This is not a flattering story in any way, shape or form. No, it’s not important to address every innovation or breakthrough to make the opera complete, but leaving out this chapter renders the story of Steve Jobs significantly unbalanced and leaves a gaping hole in his evolution. No saving the company and growing it into one of the most valuable publicly traded corporations on the planet. Most glaring for me is the complete omission of that period between when Jobs was brought back in triumph to run Apple and the iPhone launch. Perhaps it’s best to address the qualms first … There is a lot of leaping back and forth, but more about that shortly. The second scene leaps ahead 40 years, to the introduction of the iPhone in 2007. Steve’s dad has built his son a workbench where he can tinker to his heart’s content. The prologue is in the Jobs family garage, 1967.

Combine that with the unconventional premise of a new opera about technology (What, no gods, goblins or governors?) and a true contemporary legend, and the anticipation ramps up even more.įirst, some background: The 90-minute work is broken into numerous short scenes. There’s nothing quite like the excitement of the debut performance of a new composition. Sorry to be tardy in posting this, but I wanted time to reflect, and not just react to the performance, as most reviews do. World premiere production – opening night / Santa Fe Opera, July 22, 2017 Edward Parks (Steve Jobs) and the Santa Fe Opera Chorus (Photo by: Ken Howard) “The (R)Evolution of Steve Jobs,” Mason Bates, composer Mark Campbell, librettist.

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