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Bates - Steve Jobs Program PDF
Bates - Steve Jobs Program PDF
Bates - Steve Jobs Program PDF
WORLD PREMIERE
The (R)evolution
of Steve Jobs
Mason Bates, composer
Mark Campbell, librettist
Michael Christie, conductor
Live Recording 1
The Santa Fe Opera
2 3
Content The (R)evolution of Steve Jobs
Mason Bates, composer Mark Campbell, librettist
The Santa Fe Opera 6 Commissioned by The Santa Fe Opera
Track Information 8 Co-commissioned with Seattle Opera and San Francisco Opera,
with support from Cal Performances
Cast 10 Co-produced with Seattle Opera, San Francisco Opera, and
The Indiana University Jacobs School of Music
Composer’s Note 12
Special thanks to San Francisco Conservatory of Music
Librettist’s Note 16 World Premiere: July 22, 2017
Principal support for the recording of The (R)evolution of Steve Jobs generously provided by
Jane Stieren Lacy.
The production of The (R)evolution of Steve Jobs underwritten by a deeply appreciated gift
from David Henry Jacobs.
Additional artistic costs underwritten by The Carl & Marilynn Thoma Foundation and
The General Director’s Premiere Fund in honor of Richard Gaddes.
4 5
The Santa Fe Opera dozens of foreign countries, creating a singers an opportunity to learn and retired following the 2008 season
significant impact on the economy of perform new roles in a setting that when Charles MacKay became the
From the unlikeliest of beginnings — an the State of New Mexico. allowed ample time to rehearse and third General Director in The Santa
opera company located hundreds of prepare each production. Crosby Fe Opera’s history. Under MacKay’s
miles from any major city, featuring The Santa Fe Opera’s mission is to was succeeded as founding General leadership, the Opera has maintained
American singers in a wide-ranging advance the operatic art form by Director by Richard Gaddes in 2000. a balanced budget through a
and challenging repertory, and presenting ensemble performances During his tenure in Santa Fe he tumultuous economic period and
treating theatrical and musical values of the highest quality in a unique implemented a wide range of new continues to present bold and
as equally important in its productions setting with a varied repertoire of programming, including community- innovative repertory.
— The Santa Fe Opera has grown to new, rarely performed, and standard based productions in the off-season
become recognized as one of the works; to ensure the excellence of and simulcasts to Albuquerque and
world’s leading cultural festivals. opera’s future through apprentice a park in downtown Santa Fe. He
programs for singers, technicians,
Every summer since 1957, opera lovers and arts administrators; and to foster
have been drawn to the magnificent and enrich an understanding and
northern New Mexico mountains to appreciation of opera among a diverse
enjoy productions at The Santa Fe public. More than 2,000 performances
Opera. Here, the company’s dramatic of 169 different operas have been given
adobe theater blends harmoniously here, including 15 world premieres and
with the landscape. It is this fusion of 45 American premieres.
nature and art that leaves such an
enduring impression on all who visit. The company was founded by John
More than half the audience comes Crosby who, as a young conductor
from outside New Mexico, representing from New York, had an idea of starting
every state in the union as well as an opera company to give American
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Track Information
CD 1 (PTC 5186 691) CD 2 (PTC 5186 692)
1 Prologue: The garage of the Jobs family home, Los Altos 3:16 1 Scene 10: Steve Jobs’ home, Palo Alto 2:54
Paul – “I built this table” 2 Scene 11: Corporate Offices, Cupertino 3:52
2 Overture 1:19 Steve, Chrisann, and Woz – “Losing it”
3 Scene 1: Product Launch, the stage of a convention center, San Francisco 7:41 3 Interlude: The Rise and Fall of Steve Jobs 3:03
Steve and Ensemble – “One device” 4 Scene 12: Corporate Offices, Cupertino 5:54
4 Scene 2: Corporate Offices, Cupertino 3:09 Steve – “Wrong”
5 Meditative Interlude 1:33 5 Scene 12: Corporate Offices, Cupertino 3:04
6 Scene 3: The hills around Cupertino 2:31 Woz – “Goliath”
7 Scene 4: A calligraphy class, Reed College 1:05 6 Scene 12: Corporate Offices, Cupertino 2:54
8 Scene 5: The garage of the Jobs family home, Los Altos 4:04 Coda
Steve and Woz – “Ma Bell” 7 Dark Interlude 1:46
9 Scene 6: An apple orchard near Los Altos 5:45 8 Scenes 13-14-15: Flashbacks 3:00
Chrisann – “I could learn to like you” 9 Scene 16: Steve Jobs’ home, Palo Alto 7:41
10 Scene 7: The Los Altos Zen Center 6:23 Laurene - “Humans are messy”
Kōbun – “Take one step” 10 Lyrical Interlude 0:51
11 Scene 8: A lecture hall, Stanford University 2:14 11 Scene 17: The wedding, Yosemite National Park 3:38
12 Scene 9: The garage of the Jobs family home, Los Altos 4:42 12 Scene 18: The memorial service, Stanford University Chapel 3:23
13 Scene 9: The garage of the Jobs family home, Los Altos 3:44 13 Scene 18 and Epilogue:
Steve Jobs – “Something we play” The memorial service, Stanford University Chapel and the garage 4:32
Laurene – “Look up, look out, look around”
Total playing time CD 1: 47.34
Total playing time CD 2: 46:41
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Cast
Back Row: Mariya Kaganskaya, Michael Christie, Wei Wu, Mark Campbell, Sasha Cooke, Jessica E. Jones
10 Front Row: Garrett Sorenson, Edward Parks, Kelly Markgraf, Mason Bates, Kevin Newbury 11
The Music of theme, but an entire sonic identity. has rarely been heard in opera houses moving, oceanic harmonies collide
Communication As they interact, their musics collide, since. Jobs loved the guitar, and the with the frenetic music of Steve, and
blending almost as if mixed by a energetic sound of a finger-picked ultimately she succeeds in slowing
Mason Bates, composer
DJ. In my symphonic music, I have steel-string illuminates the internal down his busy inner world.
