Framing these polar experiences are the Prologue, when 10-year old Steve receives the gift of a workbench from his father (1965) and the late Jobs is memorialized in Stanford University Chapel (2011). In the same year, we discover him struggling with the fact that his health is declining precipitously. The opera centers around the Apple co-founder Jobs's pivotal year of 2007, when he introduces the "one device" that will do it all. But anyone who listens to this recording of the Santa Fe will understand why I and other critics hailed The (R)evolution of Steve Jobs as a brilliant musical and dramatic achievement. Nor can I suppress a marginal preference for Seattle Opera's (non-recorded) first castspecifically for John Moore's vocally and theatrically exceptional Steve Jobs and Adam Lau's warm, wise, and oh so humorous reincarnation of Jobs' spiritual teacher, Köbun Chino Otogawa. That is not to say that I don't wish that someone had been able to capture an HD video of Victoria "Vita" Tzykun's visually and technically state-of-the-art production and Kevin Newbury's superb direction. vividly presents an accurate audio snapshot of one of the most involving, relevant, and touching operatic achievements of the 21st century. I have no question, therefore, that the Pentatone recording team of Dirk Sobotka, Mark Donahue, and Soundmirror, Inc. I auditioned the recording after first enthusiastically reviewing the 2017 Santa Fe Opera world premiere, then cheered the differently cast 2019 Seattle Opera production (whose second cast is completing its run as this review appears on-line).
Given its engrossing, frequently radiant score, unflinching look at its timely subject matter, and superb cast of singing actors, Pentatone's live hi-rez recording of the premiere of Mason Bates and Mark Campbell's opera, The (R)evolution of Steve Jobs, fully deserves the Grammy recently bestowed upon it by the Recording Academy.
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