The stage is filled with screens, screens, and more screens, which show everything from tranquil natural settings to endless strings of DOS programming code from abstract swirls to a collage of the gazillion images available on your phone’s browser. Katy Tucker, and sound design by Rick Jacobsohn. Climer, lighting by Robert Wierzel, projections by S. The new production is a delight to watch, thanks to an A-list of designers: sets and costumes by Jacob A. This smaller-scale version began at Austin Opera, and after Kansas City it travels to Atlanta Opera and will no doubt make the rounds of a number of medium-sized companies around the world. Its creators believe so strongly in this piece, first performed at Santa Fe Opera and subsequently in San Francisco and Seattle, that they have enacted an entirely new production, directed by Tomer Zvulun and featuring a mostly new design team. It tries harder than many contemporary operas to be musical drama: It has “arias,” recitatives, vocal ensembles, rhythmically adventurous choruses, and dense orchestral interludes that provide us moments to think about what we’ve just seen.

Its sound-world includes not only a full orchestra but also electronic buzzes and beeps and clicks intended to replicate sounds of the original Mac, among other things. Less a “recounting” of Steve Jobs’ life than a reflection on several critical moments, this 95-minute opera is hip, upbeat, unerringly inventive and extraordinarily well-orchestrated. One of the more intriguing, if perhaps frustratingly incomplete, is that of The (R)evolution of Steve Jobs, the celebrated 2017 opera by composer Mason Bates and librettist Mark Campbell that had its Lyric Opera of Kansas City premiere this March 11th through the 13th. Because Steve Jobs brought us the iPhone, the iPad, iTunes, the Mac, and a host of other indispensable devices, there are always going to be retellings of his life.

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