The story of Steve Jobs exists at the often looked to exotic forms to pull world of a restless man.
intersection of creativity, technology, new sounds out of me, whether in an Another key character is spiritual
and human communication — a “energy symphony” or an anthology In fact, Jobs’ search for inner peace advisor Kōbun, an important yet
thematic crossroads that opera can of mythological creatures. In this is the story of the opera — which, in a overlooked figure who receives
explore unlike any other medium. opera, that happens on the level of sentence, is about a man who learns stunning treatment by master
Opera, after all, can illuminate character. The music of Steve Jobs is to be human again. The key role in librettist Mark Campbell. A panoply
the interior thoughts of different a quicksilver blend of orchestra and this journey is his wife Laurene, who of Tibetan prayer bowls and Chinese
characters simultaneously through whirring electronica, the latter of acted as the electrical “ground” to gongs drifts across the electronics,
the juxtaposition of individual which was partly built using samples the positive and negative charges sometimes sounding purely
themes. That makes it an ideal of Mac gear. I wanted Steve’s of Jobs. His buzzing inner energy “acoustic,” sometimes imaginatively
medium to explore a man who soundworld to have an authenticity made for a visionary of Jesus-like processed as if in a nirvana-esque
revolutionized how we communicate. to it, whether through the use of charisma, but he could quickly limbo. The “mystical bass” trope
internal machine sounds (spinning become a cold tyrant. Laurene is in opera has a long history (think
The (R)evolution of Steve Jobs hard drives or key clicks) or external a soulful and strong woman who Sarastro). This opera continues
explodes the concept of Wagnerian sound effects (charming whizzes and convinces Jobs of the importance that tradition with the enhanced
leitmotifs — the melodies assigned beeps). Accompanying Steve is also of true human connection, the storytelling of electronic sounds,
to various characters — into an acoustic guitar — an instrument person who reminds him that people which eerily blow across the
soundworlds. Each character in this whose predecessors appeared quite don’t have one button: they are mesmerizing sound of a low
opera walks onstage with not only a often in early opera, but one that beautifully complicated. Her slow- bass voice.
12 13
Finally, we have Steve Wozniak and
Chrisann Brennan, important foils both
musically and dramatically. Woz is
always trailed by a pair of saxophones,
whereas Chrisann is accompanied by
hummingbird-like flutes. These two
characters know Steve from the early
days, and through their eyes we
witness his stunning transformation.
14 15
The Evolution of That was one of the challenges I provided me “a fine place to start” leave the stage — thereby capturing
(R)evolution faced when Mason Bates invited me this story: a typical suburban garage. the way people come and go in
to write the libretto for the opera But I also knew that the set would memories.
Mark Campbell, librettist
that was to become The (R)evolution need to feature a sophisticated
A visionary who changed our lives of Steve Jobs. As aware and wary of projection design because of its Learning about the phone prank Jobs
for the better. A ruthless businessman this as I was when I accepted Mason’s subject, envisioning that the walls of and Steve Wozniak (“Woz”) played
who exploited his friends’ ideas. invitation, it soon became apparent this garage would “break apart” and on Ma Bell with their “little blue
A misunderstood orphan. A former that no story I would create could become screens on which video could box” not only provided a great way
hippie who sacrificed his principles capture all aspects of the Steve Jobs be projected. to dramatize the dynamic between
to the deity of capitalism. A family people think they know; nothing I the two men, but also showed their
guy. A reckless egomaniac. An Ayn write would be captious or laudatory Investigating Jobs’ high regard for youthful proclivities to rebel against
Rand hero in huaraches. Every person enough. So I simply focused on writing Japanese minimalism led me to the authority.
