulating themselves on that decision. Even before it premiered at Santa Fe Opera, Mason Bates’ (R)evolution of Steve Jobs had runs lined up at Seattle Opera and San Francisco Opera.

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