Jake Heggie’s Moby Dick has been successful in a way few contemporary operas are. Since its Dallas premiere in 2010 it has been given in Adelaide, Calgary, San Diego and, most recently, San Francisco where it was recorded in 2012. It’s not hard to see why it has been a success. The subject is dramatic and has been skilfully compressed into a little over two hours by librettist Gene Scheer and the score steers the fine line between accessibility and triviality. Add to that a visually appealing production and it’s a winning package.