on this planet who is even slightly the story that Mason and I wanted to symbol of the ensō, which is a circle
familiar with Steve Jobs has their tell — and the one that would sing. Buddhist monks draw by hand every When I found out that Jobs had
own version of the man. Because his day. That prompted thinking about studied with a Buddhist spiritual
passing is so recent, and the showman I started by reading and watching the story in a circular way, as did mentor named Kōbun Chino Otogawa,
image he cultivated is so vivid in our everything I could find about Jobs. As I Jobs’ habit of taking long meditative I decided immediately to make Kōbun
imaginations — and because the sifted through the events of Jobs’ life, walks. (The (R)evolution in the title an important character in the story so
devices he helped create are such a several seminal events and anecdotes refers more to the path Jobs takes in that Jobs would have a companion to
part of our daily lives — it’ll probably “caught the light” and I jotted them the opera than the one he created guide him through his past. But there
take a generation before people are down in a journal. in technology.) It also led to the was very little to read at that time
able to push away their own image of introduction of Noh theatre elements about Kōbun. Fortunately my friend
Jobs and accept any portrayal of him Learning that Jobs’ father identified in the staging, like the onstage bench and colleague Kelley Rourke, who is
other than the one they imagine. talent in his son early on and gave (or jiutai-za), so characters could enter also a Buddhist teacher, directed me
him a workbench for his 10th birthday and exit the story without having to to the Brooklyn Zen Center, which
16 17
practices Sōtō Zen Buddhism. There toggling between Jobs’ growth as an and everyone at the company for reminded me again of the importance
I met with the priest and dharma entrepreneur and his emotional stasis helping Mason and I bring our work of Jobs’ contribution to our current
teacher, Teah Strozer, who not as a human being. And as befits a to the stage so beautifully. I’m also history. He may have run into some
only studied with Kōbun, but also journey of memory, Jobs’ circling back grateful to the company for helping stumbling blocks as a human being,
knew Jobs. Her guidance about the on his life is told in a non-chronological put together this recording so that but no one can deny — whatever
portrayal of Kōbun was invaluable. way. people can hear our stupendous cast version of the man they have in their
and orchestra, conducted superbly minds — his role in humanizing and
Another interesting anecdote that While there wasn’t much change in by Michael Christie. Finally a big democratizing technology.
found its way into the libretto was of the structure between the first draft I thank you to the co-producers of the
the time when Jobs visualized a entire presented Mason and the final libretto, opera: David Henry Jacobs at Indiana
field morphing into an orchestra while there were quite a few revisions in the University’s Jacob School of Music,
on an acid trip. This allowed me to text to give Mason the right words to Aidan Lang at Seattle Opera and
imagine Jobs thinking of the computer fire his inspiration. He frequently asked Matthew Shilvock at San Francisco
as a musical instrument: “something me to soften my more cynical impulses Opera.
we play,” rather than something that about Jobs and create a more
plays us. sympathetic portrait than I might Admittedly, there were points in the
have otherwise. creation of this libretto when finding
Other details were incorporated into my way into a sympathetic portrait of
the libretto: the lack of furniture in It’s very fitting that The (R)evolution Jobs became tricky. At those times,
his first place, his love for the work of of Steve Jobs premiered at Santa I would do my own circling back: to
Ansel Adams, his diets, his adoration Fe Opera. The company has always 1984, when I had just purchased my
of Dylan, how he met Laurene, the shown a pioneering spirit — not first Macintosh. The vision of that
cruelty he could show his business unlike Jobs himself — and I’ll always amiable face on that toaster-sized
associates. All these elements figure be grateful to Charles MacKay, computer atop my kitchen table in my
into the story which soon started Brad Woolbright, Paul Horpedahl, toaster-sized East Village apartment
18 19
Mason Bates
Recently named the most- have highly informed not only
performed composer of his his compositional approach, but
generation and the 2018 Composer his distinctive touch in curating
of the Year by Musical America, projects. Bates has become a visible
Mason Bates serves as the first advocate for bringing new music
composer-in-residence of the to new spaces, whether through
Kennedy Center for the Performing institutional partnerships such as his
Arts. His music fuses innovative former residency with the Chicago
orchestral writing, imaginative Symphony Orchestra, or through
narrative forms, the harmonies of his club/classical project Mercury
jazz, and the rhythms of techno, Soul, which transforms commercial
and his symphonic music is the first clubs into exciting hybrid musical
to receive widespread acceptance events. Living in the San Francisco
for its unique integration of Bay Area, he has also composed
electronic sounds. Championed for films, including Gus Van Sant’s
by legendary conductors such The Sea of Trees starring Matthew
as Riccardo Muti, Michael Tilson McConaughey and Naomi Watts.
Thomas, and Leonard Slatkin,
his music marks an important For more information, visit
new expansion in the orchestral masonbates.com
sound. His activities as a DJ
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Mark Campbell
22 23
Synopsis SCENE 3 SCENE 6 Chrisann arrives and tells Steve that she
2007: later that afternoon; the hills 1974: An apple orchard near Los Altos is pregnant. When Steve demands that
PROLOGUE around Cupertino Steve and his girlfriend Chrisann lie together Chrisann end the pregnancy, she leaves
1965: The garage of the Jobs Steve goes on a long meditative walk. Kōbun after taking LSD. Steve imagines their in tears. Steve and Woz dream about the
family home, Los Altos Chino Otogawa, Steve’s former spiritual surroundings coming to life as an orchestra future of their invention. Steve remembers
Paul Jobs presents his son Steve with a mentor in Sōtō Zen Buddhism, joins him. playing Bach. The two start to make love the orchestra in the orchard playing Bach.
workbench as a birthday present. As they gaze at the sunset, Kōbun prompts when Kōbun interrupts them.
