Recently in Performances
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Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
22 Nov 2004
Verdi's Macbeth at Madrid
Macbeth and the darkness Madrid Teatro Real 11/10/2004 - Giuseppe Verdi: Macbeth Carlos álvarez (Macbeth), Paoletta Marrocu (Lady Macbeth), Aquiles Machado (Macduff), Guillermo Orozco (Malcolm), Carlo Colombara (Banquo). Orchestra and Chorus of the Teatro Real, Jesus Lopez Cobos (Musical Conductor),...
Macbeth and the darkness
Giuseppe Verdi: Macbeth
Carlos álvarez (Macbeth), Paoletta Marrocu (Lady Macbeth), Aquiles Machado (Macduff), Guillermo Orozco (Malcolm), Carlo Colombara (Banquo). Orchestra and Chorus of the Teatro Real, Jesus Lopez Cobos (Musical Conductor), Antonio Fauró (Chorus Conductor), Gerardo Vera (Stage Director).
The Verdi's first Shakespearean adaptation, released in 1847, arrived at Madrid's Teatro Real Season, performed in the version that the Italian composer made in 1865, in a co-production with the Asociación Bilbaína de Amigos de la ópera. The strength of Carlos Alvarez and Paoletta Marrocu, in the paper of the mythical couple, together with the charm of Aquiles Machado in the role of the loyal Macduff, gathered the approval of the public attending at the Teatro Real in a production where Gerardo Vera, current director of the National Dramatic Center, debuted in the Real as stage director. Vera's version, faithful to the dark and shady colors with which Verdi draws his pentagram, transported the scene from the Scottish castle to a World War I bunker, fact not approved by a part of the Madrid public who did not doubt to openly disapprove it. Also the musical director, Jesus Lopez Cobos, made debut in this opera, the only one from the Italian composer that he had never conducted. Lopez Cobos followed, as he had announced, the detailed annotations that Verdi left in the score, and collected with it the recognition of the audience. He obtained a pleasing and powerful sound from the Symphonic while was gradually increasing the tension after an anodyne first act. Antonio Fauró made a good work with the choir, who sounded rounder than other times.
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