Verdi’s ‘Macbeth’ – Royal Opera – HMV Curzon, Wimbledon from ROH
14 Jun 2011 Leave a Comment
in ROH Reviews
Macbeth, ROH
When I write these reviews – yes, I still remember, even after a nine month break – I try for the most part to remain neutral on the topic of the actual music as written by the composer… but, when it comes to Verdi’s take on Macbeth I cannot help but think ‘why Verdi?’. Why not R. Strauss, or Wagner, or Britten, or even Bartók? And, since they are somewhat unavailable nowadays, what I would give to have Harrison Birtwistle write a new version for the repertoire. The music, in so many places, is ridiculously inappropriate to the story. The flourishes and grandeur of Verdi are simply out of place in Shakespeare’s dark, broody tale of greed and revenge.
So why did I go and see it? I know Verdi, I know what his work is like. In fact one of the only things I know more about than I of Verdi, is Shakespeare. The reason I went to see Macbeth was a desire to consume as many versions and interpretations of the story before I launch into the production I am directing this Summer (of the play, not the opera).
I also grossly underestimated how bad the libretto is. Bereft of almost every important moment, the text for this opera is nothing more than a husk of the story it was written to be.
However, putting all that aside, there are the characters and enough of a story line present in the opera to build a good production. Unfortunately, Phyllida Lloyd’s interpretation is utterly unimaginative and, for the most part, painfully clumsy. It is a perfect example of how not to do Macbeth. Unnecessarily over the top, not only did the overall look of this production jar with the music (which jars with the words, which jar with the story) but the ornate flourishes added to the set, no doubt to enhance the flourishes that are so out of place in the music, – a small golden box-cage for Lady Macbeth to look through, seven golden horsemen on stilts, and the Kink and Queen’s cheaply rattling costumes – were done so with a complete lack of artistry.
Having said that, there were a handful of redeeming moments. The witches were very powerful, dressed in black with red turbans, sporting staffs. Although I have a problem with the chorus of witches – because of the original symbolism of three – the visual of them onstage was quite effective and the lighting in particular, designed to bring out their strange features and their earthy atmosphere, made the weirdness of the Weïrd Sisters (as presented in Shakespeare’s script) more poignant. Equally, there were a few arias from Macbeth, performed under startlingly appropriate white light. But the other moment I thought worked well was right at the end when Macbeth’s body was strung up against the back of a huge box-cage – a prominent feature in the fragmented set – and witches appeared in the final moments of the opera to climb up the outside of the cage and, effectively, surround him. This was a strong visual and definitely a high point to end on.
Unfortunately those rare moments of effective theatre are far from my mind when it comes to considering the cast of this shambolic production. Voices, on the whole, were strong and of the quality you would expect from such a prestigious opera house, but character portrayal left much to be desired.
It should be noted, at this point, that I saw this production streamed live to a cinema screen, rather than from a velvet seat in the Royal Opera House. Thus comments on voices and sound have to be accepted on the basis that I was listening to it through speakers, rather than experiencing the live sound. However even with that hindrance, a certain amount can be appreciated and critiqued quite effectively; it just makes judgements on projection and the balance of sound a little difficult.
As Macbeth, British baritone Simon Keenlyside is aesthetic and vocal perfection. Handsome and a little weather-worn, he looks just the way a soldier ought to look, and his rich voice filled and made good use of the demanding role. Unfortunately his acting was what I can only describe as tepid. He conveyed very little emotion and, as the performance progressed, made it increasingly difficult to care about the character. By Act III I was begging Macduff to kill him quick and deliver us all from this mild portrayal.
Conversely, Liudmyla Monastyrska’s Lady Macbeth was cartoonishly overplayed to the point of being comedic. It was completely hysterical to watch her dramatically lie back on her bed, one hand raised to her forehead, nostrils flaring, eyebrows overacting. And when she wasn’t using all of her energy to overdo her dramatic facial acting, she was robotic, stoic, apparently doing just what she had been told and nothing more. I will, however, admit that vocally she is an absolutely perfect Lady Macbeth. Powerful, commanding, skillful. If I liked the opera I would be searching for a recording featuring this beautiful voiced Ukrainian soprano.
As Macduff, Dimitri Pittas was stiff and unrelentingly intense; his portrayal had little or no texture and his singing, whilst technically sound, was nothing to write home about. Likewise Raymond Aceto’s Banquo was all intensity, no feeling, although there is rather more to be said for his voice, which was deep, strong and beautifully resonant.
I was also sad to be reminded how inconsequential a part Malcolm was in Verdi’s piece, especially given that he was being sung by wonderful Jette Parker Young Artist Steven Ebel. Having seen Ebel perform before I know he is capable of far more than either the part or the production offered him. Again, though, his voice – what little I heard of it – was beautiful.
From what I could gauge through the speakers at the HMV Curzon, Wimbledon, the orchestra of the Royal Opera House were on top form, which, given that they were under the baton of ROH Music Director Antonio Pappano, is no surprise. Skillful in most genres and aspects of opera, the Italian school is truly his forte.
Likewise the Chorus of the Royal Opera House, under Renato Balsadonna, were on fine form as usual and, as I’ve said, I did particularly like them as the witches.
Despite it’s better aspects, this truly is a production that did very little to enrich my artistic life. I left amused by the farcical moments, annoyed by how long Macbeth took to die, and absolutely certain about how I’m not going to direct Macbeth in August. Meanwhile I’ll be working on a new libretto and waiting for Harrison’s phone call.