Steve to acknowledge his mortality. SCENE 10
SCENE 1 SCENE 7 1989: Steve Jobs’ home, Palo Alto
2007: Product Launch, the stage of a SCENE 4 2007: The hills around Cupertino Steve shows Laurene his sparsely furnished
convention center, San Francisco 1973: A class in calligraphy, Reed College 1975: The Los Altos Zen Center home. Photographs by Ansel Adams in
An adult Steve Jobs delivers a public launch A teacher discusses the significance of the Kōbun informs Steve that he cannot Steve’s home prompt a brief discussion
of his company’s new product — “one ensō, a circle drawn in Japanese calligraphy. live at the Zen Center and hints that his about artistic inspiration. Laurene and
device” that will revolutionize technology. Steve is inspired by aesthetic ideas of destiny may lie elsewhere. Steve go to the bedroom to make love for
At the end, he stops, noticeably weak elegance and simplicity. the first time.
and short of breath. SCENE 8
SCENE 5 1989: A lecture hall, Stanford University SCENE 11
SCENE 2 1973: The garage of the Jobs Steve meets Laurene for the first time. 1980: Corporate Offices, Cupertino
2007: directly after; family home, Los Altos Steve severs ties with Chrisann and angers
Corporate Offices, Cupertino Steve’s best friend Steve Wozniak has SCENE 9 Woz by denying a fellow employee his
Steve retreats to his office. His wife Laurene created a “blue box,” a device that allows 1976: The garage of the Jobs pension. Chrisann and Woz lament the loss
chides him for not taking better care of the user to make free calls. Steve and family home, Los Altos of the Steve they once knew.
himself and asks him to come home and “Woz” celebrate the ease with which Woz presents a new computer interface to
reconnect with their family. corporate giants can be toppled. Steve. They begin to celebrate when
24 25
SCENE 12 SCENE 15 SCENE 18
1981-1986: Corporate Offices, Cupertino 2007: The hills around Cupertino 2011: The memorial service,
Steve denies palimony to Chrisann for their 1989: Steve Jobs’ home, Palo Alto Stanford University Chapel
child, Lisa, and offends Woz, who quits. The evening in Steve’s home when he fell in Kōbun explains that Steve is witnessing
Demoted by the board of directors, Steve love with Laurene. Kōbun reminds Steve that his own memorial service. Steve protests
bitterly leaves the company and has a Laurene also helped keep his ego in check. a few production elements of the service, The (R)evolution of Steve Jobs
breakdown. but Kōbun tells him to be still, to simplify. is inspired by the life and creative
SCENE 16 Laurene and Woz muse about Steve. Finally, spirit of Steve Jobs and does not
SCENE 13 2007: later that night; Steve Jobs’ home, Laurene is left alone and observes that purport to depict actual events
2007: The hills around Cupertino Palo Alto while Steve will be both lionized and as they occurred or statements,
Kōbun reminds Steve that it was necessary Steve returns home after his walk to find demonized, no one can deny his influence beliefs, or opinions of the
for him to learn from his mistakes. He Laurene waiting for him. She confronts on the world. persons depicted. It has not
shows Steve a brief replay of his life after he Steve and gets him to accept his illness been authorized or endorsed by
fell apart, revisiting his first meeting with and mortality. EPILOGUE Apple Inc., the Estate or Family
Laurene and the evening when he fell in 1965: The garage of the Jobs family home, of Steve Jobs, or by any persons
love with her. SCENE 17 Los Altos depicted.
1991: The wedding, Yosimite National Park As Laurene looks on, Paul Jobs presents
SCENE 14 Kōbun marries Steve and Laurene in a his son with a workbench on his birthday as
2007: The hills around Cupertino Buddhist ceremony. Steve expresses his “a fine place to start.”
1989: A lecture hall, Stanford University love for Laurene and his gratitude to her
The day when Steve and Laurene met. for teaching him the value of human
connection. Kōbun’s 1992 death is revealed,
prompting a meditation on mortality that
segues into the next scene.
26 27
Libretto Putting things together,
Taking things apart,
1 PROLOGUE
1965: The garage of the Jobs family home, You’ll find out how they run,
Los Altos Learn what makes them tick.
Hope you like this table,
Hope you like this table I made.
As Steve looks on, lights come up on the Only plywood and nails,
Jobs family home in Los Altos, CA. The Still, it’s a fine place to start.
house moves forward so that the garage Happy birthday, son.
takes center stage. The door flies open.
