Verdi's "Macbeth" at the MET
Metropolitan Opera audiences discovered this work in 1959, more than 100 years after it was composed, when it was mounted as a vehicle for baritone Leonard Warren and soprano Maria Callas. Callas was fired from the MET, and Leonie Rysanek filled in. The production was hailed as a masterpiece, the opera was deemed a neglected masterwork, and the whole enterprise was recorded by RCA Victor in what many still consider to be the best recording of this work.
Based on Shakespeare's play of the same name, Macbeth is the Bard's shortest tragedy, one of his bloodiest, and throughout its history it has had its share of misfortunes involving fires, illnesses, and deaths attached to its performances. Old actors refer to it as "The Scottish Play" whenever they are in rehearsal inside a theater. This ill luck seems also to have spread to its operatic counterpart. The most recent calamity involved with "The Scottish Opera" was in 1988 when a New York singing coach plunged to his death at the MET in a suicide leap during one of the live Saturday MET radio broadcasts.
Since the debut of this production by Adrian Noble, it has been nothing but successful, which I attribute largely to Levine's respect for the work. He is becoming quite the bel-canto interpreter these days. First there was the MET's opening night of Lucia di Lammermoor and now this early Verdi work; and although you can argue that Macbeth is no longer a bel-canto opera, it has enough of this genre's attributes, to make many conductors flee from the work, fearing that all they will be relegated to do in the pit is beat out tempi, giant metronome style. Levine, on the other hand, understands the work's inherent language, and draws from it all the power and beauty that he can. He ends up imbuing these early Italian work with a driving force which is rarely accented in the hands of others. He makes Macbeth have the gravitas of Don Carlo: no easy feat for any conductor, and if at times the cabalettas do seem to be a bit mechanical, the spirit of the work is indeed rescued from a dull reading.
On stage, Mr. Noble has done a superb job updating the work to modern times. There are jeeps and guns, and green laser effects. The clever unit set is made up of six pillars (which look like the giant pipes of a gigantic Scottish Highland bagpipe) which move about to recreate the different settings.
The witches in this production look either like contemporary frumpy bag ladies complete with disheveled coats and hats, or they look like something out of a 1940's documentary about the London Blitz. They are also accompanied by little girls, who must be on-the job training for membership in the coven. The witches were quite memorable, and danced (yes danced!) and, of course, sang/shrieked their music with just the right sense of supernatural fun.
But it is the staging that over and over again delighted the audience. It was a powerfully sung performance, but it was also an intelligently directed one. A banquet table, its white linen unspotted, appears out of nowhere during Lady Macbeth's brindisi, and it disappears with a swoosh that was so fast and so scary that you immediately knew that this would be no ordinary banquet.
All the principal singers were stellar: what a cast! In the title role Zelijko Lucic was tremendous. A Macbeth who can sound noble, ugly, defiant as well as defeated. What a wonderful performance he gives, and what a marvelous secure voice to accompany this characterization. Maria Guleghina used her powerful instrument to convey the character's strength. Likewise, this was the best singing I have ever heard from John Relyea, who in one scene can sing a noble interpretation of the character, and who can turn it around and play a silent ghost of himself in the next scene.
I hope that you have a chance to see this new production of Macbeth at the Metropolitan Opera. It is one of the best of the season.