MOT’s Macbeth boils over with richness
DETROIT–Verdi’s Macbeth now playing at The Michigan Opera Theater is dark. The characters are dark. The lighting is dark. The story is, of course, a bit dark, what with the killings. But don’t let any of that stop you from seeing this fine production–the first time MOT has produced the classic.
Verdi and libretto author Francesca Maria Piave, as well as director Suzanne Mallare Acton, made some inspired choices to bring the Shakespeare play to life in greater metaphysical ways than was conceived by the Bard; an entire coven of witches swaying, scheming and singing to replace the mere trio that doubled and toiled in the play. We also have a back-story to Lady Macbeth, introducing her in the beginning of the story as a child playing with a doll–who is handed a knife by a witch, and then begins stabbing it. Yikes, yes. But effective.
Indeed, we see more of the ethereal witches in Verdi’s opera than we do in Shakespeare’s play; taunting Macbeth and delivering their fatal prophecies. There is a great deal of acting to be done in this opera on top of some very challenging singing. And the acting must carry through to the singing to pull the story off. Soprano Susanna Branchini played lady MacBeth opening night and does again on April 20th and 23rd–and was more than up to the challenge. The Italian actress fills her vocals with color and the range demanded of Lady Macbeth–from the smoky lower register all the way up to a gleaming D flat.
This production is noteworthy for how it stays rooted in the atmosphere of the original story, while still feeling new, fresh and modern. It is a performance that washes over you–the best of Verdi and Shakespeare!
Verdi wrote that Lady Macbeth’s voice should be “ugly and evil, and “hard, stifled and dark.” Conductor Stephen Lord and Branchini go for something else–more conniving and malevolent than starkly hard. She wears both her treachery and guilt like a pro. American soprano Jill Gardner will play Lady Macbeth on April 24.
Baritone Stephen Powell plays the title role (on April 16,20, 23) extremely well–delivering the character in earthy, mellow tones with smooth legato. Michael Chioldi sings the part on April 24. Macduff is played ably by tenor Leonardo Capalbo, and he especially shines with a heartfelt “Ah, la paterna mano,” sung over the bodies of his family–truly one of the most wrenching parts of the opera. Banquo is played by Turkish bass Burak Bilgili.And it should be said that the ensemble, especially the witches, carry their incredibly important burden in the show with great craft.
The set, designed by Noele Stollmack, features multiple projected images as the stage’s rear screen and front scrim gets a lot of use. Lighting, so correctly lugubrious at times, is by Donald Thomas.
A free opera talk-back with Dr. Wallace Peace begins one hour prior to each performance. The Wednesday, April 20, performance, will be broadcast live on WRCJ 90.9 FM.