The interior resembles a chaotic repair 2 OVERTURE
shop: various objects — televisions, car
radios, lamps, toasters, etc. — lie on end Young Steve smiles at Paul, removes his
with their insides exposed. On one side of birthday hat, and sits down to work.
the garage is an old sofa. On another side Suddenly, the walls of the garage break
are two workbenches, one covered with tools apart and become projection screens. A
and objects; the other, shorter, relatively small bench is brought in and placed on the
clear. Paul enters with Young Steve, who has periphery of stage right. Paul walks to it and
his hands over his eyes and wears a birthday sits. Steve moves to the center of the stage
hat; Paul brings Young Steve to the smaller and addresses the audience directly.
workbench and uncovers his eyes.
Paul: 3 SCENE 1
Thought it was high-time, 2007: The stage of a convention center,
You got your own space. San Francisco
A place to make things,
And take things apart. Steve:
So I built this table, Thanks for coming.
So I built this table for you. Thanks for being here.
Should be just the right height, We got a lot to cover,
Long as you don’t grow an inch. And not much time.
Got your own tools, Now is a fine place to start.
Got your own table, But before we do,
Got all you need. Can I ask you all
40 41
Teacher: Ensemble:
The universe… Kanso (simplicity)…
The void…
Steve:
Ensemble: Simplicity…
The universe… Simplicity.
The void…
The teacher exits and the students in
Teacher: desks roll off. The screens come together and
Characterized form the garage again. The garage
By the minimalism door flies open. Woz stands with a beer
Of Japanese aesthetics. and a “blue box” attached to a phone.
Shizen (nature)… Steve walks over to him.
Ensemble:
Shizen (nature)… 8 SCENE 5
1973: The garage of the Jobs family
Teacher: home, Los Altos
Yugen (grace)…
Woz:
Ensemble: It’s like totally simple.
Yugen (grace)… This little blue box
Matches the tones
Teacher: Ma Bell uses to make
Datsuoku (freedom)… Long distance calls.
And we get them for free.
Ensemble:
(Freedom)... Steve:
The wonderful wizard of Woz!
Teacher: You and I are hereby
Kanso (simplicity)… Bona fide “Phone Phreaks.”
44 45
9 SCENE 6 Steve: [correcting]
1974: An apple orchard near Los Altos Mucus-free.
Yup.
Steve: [after a short beat] Apples only.
I still don’t feel anything.
Chrisann:
Chrisann: You’re crazy.
It’s pure purple microdot.
Give it time. Steve:
Crazy about Fujis.
Steve:
Time… Chrisann:
And also just crazy.
Chrisann:
Always in a rush. Steve:
Be patient. And now, a college drop-out!
I missed you. At age nineteen,
[melodramatically]
Steve: My life is over!
You, too. [Steve and Chrisann laugh.
It’s good to be back. She smiles at him.]
I still don’t feel anything.
Chrisann:
Chrisann: I could learn to like you,
Steve, give it time. Weird as that may be.
Still on that diet? I could learn to like you,
Maybe like a lot.
Steve: A dropout,
Which one? Jobless,
Living at home.
Chrisann: Often distant,
Phlegm-free — Often moody.
48 49
Kōbun: Always allow it,
If I let you stay here, Take one step,
They would end up killing me. One little step,
That much murder And try
At a Zen Center To simplify.
Isn’t healthy.
I recommend you One screen rolls on; it shows an image
Take one step. or images of a lecture hall. A sign says
Take one step… “View from the Top/1989.” Steve goes to
One little step, sit when Laurene enters. They take each
One little step. other in, smile, then both sit.
Kick a stone,
See it land,
See it land… 11 SCENE 8
In the pond. 1989: Lecture Hall, Stanford University
Watch it ripple
On the pond. Steve: [placing words as if on a marquee]
On the pond… Welcome to
In the moonlight, “View from the Top 1989.”
That shines as brightly
In the teardrop Laurene:
As in the sea. Hope the speech
See a frog… Isn’t boring.
See a blind old frog,
Who feels that moonlight, Steve:
And leaps into the air, Shouldn’t be.
Leaps high, leaps high! I’m the speaker.
…Into the mouth
Of a snake, Laurene:
Who then sleeps. I know.
This is the way of nature. I still hope
Never force it, It isn’t boring.
52 53
Steve stands and stares at Chrisann Steve: Steve/Woz: Musical instruments,
silently. He folds his arms. She looks at Wrong. Sound. They are all
him in disbelief, then returns to the bench. It’s all about how it looks. Sound. Sound! Valves,
Steve returns to the garage, takes the Wires,
joint from Woz and draws from it Woz: [placating a little] 13 Steve: [suddenly remembering] Pedals,
heavily, then broods. Maybe we could add a keyboard. Music. Pegs,
Bach. Keys,
Woz: Steve: [His brain starts clicking.] Instruments. But when we connect to them…
You okay? How it looks and…feels. These machines could be Connect…
Keyboard — check. Something we play. Connect…
Steve: [He’s not.] What about color? Something we play. They become
I’m fine. Like a violin. Something we play.
Woz: Or a guitar. Something we play,
Woz: With some work. All music is merely mathematics, Something we
You sure? Merely math, Bang,
Steve: But when we hear music, Hit,
Steve: So, color. Really listen, Blow,
Fine. A sleek monitor? We think of God. Something we
[looking at the board] We think of sunsets, Trill,
We have to cover it up. Woz: We think of life, Hum,
Cover it up completely. That could be arranged. We think of death. Strum,
No clutter. We think of great sex. Something we play.
