Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

OPERA TODAY ARCHIVES »

Performances

Simon Keenlyside as Macbeth [Photo by Clive Barda courtesy of The Royal Opera]
26 May 2011

Macbeth, Royal Opera

Phyllida Lloyd’s reading of Verdi’s Macbeth – first seen in 2002 and here revived for the second time – could certainly not be described as ‘subtle’, either dramatically or visually.

Guiseppe Verdi: Macbeth

Macbeth: Simon Keenlyside; Banquo: Raymond Aceto; Lady Macbeth: Liudmyla Monastyrska; Malcolm: Steven Ebel; Macduff: Dimitri Pittas; Duncan: Ian Lindsay; Lady-in-Waiting: Elisabeth Meister; Fleance: Will Richardson; Servant to Macbeth: Nigel Cliffe; First apparition: Jonathan Fisher; Second apparition: William Payne; Third apparition: Archie Buchanan; Herald: Jonathan Coad; Doctor: Lukas Jakobski. Conductor: Antonio Pappano. Director: Phyllida Lloyd. Revival director: Harry Fehr. Designs: Anthony Ward. Lighting design: Paule Constable. Choreographer: Michael Keegan-Dolan. Revival choreographer: Kirsty Tapp. Fight director: Terry King. Royal Opera House, Covent Garden, Tuesday 24th May 2011.

Above: Simon Keenlyside as Macbeth

All photos by Clive Barda courtesy of The Royal Opera

 

Arresting, and at times disturbing, it may be, but the symbolism is unabashedly transparent. Red = blood; black = evil; gold = power. Thrones in gilded cages remind us that power corrupts and ambition destroys; the roadside standpipe at which Macbeth pauses to erase the blood of battle from his hands reveals man’s bleak brutality.

MACBETH.110521_0525.MONASTYRSKA AS LADY MACBETH (C) BARDA 2011.pngLiudmyla Monastyrska as Lady Macbeth

That’s not to say that Anthony Ward’s designs, all looming grey stone and shadowy skies, are ineffective; indeed the stage space powerfully suggests both the magnitude of the Macbeths’ ambitions and the increasing claustrophobia as the net closes in. We are as mesmerised as the Scottish thanes by the glamorous glitter of the royal couple’s eye-splitting gold lamé gowns. Dramatic streams of light cut through the darkness of Duninsblane Castle, threatening to expose the criminals’ handiwork, or perhaps to represent the stabs of moral conscience which beleaguer the guilty pair, a device employed most effectively during Macbeth’s “is this a dagger …?” hallucination.

So, visually the intensity never wanes. And, indeed Verdi’s reading of Shakespeare’s tragedy, in which the chorus looms so large, perhaps invites hyperbole and melodrama. Why have 3 witches when you can have 25? Similarly, while we may wonder why Shakespeare insists on the presence of a third, mute, murderer, at the assassination of Banquo, Verdi gives as a whole herd of henchmen, revelling in their butchery. Lloyd promptly takes her cues and, exploiting the significantly enlarged choral forces, makes the witches’ malicious intent the driving force of the drama, their scarlet headdresses signifying their blood-thirsty intentions. They are omnipresent: they help Fleance to evade his would-be assassins; they deliver Macbeth’s letter to his wife. If they are not steering the action, they are shifting the furniture.

Moreover, the innovative orchestral score strikingly conveys dark depths and deeds, and from the opening raspings of the bassoons and brass in the prelude, Pappano whipped up and sustained a sonic canvass to match the stage vision. He superbly controlled the musico-dramatic ebbs and flows, bring great energy to the accompaniment figurations, while elegantly highlighting the significant strands within the dense textures.

Making her role debut as Lady Macbeth, Ukrainian soprano Luidmyla Monastyrska was a commanding presence. When she made an unscheduled ROH debut as Aida in March, many commentated on the sheer size of her voice, and Lloyd’s production positively invited her to exhibit her vocal muscle to the full: I don’t think I’ve ever heard a soprano ride above a large ensemble with such force and potency – indeed, one would be concerned for her vocal health and longevity had it all not seemed so effortless. She began with an astounding confidence which suggested she’d been singing the role for a lifetime; she ascended to the stratosphere with ease and fleetly navigated the coloratura, while her lower register was burnished and sensual. Verdi’s Lady Macbeth could seem monstrous – an emblem, and agent, of the witches’ designs. For example, she is actually responsible for planting the seed of the murderous plot against Banquo in her husband’s mind, whereas Shakespeare’s queen is kept in ignorance. However, in a recent interview, Monastyrska explained that she senses Lady Macbeth’s guilt troubling her, almost immediately after the death of Duncan. And it is to Monastyrska’s credit that she is able convincingly to bring some complexity to a role which could become a one-dimensional portrait of sexual power; her Sleepwalking Scene was a sensitive exploration of motivation and psychology.

Simon Keenlyside was, by contrast, all subtlety and self-interrogation, though never lacking in focus if not quite matching his wife for decibels. Pony-tailed and sporting a goatee beard, his Macbeth is a portrait of self-doubt, the elation of victory on the battlefield and elevation at court swiftly giving way to the horror of his own moral devastation. While not always mastering the span and arch of the Verdian phrases, Keenlyside’s beautiful tone, carefully nuanced, movingly suggested the anguish of every twist and turn of Macbeth’s psychological brooding, as he swung between soulless defiance and poignant regret. Seemingly inhabiting opposing moral spheres, it is not surprising that the couple are found sleeping in separate by the rebellious Scottish refugees who burst into the bed chamber in Act 4. Perhaps greater erotic tension will grow between the pair as the run proceeds.

MACBETH.110521_0569. KEENLYSIDE AS MACBETH, PITTAS AS MACDUFF (C) BARDA 2011.pngSimon Keenlyside as Macbeth and Dimitri Pittas as Macduff

Of the rest of the cast, bass Raymond Aceto was a weighty Banquo, if occasionally uneven, while Dimitri Pittas, though firmer and more consistent of tone, was a rather wooden Macduff whose intonation tended to drift sharpwards. Both would have been assisted by some more attentive direction. Elisabeth Meister, a Jette Parker Young Artist, demonstrated an intelligent appreciation of the musical and dramatic demands of the role; she’s an intelligent singer who knows when to bring forth the finer details and when to blend with the ensemble. The huge chorus co-ordinated well with the pit, and were particularly powerful in the Act 1 concertante, driven by Pappano to a stirring climax. The witches’ strange whining tone was an unnecessary distraction, though.

Overall, there were many compelling moments during the evening, not least because of some outstanding singing from Monastyrska, but the production does not entirely convince.

Claire Seymour

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):