Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

The Marriage of Figaro in San Francisco

San Francisco Opera rolled out the first installment of its new Mozart/DaPonte trilogy, a handsome Nozze, by Canadian director Michael Cavanagh to lively if mixed result.

Little magic in Zauberland at the ROH's Linbury Theatre

To try to conceive of Schumann’s Dichterliebe as a unified formal entity is to deny the song cycle its essential meaning. For, its formal ambiguities, its disintegrations, its sudden breaks in both textual image and musical sound are the very embodiment of the early Romantic aesthetic of fragmentation.

Donizetti's Don Pasquale packs a psychological punch at the ROH

Is Donizetti’s Don Pasquale a charming comedy with a satirical punch, or a sharp psychological study of the irresolvable conflicts of human existence?

Chelsea Opera Group perform Verdi's first comic opera: Un giorno di regno

Until Verdi turned his attention to Shakespeare’s Fat Knight in 1893, Il giorno di regno (A King for a Day), first performed at La Scala in 1840, was the composer’s only comic opera.

A humourless hike to Hades: Offenbach's Orpheus in the Underworld at ENO

Q. “Is there an art form you don't relate to?” A. “Opera. It's a dreadful sound - it just doesn't sound like the human voice.”

Welsh National Opera revive glorious Cunning Little Vixen

First unveiled in 1980, this celebrated WNO production shows no sign of running out of steam. Thanks to director David Pountney and revival director Elaine Tyler-Hall, this Vixen has become a classic, its wide appeal owing much to the late Maria Bjørnson’s colourful costumes and picture book designs (superbly lit by Nick Chelton) which still gladden the eye after nearly forty years with their cinematic detail and pre-echoes of Teletubbies.

Rossini’s Il barbiere di Siviglia at Lyric Opera of Chicago

With a charmingly detailed revival of Gioachino Rossini’s Il barbiere di Siviglia Lyric Opera of Chicago has opened its 2019-2020 season. The company has assembled a cast clearly well-schooled in the craft of stage movement, the action tumbling with lively motion throughout individual solo numbers and ensembles.

Romantic lieder at Wigmore Hall: Elizabeth Watts and Julius Drake

When she won the Rosenblatt Recital Song Prize in the 2007 BBC Cardiff Singer of the World competition, soprano Elizabeth Watts placed rarely performed songs by a female composer, Elizabeth Maconchy, alongside Austro-German lieder from the late nineteenth century.

ETO's The Silver Lake at the Hackney Empire

‘If the present is already lost, then I want to save the future.’

Roméo et Juliette in San Francisco (bis)

The final performance of San Francisco Opera’s deeply flawed production of the Gounod masterpiece became, in fact, a triumph — for the Romeo of Pene Pati, the Juliet of Amina Edris, and for Charles Gounod in the hands of conductor Yves Abel.

William Alwyn's Miss Julie at the Barbican Hall

“Opera is not a play”, or so William Alwyn wrote when faced with criticism that his adaptation of Strindberg’s Miss Julie wasn’t purist enough. The plot is, in fact, largely intact; what Alwyn tends to strip out is some of Strindberg’s symbolism, especially that which links to what were (then) revolutionary nineteenth-century ideas based around social Darwinism. What the opera and play do share, however, is a view of class - of both its mobility and immobility - and this was something this BBC concert performance very much played on.

Cast salvages unfunny Così fan tutte at Dutch National Opera

Dutch National Opera’s October offering is Così fan tutte, a revival of a 2006 production directed by Jossi Wieler and Sergio Morabito, originally part of a Mozart triptych that elicited strong audience reactions. This Così, set in a hotel, was the most positively received.

English Touring Opera's Autumn Tour 2019 opens with a stylish Seraglio

As the cheerfully optimistic opening bars of the overture to Mozart’s Die Entführung aus dem Serail (here The Seraglio) sailed buoyantly from the Hackney Empire pit, it was clear that this would be a youthful, fresh-spirited Ottoman escapade - charming, elegant and stylishly exuberant, if not always plumbing the humanist depths of the opera.

Gluck's Orpheus and Eurydice: Wayne McGregor's dance-opera opens ENO's 2019-20 season

ENO’s 2019-20 season opens by going back to opera’s roots, so to speak, presenting four explorations of the mythical status of that most powerful of musicians and singers, Orpheus.

Olli Mustonen's Taivaanvalot receives its UK premiere at Wigmore Hall

This recital at Wigmore Hall, by Ian Bostridge, Steven Isserlis and Olli Mustonen was thought-provoking and engaging, but at first glance appeared something of a Chinese menu. And, several re-orderings of the courses plus the late addition of a Hungarian aperitif suggested that the participants had had difficulty in deciding the best order to serve up the dishes.

Handel's Aci, Galatea e Polifemo: laBarocca at Wigmore Hall

Handel’s English pastoral masque Acis and Galatea was commissioned by James Brydges, Earl of Carnavon and later Duke of Chandos, and had it first performance sometime between 1718-20 at Cannons, the stately home on the grand Middlesex estate where Brydges maintained a group of musicians for his chapel and private entertainments.