No wires. Steve: More than think,
It’s messy. Screen. We feel. Two screens form an empty interior
My friend will make a case for it. These machines space. The year is projected: 1989. There
Outta koa wood. Woz: Can be the same way. are projections of large black and white
Keyboard. Something that doesn’t play us, photographs on walls. Steve walks into this
Woz: But something we play. space with Laurene, holding her hand.
If you want. Steve: Like a clarinet,
But it’s not about how it looks. Power switch. Or a French horn.
But what it does. And while we’re at it… Or what’s that reed —
The oboe.
Instruments,
54 55
CD 2 Don’t you hear music
1 SCENE 10 When you make things?
1989: Steve Jobs’ home, Palo Alto
Steve:
Laurene: [looking around the empty space] Used to.
Just move in?
Laurene:
Steve: You should.
Been here five years. Why make them if you don’t?
Since ’84. You have all the money in the world.
And all the time.
Laurene: If you can’t find joy in what you do,
There’s no furniture. Who can?
[softer, sexier]
Steve: So, do you at least have a bed?
Never found any I liked.
Steve goes to Laurene and kisses her. They
Laurene: [seeing the photos] part. Laurene returns to the bench. Steve
My favorite — moves into the office to talk to an engineer.
Steve:
You like Ansel Adams? 2 SCENE 11
1980: Corporate Offices, Cupertino
Laurene: [quoting]
“I can look at a fine art photograph Steve: [addressing one engineer]
And sometimes I hear music.” One button,
Turn it on,
Steve: And you’re off.
Beautiful. Simple,
Clear-cut,
Laurene: Uncluttered,
Not mine. And clean.
He said that — Mr. Adams. Clean.
A lean and clean machine.
Steve: Woz:
One button, Come on.
Turn it on, A little stock.
And you’re off. It’s the least we can do.
Simple, I’ll match whatever you give him.
Clear-cut,
Uncluttered, Steve:
And clean. Great.
A lean machine. I give him zero.
60 61
[An engineer has entered Chrisann: [to Steve] Ensemble: Steve: [to another designer,
with a clipboard.] Steve, I’m struggling. Cheaper… holding a computer guide]
You could help us out. Lighter… Wrong. All wrong.
Ensemble Soloist: Quicker… I want more gloss.
July can’t happen. Steve: [to Chrisann] Better… Use that to blow your nose on.
I don’t do hand-outs. [looking inside the guide]
Ensemble: Steve moves into another room and Wrong. All wrong.
Better… Chrisann: addresses a designer, who shows him a The font’s all wrong.
I’m not asking for a — color palette. Find something less shout-y.
Steve: [to Ensemble Soloist]
What do you mean July can’t happen? Steve: [to Chrisann] Ensemble Soloist: [to Steve] Ensemble:
I told you not to go through with it. Here is the palette. Lighter…
Ensemble: Darker…
Cheaper… Chrisann: Steve: [reviewing color swatches Lower…
Lighter… Lisa. Her name is Lisa. with the designer] Higher…
Darker… Wrong. All wrong. Sooner…
Better… Steve: [to Chrisann] I need more grey. Better…
Better… She’s not my problem. This is like… Better…
Vulture vomit.
Steve: [to Chrisann] Chrisann: Ensemble Soloist:
I told you, she’s not my child. Steve… Ensemble Soloist: Less “shout-y?”
This is more grey.
Ensemble: Steve: [to Ensemble Soloist] You’ve seen every color there is. Steve:
Lighter… MAKE July happen. You heard me!
Darker… [to Chrisann.] Ensemble: [with above] Less shout-y!
Not now. Wrong. All wrong.
Ensemble Soloist: [to Steve] He needs more grey. Ensemble Soloist:
July can’t happen. [Steve storms away. The Soloist rejoins ByteWorld Magazine…line two.
the ensemble. Chrisann exits.] Steve:
Steve: [to Ensemble Soloist] Then make one up! Steve: [referring to the phone call]
Just make it happen. Ensemble: Goddamn critics.
Brighter… Ensemble: [to the designer, shouting]
Quicker… Better…
Better…
62 63
Steve: Newer... Ensemble Soloist: [uttering to himself]
I told you: less shout-y, less shout-y! Cheaper... They need that name for the new machine. (I’ll take care of my LISA, Chrisann,
[picking up the phone, suddenly friendly] Faster… And you take care of yours.)
Thanks for calling me back. Faster… Ensemble:
[suddenly not] Faster… Faster…Sooner… [Steve slams down the phone.
Listen, what you write is bullshit. An engineer shows him a prototype.]
We’re not failing. Steve leaves and is encountered by a Steve: [to the reporter]
Who cares what the market says? colleague, who plays sound on a speaker. My DNA? Steve:
[The voice on the other line speaks.] Wrong. All wrong.
Those bozos churn out crap Steve: [An engineer plays sound Ensemble: [with above] The case is wrong.
