Sunday, November 04, 2007

Verdi's "Macbeth" at the MET

Macbeth is a 500 dollar opera written by Giuseppe Verdi at the time when Italian composers were churning out 30 dollar jobs that are now all but forgotten. What's great about this new production at the Metropolitan Opera is that James Levine makes it sound like a million bucks! In his hands it's not just a score that promises the greatness that would come from this composer: it's already great, and he makes us believe it.

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.

5 comments:

Gary Freedman said...

great blog. i'm like the biggest wagner fan in the world!

June-hilde said...

Yo Vincent:
I just recently came across your wonderful blog. Keep it up. It's nice to get up to date news on The Met, Wagner, and other things operatic.
Question about "The Scottish Opera"? Other than Maria Callas being fired, and that person committing suicide during intermission at Macbeth, do you know of other problems this opera has had?
June-hilde

Anonymous said...

Greetings,
Dateline: Houston, Texas Saturday, Jan.12,2008
We are about to see the Met Simulcast of "Macbeth" in a few hours, and have read your review (among others) to prepare. Your review is comprehensive, and we thank you for it.
I was wondering if you have seen any of the Met Simulcast productions, and how you would compare the experience to seeing it live, in person, at Lincoln Center. We have really enjoyed the simulcast experience and thank Peter Gelb for developing the program to share the glories of the opera with those of us farther afield.
Thank you.
Sharon D
ps We were EXTREMELY disappointed with the recent Met production of "Hansel & Gretel", but have thrilled to the simulcasts of 2007.

Anonymous said...

There really is no substitute for listening to an opera live. The experience of listening to an unmiked voice in a concert or opera house cannot be equaled once that voice has been processed electronically. The great aspect of Met Simulcasts is that these performances will be recorded for posterity, good or bad.

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