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A riveting and bloody Macbeth

11/10/2010

PUBLICATION: www.wotzon.com Wellington
REVIEWED BY: Heather McDonald
WHERE: St James Theatre, Wellington

After the gaiety of comic opera The Marriage of Figaro, The NBR NZ Opera brings us something completely different with Verdi’s Macbeth, a dark and intense exploration of the depths a person can go in pursuit of a throne. Murder, corruption, greed, ambition and revenge all play a part in this adaptation of Shakespeare’s famous tragedy and this production brings them all to the fore.

This is a re-staging of the 2008 Opera North (UK) production of Macbeth, created by Tim Albery. It’s a bleak but captivating production, and the description ‘bloody good opera’ seems apt here.

The first thing you lay eyes on as the curtain goes up is the three witches perched seemingly impossibly on a sheer grey backdrop, as if they are hovering on invisible broomsticks. They slowly unfold, step off their perches and with quiet confidence command the stage. From this moment they are omniscient omens of the atrocities to come, and their constant presence casts a foreboding light on proceedings.

It can be challenging to stage a classic like this in a fresh way but the NZ Opera (and Opera North) have succeeded here. This is a new take on the Scottish play with not a scrap of tartan or a hint of bagpipes, and it was executed well.

The staging was particularly notable due to the tall ‘branches’ used in a variety of ways and the effective use of intriguing shadows cast onto the backdrop. The black, blue and grey hued costumes also suited the dark nature of the setting.

While there is there is plenty of blood on show, the murders often take place behind screens or off stage, allowing us to focus on the aftermath of the acts and their impact on the psyche of those left standing rather than the acts themselves.

There were a couple of moments where I found the macabre aspects a little unsettling though – it’s not clear whether the audience should be amused or horrified when the chorus of maids begin playing catch with newborn babies in one prophetic sequence.

Romanian baritone Michele Kalmandi was a commanding and convincing Macbeth, while Italian soprano Antonia Cifrone handled the intense role of Lady Macbeth with ease. Her sleepwalking scene didn’t quite have the impact I was expecting, being more dazed and remorseful than tortured depravity, but she had a firm grasp of the demanding vocal and emotional elements of the role.

Roman Shulackoff shone in the role of Macduff – his aria in Act Four was quite impressive. The Chapman Tripp Opera Chorus was in fine voice again, and they had to be as they were used extensively throughout the performance in many roles.

It’s the combination of visually arresting staging, powerful vocal performances and a compelling storyline that makes this production of Verdi’s Macbeth a riveting night at the opera. Don’t miss it.