Verdi's "Macbeth" at the ROH
This run of performances has gathered very mixed notices including some very bad ones from people whose opinions I respect and normally agree with. For myself I thought this was definitely one for the ‘success’ column of the ROH.
Starting with the title role, I thought this one of the best and most sensitive performances Thomas Hampson has given for some time. Sensitive? Macbeth? I can hear you say… Yes indeed, I reply. There is a great deal of subtlety in Verdi’s role and throughout the opera there is great contrast between the dark, quiet shadowy music (often conversational in tone) and the grander (particularly more public) moments. I felt that Hampson (assisted by the conducting of ROH debutant Yakov Kreizberg) captured this excellently.
It was announced that Violeta Urmana was suffering from a cold. Her opening aria was a little tentative and the top D flat in the sleep-walking scene just didn’t happen. That said, this was a considerable performance of vocal weight, particularly in the lower part of the voice.
John Relyea’s voice was neither as attractive nor as sonorous as I remember it. Joseph Calleja sang Macduff. He has a very penetrating voice (clearly audible in the ensembles) but the fast vibrato gives it a slightly ‘bleating’ quality. I am not sure where I see this singer’s career going.
The only member of the cast that was below an acceptable standard for the ROH was Andrew Sritheran as Malcolm. His fellow ‘Young Artist’ Robert Gleadow made considerable impact as the Doctor.
Yakov Kreizberg’s conducting was crisp and lively, with excellent support for the singers and an impressive contrast between the quieter, private moments and the large and loud events. The chorus and orchestra made an excellent noise.
I found Phyllida Lloyd’s production showed many of her best qualities. It was intelligent and effective with many of her innovations clearly arising out of either music or text. I liked the idea of the witches as the continuing agents of fate, even intervening to save Fleance. The colour themes were effective as was the unflinching portrayal of the violence and cruelty of the Macbeths’ world (all those on-stage corpses). And again, the contrast between the dark, claustrophobic and private and the open and public was effectively shown.
The best tribute I can pay to production and performers is that I left the theatre probably more impressed by the quality of Verdi’s opera than by any other performance of it I have seen.
Starting with the title role, I thought this one of the best and most sensitive performances Thomas Hampson has given for some time. Sensitive? Macbeth? I can hear you say… Yes indeed, I reply. There is a great deal of subtlety in Verdi’s role and throughout the opera there is great contrast between the dark, quiet shadowy music (often conversational in tone) and the grander (particularly more public) moments. I felt that Hampson (assisted by the conducting of ROH debutant Yakov Kreizberg) captured this excellently.
It was announced that Violeta Urmana was suffering from a cold. Her opening aria was a little tentative and the top D flat in the sleep-walking scene just didn’t happen. That said, this was a considerable performance of vocal weight, particularly in the lower part of the voice.
John Relyea’s voice was neither as attractive nor as sonorous as I remember it. Joseph Calleja sang Macduff. He has a very penetrating voice (clearly audible in the ensembles) but the fast vibrato gives it a slightly ‘bleating’ quality. I am not sure where I see this singer’s career going.
The only member of the cast that was below an acceptable standard for the ROH was Andrew Sritheran as Malcolm. His fellow ‘Young Artist’ Robert Gleadow made considerable impact as the Doctor.
Yakov Kreizberg’s conducting was crisp and lively, with excellent support for the singers and an impressive contrast between the quieter, private moments and the large and loud events. The chorus and orchestra made an excellent noise.
I found Phyllida Lloyd’s production showed many of her best qualities. It was intelligent and effective with many of her innovations clearly arising out of either music or text. I liked the idea of the witches as the continuing agents of fate, even intervening to save Fleance. The colour themes were effective as was the unflinching portrayal of the violence and cruelty of the Macbeths’ world (all those on-stage corpses). And again, the contrast between the dark, claustrophobic and private and the open and public was effectively shown.
The best tribute I can pay to production and performers is that I left the theatre probably more impressed by the quality of Verdi’s opera than by any other performance of it I have seen.
posted by Alnwickian at 4:24 pm
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