Gerald Barry's The Intelligence Park at the ROH's Linbury Theatre

Walk for 10 minutes or so due north of the Royal Opera House in Covent Garden and you come to Brunswick Square, home to the Foundling Museum which was established in 1739 by the philanthropist Thomas Coram to care for children lost but lucky.

O19’s Phat Philly Phantasy

It is hard to imagine a more animated, engaging, and musically accomplished night at the Academy of Music than with Opera Philadelphia’s winning new staging of The Love for Three Oranges.

Agrippina: Barrie Kosky brings farce and frolics to the ROH

She makes a virtue of her deceit, her own accusers come to her defence, and her crime brings her reward. Agrippina - great-granddaughter of Augustus Caesar, sister of Caligula, wife of Emperor Claudius - might seem to offer those present-day politicians hungry for power an object lesson in how to satisfy their ambition.

Billy Budd in San Francisco

San Francisco Opera’s Billy Budd confirms once again that Britten’s reworking of Melville’s novella is among the great masterpieces of the repertory. It boasted an exemplary cast in an exemplary production, and enlightened conducting.

OPERA TODAY ARCHIVES »

Performances

Zeljko Lucic and Nadja Michael [Photo by Wilfried Hoesl]
06 Oct 2008

Macbeth at Bavarian State Opera

If Munich’s new Macbeth production does anything, it stirs emotions and draws heated response.

G. Verdi: Macbeth

Macbeth (Zeljko Lucic), Banco (Roberto Scandiuzzi), Lady Macbeth (Nadja Michael), Dama di Lady Macbeth (Lana Kos), Macduff (Dimitri Pittas), Malcolm (Fabrizio Mercurio). The Bavarian State Orchestra. The Chorus of the Bavarian State Opera. Conductor: Nicola Luisotti. Stage Director: Martin Kusej.

Above: Zeljko Lucic and Nadja Michael

All photos by Wilfried Hoesl courtesy of Bayerische Staatsoper

 

As long as Zeljko Lucic and Nadja Michael take the lead roles as Mr. and Mrs. Mayhem, that response should be divided more or less equally between delight and disgust.

Delight at the athletic, seductive Lady Macbeth who, in Michael’s ravishing (almost cloyingly so) interpretation, becomes Salome’s English sister with a penchant for conspiracy as an (a)rousing activity. From limber acrobatics in the lowered chandelier to her particularly detailed rhythmic articulation to her dramatic, wildly vibrating yet piercing voice (neither incapacitated by a cold, as Intendant Klaus Bachler had announced, nor quite as ugly in tone as Verdi had intended) she was a Lady Macbeth to die — or rather — to murder for.

Disgust at the band of extras and chorus members that director Martin Kušej sends downstage to micturate all over the place at the opening of the third act, and for no less than an astounding three minutes. (Though maybe the audience was merely jeering because choreographed urination is such a clichéd element in European Verdi direction.) When 13 topless playboy bunnies with pink wigs (undoubtedly the wind spirits) appeared shortly thereafter, a smart aleck yelled “bravi”, creating an unusual amount of merriment during a performance of as dark an opera as Macbeth.

At about this point, the show was at the verge of being hijacked by the audience; laughter, lusty boos from every tier, and blatant chatter created a casual, irreverent atmosphere rarely encountered in modern opera houses. Slightly rowdy, perhaps, but quite enjoyable in its way.

Enjoyable like Zelijko Lucic, the Serbian baritone who sang Verdi, instead of pushing it, his voice ringing effortlessly through the round of the Staatsoper, more impressive even than the very fine Banco of Roberto Scandiuzzi whose severed head would became the play-toy of Lady Macbeth.

And enjoyable like the homogenously playing Bavarian State Orchestra under Nicola Luisotti who got a salvo of boos, but deserved the many more bravos for his nervous, restless reading that had all the accents in the right places and made great music of what Verdi supplied him with.

Kušej (whose Salzburg La Clemenza di Tito is my measure of direction excellence) and his stage designer Martin Zehetgruber created many fine views: the vast field of skulls over which the protagonists climb the entire time and the walls of plastic sheets (á la Guy Ritchie’s Snatch) all make good, unsubtle points.

Macbeth_-Sonnambulismo-Szen.png Nadja Michael in a scene from Macbeth

But too many ideas seem unfiltered and crass, as if Kušej’s team had had no time to filter out the unnecessary ones, or distinguish between the obvious and the obscure. The handful of blond children (modeled after Village of the Damned) that variously represent the witches, fate, and murdered innocents. The obsession with Banco’s severed head. The constant dressing and undressing of the chorus (nakedness, medieval costumes, grimy underwear). It all veered between gratuitous, pointless, and too dense. It made for a production worthy of praise and mockery alike — a curious (in the best and worst sense of the word) opening for the new Bachler regime at Germany’s most important opera house.

Jens F. Laurson

Macbeth_Lucic.pngZeljko Lucic in a scene from Macbeth

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):