For dumb clients. on a speaker.] Better… No one should look inside it,
Their software belongs in the garbage, Wrong. All wrong. Better… You wouldn’t let a bus driver
Not my machines. I ask for Bach, Do heart surgery, would you?
Period. And you give me… [Steve writes a name and slips the No one should get it open.
[Steve slams down the phone.] Flatulent mosquitoes. Ensemble Soloist a piece of paper.] No one needs to take these things apart,
No one needs to learn
Ensemble: Ensemble Soloist: [to Steve] Steve: [to the reporter] What makes them run,
Brighter… That reporter’s on line nine. My DNA lied. No one.
Quicker… Says it is something urgent.
Cheaper… Ensemble Soloist: [reading the piece Ensemble: [with above]
Better… Ensemble: of paper, incredulously] Wrong.
Better… Lighter… “Lisa?” All wrong.
Lower… Darker… That’s the name? The case is wrong.
Higher… Sooner… For a computer? Lighter…
Better… Darker…
Better… [Steve turns away and takes the telephone Steve: [to the reporter] Lower…
Better… call; he speaks to the reporter angrily.] I don’t have time for this. Higher…
Newer... Twenty-nine percent Sooner…
Cheaper... Steve: Of the male population Better…
Higher... Of course, I know who Ms. Brennan is. In this country could be the father!
Lower... Of course, I know her daughter’s name. [slamming down the phone. Woz:
Sooner... How do you know to Soloist, explaining] Hey pal,
Better... I’m the father? Yes, the name is “LISA.” The big M just pulled ahead of us.
Give me proof. “Logic Interface…System…” whatever.
64 65
Steve: [to Woz] You need to control everything.
So what? Decide everything,
And you won’t give up,
Woz: Not for a single second,
Their software works anywhere. Until you’ve run us into the ground.
You won’t let ours. You’ve become one of the bastards
We hated:
Steve: An egomaniacal,
“Won’t” is right. Self-centered,
No crap software Self-serving,
Is going to mess up my machine. Self-deceived,
You just stick to your circuits and chips. Mega-corporate
And I’ll run my company. Prick!
Got it? You’re not who you were,
This company is not what it was,
Woz: And I want no part of it.
Your company? I quit.
Your machine? [walks off and sits on the bench]
5 You’ve become one of the people we hated:
A Goliath… Steve:
A Goliath. Good riddance!
Whatever you had before, Go back to making video games
Whatever you were before, For brainless brats!
Gone,
Gone, 6 [no one is there]
All gone.
The dreams, Ensemble Soloist:
The garage, They’re waiting for you in the boardroom.
Your father’s garage,
Our machine, Ensemble:
Our beautiful machine, Brighter…
Something we play, Faster…
That doesn’t play us. [Steve starts to move into another room
But now, while an engineer shows him a case.]
68 69
Kōbun: SCENE 15
And you met Laurene… 2007: The hills around Cupertino,
1989: Steve Jobs’ home, Palo Alto
Steve:
I met Laurene. Laurene:
Don’t you hear music
A quick replay of part of Scene 8. One When you make things?
screen rolls on; it shows an image or images
of a lecture hall. Steve goes to and is about Steve:
to sit when Laurene enters. They take each Used to.
other in, then both sit.
Laurene:
You should.
SCENE 14 Why make them if you don’t?
2007: The hills around Cupertino,
1989: A lecture hall, Stanford University Steve:
And I fell in love with Laurene.
Steve: [placing words as if on a marquee]
Welcome to Kōbun: [from the bench]
“View from the Top 1989” And when your old habits come back,
Laurene was always there to —
Laurene: As you so poetically put it —
Hope the speech “Kick your ass.”
Isn’t boring.
A quick replay of part of Scene 10. A second [Steve enters. Laurene has been
screen rolls on to form an empty interior waiting up for him.]
space with projections of large black and
white photographs on it. Steve walks into Laurene:
this space with Laurene, holding her hand. Where were you?
72 73
Steve: 11 Kōbun:
Don’t leave. Kan ji zai bo za tsu
Please. Gyo jin han ya ha ra mi ta
I’ll speak to the doctor tomorrow. Ji sho ken go on kai ku
I promise. Do i sai ku
I’m not good at this. Yaku sha ri shi…
You know that.
I can only try. [Steve is about to kiss Laurene, when the
scene freezes.]
Laurene:
You can only try. Steve:
And on March 18, 1991,
Steve: [with above] I married Laurene.
I can try. And we had three children.
Steve:
10 SCENE 17 Lisa.
1991: The wedding,
Yosemite National Park Kōbun:
LYRICAL INTERLUDE Shin mu ke ge mu ke ge ko
Mu u ku fu on ri i sai ten do mu so
The wedding of Laurene and Steve. A third ku gyo ne…
screen rolls on; two screens project the
interior of a religious space; the third a The ensō is projected, but this time it is
photo of Yosemite. The ensemble enters completed by two strokes that conjoin,
with benches, places them, and sits. There rather than one stroke.
is a conspicuous empty space on one of the
benches at the front). This is not a traditional Steve:
Western wedding. There are gongs instead of Fitzgerald said:
wedding bells and Kōbun chants as Steve and “There are no second acts
Laurene stand across from each other. In American lives.”
