09 Oct 2013
Verdi’s Macbeth in Concert at the Chicago Symphony Orchestra
Performances of Verdi’s Macbeth take shape and leave an overall impression from both individual and collective emphases.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Performances of Verdi’s Macbeth take shape and leave an overall impression from both individual and collective emphases.
Such a memorable interpretation is offered by the Chicago Symphony Orchestra under its music director Riccardo Muti in its current series of concert performances celebrating the Verdi anniversary. Macbeth and Lady Macbeth are performed by Luca Salsi and Tatiana Serjan. The roles of Banco and Macduff are sung, respectively, by Dmitry Belosselskiy and Francesco Meli. The Chicago Symphony chorus is prepared by Duane Wolfe.
The orchestral introduction to Macbeth prefigures a number of musical themes that will take on individual importance during the four acts of the opera. In this performance tempos were at first decidedly rapid with only several of the lyrical string passages taken at a more measured pace. The ensuing chorus of witches sang with a comparable forward drive until the first scene featuring Macbeth and Banco as they hear the predictions of future rule. Mr. Salsi seemed effectively perturbed by the witches from the very start and this reaction is evident in his vocal approach. His searching and introspective tone leads to an internalization of some vocal passages so that other lines sung at full voice take on added effect. When Salsi declares “La man rapace non alzerò” [“I shall not raise a murderous hand”] his final pitches swell upward yet still express his determination with the impression of ambivalence. Alternately, Mr. Belosselskiy’s Banco in these early scenes released his pronouncements with an assured and powerful conviction in those very beliefs.
In the followings scenes introducing Lady Macbeth Ms. Serjan established her approach to this complex role. Her precise reading of the letter from Macbeth was followed by a spirited performance of Lady Macbeth’s aria, “Ambizioso spirto Viene! t’sffretta!” [“Ambitious soul Come! Hurry!”]. Serjan’s lower register is impressive and she used it effectively. Her decorations on the ascending “pone” and “freddo core” [“cold heart”] were well executed, yet when Serjan sings higher pitches one notes more directly her shift to a differing vocal approach rather than an integrated conception of the character. The following cabaletta, “Or tutti sorgete, ministri infernali’ [“Arise, all ministers of Hell”], was marked by the same conflation of vocal techniques, although excitement built on her good sense for legato and decoration in the final verses. The repeat was taken in this performance.
In those scenes detailing the King’s murder by Macbeth at the urging of the Lady conspiratorial exchanges between the royal couple were sung with alternating piano and dramatic effects. When Macbeth sees the image of the dagger stained with blood even before his deed, Salsi’s expressive intonation on “Orrenda imago!” emphasizes the chilling sight, whereas much of the remainder of his monologue is sung in a hushed internalization. Salsi’s projection of Macbeth’s determination to stab King Duncan rises again on “È deciso” (“It is decided”), from which point he cannot retreat. Once Macduff and Banco enter and discover the King’s murder, the quartet of principal singers is united with the chorus in excited outbursts prefiguring the subsequent acts. Belosselskiy’s extended low notes culminating on “si senti il tremor” (“the shaking was felt”) evoked the omens of evil reflected that night in nature. Mr. Meli’s declaration of the crime was poignantly expressed at full voice as the royal pair feigned ignorance. At the close of Act I, as in several other scenes, the orchestra and chorus dominated in a volume greater than necessary, since the solo singers were not distinctly audible in several key lines.
Act II of Macbeth includes significant vocal pieces for Lady Macbeth and Banco as well as a progression in the persona of Macbeth. Ms. Serjan’s “La luce langue” (“The light is fading”) imitated the pallid sense of dusk in her delivery and rose to declarations of ambition toward the close (“O scettro, alfin sei mio!” [“O scepter, at last you are mine!”]. The assassins of the chorus who have agreed to murder Banco, while advancing Macbeth’s plan, received excellent orchestral accompaniment with Matthieu Dufour’s flute suggesting the stealth of a planned attack. As Banco entered with his son, premonitions from nature were again emphasized. “queste Tenèbre” (“these shadows”) was sung by Belosselskiy with rich, dark bass pitches calling forth the danger of these surroundings. The wealth of emotions achieved in Belosselskiy’s exciting vocal range surged with anticipation. His voice rose to fearsome declaimed high notes on “ingombrano” and “terror” (“cloud” and “fear”), before he urged his son’s flight as he himself was killed. In her brindisi, “Si colmi il calice,” (“Fill your goblet”) Serjan used decoration sparingly in her attempt to lighten the mood at the banquet after Banco’s murder. The appearance of Banco’s ghost to the mind and eyes of Macbeth alone caused a notable transformation in Salsi’s projection of character. As the Lady tried to stabilize her husband’s public reaction, Act II ended with notably strong forte singing by Simge Büyükedes and Meli as the Lady-in-Waiting and Macduff.
In Act III of this performance the ballet music from the 1865 revision of Macbeth was included with contributions by Messrs. Sharp, McGill, and Dufour playing cello, bassoon, and flute adding significantly to an overall effective performance. During this act Macbeth visits the witches yet again and is confronted as well by three apparitions issuing him warnings. These predictions, as declaimed chillingly by David Govertsen Katelyn Casey, and Lily Shorney, were met with a brooding inwardness by Macbeth. Salsi began, however, to sing with renewed dramatic force when he saw a procession of those kings who had passed on before. He struggled with the further image of Banco’s descendants (“spaventosa imagine” [“dreadful vision”]), until the witches bring him to his senses and into the company of Lady Macbeth. Both resolve to thwart any such possibility in their control of power and swear “Vendetta!” to close the act.
The choral introduction of Scottish refugees at the start of Act IV was sung movingly and at a tempo suggestive of a dirge. Immediately following this pessimistic recital of woe, Macduff issues his solo lament and his promise of renewed efforts against “quel tiranno” (“that tyrant”). Mr. Meli’s performance of Macduff’s aria was surely one of the highlights of this evening. The alternation between pure top notes and legato phrasing as Meli built on the expressive intensity of Macduff’s resolve was a model of Verdian tenor singing. The lines “colui le braccia perdono aprir” (“open your arms to him in pardon”) were a culmination of suffering and determination expressed here with consummate vocal control. Directly after this scene the famous aria of Lady Macbeth “Una macchia” (“A spot”) is sung as she walks in her sleep witnessed by the doctor and her Lady-in-Waiting. Serjan used alternating vocal registers intelligently while shading her voice to piano at appropriate moments. High notes were touched upon fleetingly as Serjan’s portrayal of character moved through a gripping emotional slide.
This opportunity to hear Verdi’s Macbeth performed by the Chicago Symphony Orchestra and Chorus and featured soloists is a fitting tribute in this anniversary year of Verdi’s birth. Further performances will include the Requiem Mass which will also be projected as a webcast.
Cast and production information:
Macbeth, general of King Duncan’s army: Luca Salsi; Lady Macbeth, Macbeth’s wife: Tatiana Serjan; Banquo, general of King Duncan’s army: Dmitry Belosselskiy; Macduff, nobleman of Scotland, Thane of Fife: Francesco Meli; Malcolm, Duncan’s son: Antonello Ceron; Lady-in-Waiting: Simge Büyükedes; Assassin/Doctor: Gianluca Buratto; Servant/Herald: Daniel Eifert; Three Apparitions: David Govertsen, Katelyn Casey, Lily Shorney. Chicago Symphony Chorus (Duain Wolfe, Chorus Director). Chicago Symphony Orchestra. Riccardo Muti, conductor.