Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Prom 9: Fidelio lives by its Florestan

The last time Beethoven’s sole opera, Fidelio, was performed at the Proms, in 2009, Daniel Barenboim was making a somewhat belated London opera debut with his West-Eastern Divan Orchestra.

The Merchant of Venice: WNO at Covent Garden

In Out of Africa, her account of her Kenyan life, Karen Blixen relates an anecdote, ‘Farah and The Merchant of Venice’. When Blixen told Farah Aden, her Somali butler, the story of Shakespeare’s play, he was disappointed and surprised by the denouement: surely, he argued, the Jew Shylock could have succeeded in his bond if he had used a red-hot knife? As an African, Farah expected a different narrative, demonstrating that our reception of art depends so much on our assumptions and preconceptions.

Leoncavallo's Zazà at Investec Opera Holland Park

The make-up is slapped on thickly in this new production of Leoncavallo’s Zazà by director Marie Lambert and designer Alyson Cummings at Investec Opera Holland Park.

McVicar’s Enchanting but Caliginous Rigoletto in Castle Olavinlinna at Savonlinna Opera Festival

David McVicar’s thrilling take on Verdi’s Rigoletto premiered as the first international production of this Summer’s Savonlinna Opera Festival. The scouts for the festival made the smart decision to let McVicar adapt his 2001 Covent Garden staging to the unique locale of Castle Olavinlinna.

Jette Parker Young Artists Summer Performance at Covent Garden

The end of the ROH’s summer season was marked as usual by the Jette Parker Young Artists Summer Performance but this year’s showcase was a little lacklustre at times.

Sallinen’s Kullervo is Brutal and Spectacular Finnish Opera at Savonlinna Opera Festival

For the centenary of Finland’s Independence, the Savonlinna Opera Festival brought back Kari Heiskanen’s spectacular 1992 production of Aulis Salinen’s Kullervo. The excellent Finnish soloists and glorious choir unflinchingly offered this opera of vocal blood and guts. Conductor Hannu Lintu fired up the Savonlinna Opera Festival Orchestra in Sallinen’s thrilling music.

Kát’a Kabanová at Investec Opera Holland Park

If there was any doubt of the insignificance of mankind in the face of the forces of Nature, then Yannis Thavoris’ design for Olivia Fuchs production of Janáček’s Kát’a Kabanová - first seen at Investec Opera Holland Park in 2009 - would puncture it in a flash, figuratively and literally.

A bel canto feast at Cadogan Hall

The bel canto repertoire requires stylish singing, with beautiful tone and elegant phrasing. Strength must be allied with grace in order to coast the vocal peaks with unflawed legato; flexibility blended with accuracy ensures the most bravura passages are negotiated with apparent ease.

Don Pasquale: a cold-hearted comedy at Glyndebourne

Director Mariame Clément’s Don Pasquale, first seen during the 2011 tour and staged in the house in 2013, treads a fine line between realism and artifice.

Billy Budd Indomitable in Des Moines

It is hard to know where to begin to praise the peerless accomplishment that is Des Moines Metro Opera’s staggeringly powerful Billy Budd.

Tannhäuser at Munich

Romeo Castellucci’s aesthetic — if one may speak in the singular — is very different from almost anything else on show in the opera house at the moment. That, I have no doubt, is unquestionably a good thing. Castellucci is a serious artist and it is all too easy for any of us to become stuck in an artistic rut, congratulating ourselves not only on our understanding but also,  may God help us, our ‘taste’ — as if so trivial a notion had something to do with anything other than ourselves.

Des Moines Answers Turandot’s Riddles

With Turandot, Des Moines Metro Opera operated from the premise of prima la voce, and if the no-holds-barred singing and rhapsodic playing didn’t send shivers down your spine, well, you were at the wrong address.

Maria Visits Des Moines

With an atmospheric, crackling performance of Astor Piazzolla’s Maria de Buenos Aires, Des Moines Metro Opera once again set off creative sparks with its Second Stage concept.

Die schöne Müllerin: Davies and Drake provoke fresh thoughts at Middle Temple Hall

Schubert wrote Die schöne Müllerin (1824) for a tenor (or soprano) range - that of his own voice. Wilhelm Müller’s poems depict the youthful unsophistication of a country lad who, wandering with carefree unworldliness besides a burbling stream, comes upon a watermill, espies the miller’s fetching daughter and promptly falls in love - only to be disillusioned when she spurns him for a virile hunter. So, perhaps the tenor voice possesses the requisite combination of lightness and yearning to convey this trajectory from guileless innocence to disenchantment and dejection.

World Premiere of Aulis Sallinen’s Castle in the Water Savonlinna Opera Festival

For my first trip to Finland, I flew from Helsinki to the east, close to the border of Russia near St. Petersburg over many of Suomi’s thousand lakes, where the summer getaway Savonlinna lays. Right after the solstice during July and early August, the town’s opera festival offers high quality productions. In this enchanting locale in the midst of peaceful nature, the sky at dusk after the mesmerising sunset fades away is worth the trip alone!

Mozart and Stravinsky in Aix

Bathed in Mediterranean light, basking in enlightenment Aix found two famous classical works, Mozart’s Don Giovanni and Stravinsky’s The Rake’s Progress in its famous festival’s open air Théâtre de l’Archevêche. But were we enlightened?

Des Moines: Nothing ‘Little’ About Night Music

Des Moines Metro Opera’s richly detailed production of Sondheim’s A Little Night Music left an appreciative audience to waltz home on air, and has prompted this viewer to search for adequate superlatives.

Longborough Festival Opera: A World Class Tristan und Isolde in a Barn Shed

Of all the places, I did not expect a sublime Tristan und Isolde in a repurposed barn in the Cotswolds. Don’t be fooled by Longborough’s stage without lavish red curtains to open and close each act. Any opera house would envy the riveting chemistry between Peter Wedd and Lee Bisset in this intimate, 500 seat setting. Conductor Anthony Negus proved himself a master at Wagner’s emotional depth. Epic drama in minimalistic elegance: who needs a big budget when you have talent and drama this passionate?

The Royal Concertgebouw Orchestra throws a glossy Bernstein party

For almost thirty years, summer at the Concertgebouw has been synonymous with Robeco SummerNights. This popular series expands the classical concert formula with pop, film music, jazz and more, served straight up or mixed together. Composer Leonard Bernstein’s versatility makes his oeuvre, ranging from Broadway to opera, prime SummerNight fare.

Die Frau ohne Schatten at Munich

It was fascinating to see — and of course, to hear — Krzysztof Warlikowsi’s productions of Die Gezeichneten and Die Frau ohne Schatten on consecutive nights of this year’s Munich Opera Festival.

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):