76 77
Kōbun: You were a fraud.
Simplify. You were such a pain,
Simplify. Both a brilliant man
And a freak
The three screens fill with phrases from And you were never easy.
online tributes to Jobs until it goes But once you found your way,
completely white. Discovered you were “human,”
We found a way
Ensemble: To connect,
Have a safe journey, Steve... Took time to find our way
Fifty-six years... And connect
Condolences to the family… But we found a way
RIP, Steve… To connect.
Thanks for making great things… To connect.
Our generation… You were only a man,
Notre génération… And I loved you.
Nós te amamos…
iSad, iTriste, iTraurig, iKanashi… Woz: [with above]
Making better clouds… Gone too soon,
Have a safe journey, Steve… Way too soon.
Even though you could be an SOB.
[The ensemble has exited; Laurene But once you found your way
and Woz remain.] Back to the garage.
And, with Laurene, a way to connect.
Laurene: Yes, you did find your way
A lot of important people here. Back to the garage.
Saying important things. And you found a way to connect.
Soon the press will lionize you, You found a way to connect.
And vilify you. To connect.
You were visionary,
You were cruel, [Woz exits. Laurene remains.]
You were original,
78 Sasha Cooke (Laurene) and The Santa Fe Opera Chorus, projection of Edward Parks (Steve) 79
13 Laurene: A fourth screen rolls on and that
And after this is over, combined with the three screens onstage
The very second this is over, form the fourth wall of the garage.
For better or worse, Paul and Young Steve reenter as before;
Everyone will Young Steve uncovers his eyes. Steve looks
Reach in their pockets, on. Laurene remains on one bench.
Or purses,
And — guess what? — EPILOGUE
Look at their phones, 1965: The garage of the Jobs family
Their “one device.” home, Los Altos
I’m not sure Version 2.0 of Steve
Would want that. Paul:
Version 2.0 might say: Hope you like this table,
“Look up, look out, look around. Hope you like this table I made.
Look at the stars, Only plywood and nails,
Look at the sky, Still, it’s a fine place to start.
Take in the light,
Take another sip, Steve: [with above, recalling]
Take another bite, Hope you like this table,
Steal another kiss, Hope you like this table I made.
Dance another dance, Only plywood and nails.
Glance at the smile
Of the person right there next to you.” Laurene: [with above, looking on]
Look up, look out, look around. Look up,
Be here now. Look out,
Be here now. Be here now,
And then he would say: And now is…
“Please buy them,
But don’t spend your life on them.” Steve/Laurene:
…A fine place to start.
80 81
Acknowledgments
Recorded live at The Santa Fe Opera, Dirk Sobotka Principal support for the recording of The Andrew W. Mellon Foundation and the
The Crosby Theatre, July/August 2017 Editing The (R)evolution of Steve Jobs National Endowment for the Arts
generously provided by have provided additional support.
By arrangement with Aphra Music, Publisher Mark Donahue Jane Stieren Lacy.
Mixing and Mastering The engagement of Victoria “Vita” Tzykun
Charles MacKay Additional support for the recording of sponsored by
General Director Brandon Johnson The (R)evolution of Steve Jobs The Marineau Family Foundation.
Assistant Engineer generously provided by:
Brad Woolbright
Phyllis H. Brissenden The performances of Mason Bates
Director of Artistic Administration Soundmirror, Inc.
Ambassador David & Connie Girard-diCarlo sponsored by
Post-production
Paul Horpedahl Irving Harris Foundation Donna L. Kendall –
Production and Facilities Director Synch Agency Susan & Philip Marineau The Donna L. Kendall Foundation.
Graphic Design Sarah Billinghurst Solomon &
Laura Hudman Howard Solomon The performances of Edward Parks
Director of Marketing Photography The Carl & Marilynn Thoma Foundation sponsored by
Production photography © Ken Howard Joanna L. & T. Peter Townsend Jane Stieren Lacy.
Adam Franklin
Artistic Administrator The Crosby Theatre, page 2;
The production of The (R)evolution of Steve Jobs The performances of Sasha Cooke
Cast and Creative team, page 11
underwritten by a deeply appreciated gift from sponsored by
Michael Bronson © Brandon Soder
David Henry Jacobs. Brooke Suzanne Gray.
Recording Project Consultant Box and booklet cover; Rainbow over
The Santa Fe Opera, page 7; Milky Way Above Additional artistic costs The performances of Garrett Sorenson
Elizabeth Ostrow the Opera, page 81 © Paul Horpedahl underwritten by sponsored by
Producer
Mark Campbell, page 22 © Nacho Guevara The Carl & Marilynn Thoma Foundation Phyllis H. Brissenden.
Mark Donahue The General Director’s Premiere Fund
Balance Engineer This recording was made possible through the in honor of Richard Gaddes
courtesy of the American Guild
of Musical Artists, AFL-CIO.
Dirk Sobotka
Recording Engineer
David Williams
Wireless Engineer
82 83
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