Moby Dick
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Composer Peter Westergaard has created the ideal opera for the recording medium.

Peter Westergaard taught composition and theory at Princeton University from 1968 to 2001, and also directed the Princeton University Opera Theatre during this time. Moby Dick is his fifth opera, the others being Charivari (1953), Mr. And Mrs. Discobbolos (1964), The Tempest (1990), and Chicken Little (1997). As he writes about Moby Dick: "Melville's novel paints a vast canvas. But of the many stretches that might have made good scenes for an opera, I have chosen only those I deemed absolutely necessary to spinning the central yarn. Gone is Father Mapple's sermon, all that's left of Pip is his tambourine...there are a few brief glimpses of Queequeg, Tashtego and Daggoo." In terms of being imaginary, Mr. Westergaard recognizes the complexities of adapting the many elaborate scenes from the book into a viable stage presentation, especially the struggles of attacking the whale, etc. As he continues, "With a recording, of course, all these problems conveniently disappear as you, the listener, imagine from Ishmael's words and the music that surrounds them what Ishmael sees in his mind's eye as he tells us his tale." In essence, Mr. Westergaard has created the ideal opera for the recording medium.
Peter Westergaard, composer
Moby Dick
Chamber Orchestra of Philadelphia, Michael Pratt, conductor, Robert Baker, Douglas Millar, David Kellett, William Parcher, Todd Thomas

"I do not hesitate to proclaim this one of the finest, most effective operas to be composed in the last 50 years." (American Record Guide)
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