Reviews

Macbeth - an engrossing night at the theatre

20/09/2010

PUBLICATION: New Zealand Herald
REVIEWED BY: William Dart
WHERE: Aotea Centre, Auckland opening

Tim Albery's restaging of his 2008 Opera North production of Macbeth for The NBR New Zealand Opera is an engrossing night at the theatre.

Its virtues, in the words of Ira Gershwin, are varied and many; musically solid, with pacing that, thanks to Verdi, his librettist Piave and one William Shakespeare, any Broadway musical might envy.

A versatile back wall serves as Shakespeare's blasted heath, housing a door for the entrance of victims and exits of corpses and, most importantly, providing perches for three malevolently meddlesome witches.

Spectral withered trees, eventually seconded for Birnam Wood, might be seen as inverted witch brooms, although Albery's crones, presented as drab charladies, would be more likely to use them for sweeping than flying.

The chorus is crucial to this opera, and Albery uses it with ingenuity, even if some gleefully negligent baby-handling at one point might raise Kiwi eyebrows. The women respond with some of the most focused singing the Chapman Tripp Opera Chorus has yet come up with. The combined power of the chorus is showcased in Verdi's a cappella moments (punctuated with ominous timpani), the sheer passion of Patria oppressa rivalling the choral triumphs of Nabucco.

Antonia Cifrone, as Lady Macbeth, is one lean, mean queen. She prowls around the stage like the more glamorous sister of Elena Ceausescu, dispensing malice and the vocal fire to go with it. Yet her final sleep-walking scene is a poignant leave-taking.

Michele Kalmandi is an appropriately tormented Macbeth, his generously toned baritone showing up the less lustrous voice of Jud Arthur's Banquo in their duet, Due vaticini. Yet there is no denying Arthur's noble portrait of the hero's ill-fated friend.

Roman Shulackoff's triumphant turn as Macduff makes one wish Verdi had expanded the role and, among solid local support, Derek's Hill's forceful Malcolm stands out.

Auckland Philharmonia Orchestra responds well to the baton of Guido Ajmone-Marsan, and the contributions of a sweet-toned off-stage wind band at one point do not go unnoticed.

Macbeth plays for only three more performances this week. It deserves support from anyone with an interest in theatre. And, with the company's generous $25 for under-25s deal, it is the perfect opportunity for a new generation to get hooked on opera - a worthy addiction if ever there was.

Macbeth is playing at the Aotea Centre until September 25.

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Did you know?

Early opera resembled the atmosphere of a race course - chatting, food, laughter and loud comments were the norm.

During all our opera performances an English translation of the libretto is projected on screens above the stage, so you can easily follow the story.

If you are 25 years old or under you can purchase $25 tickets at the venue box office before any performance.

The world's longest opera is Wagner's The Ring Cycle, lasting over 14 hours plus intervals. That's 18 hours at the theatre.

The world's longest applause lasted for 1 hour and 20 minutes as a standing ovation. The opera: Otello starring Placido Domingo.

On average, an opera will last between 2 and 3 hours, with one interval in a two act show, and two in a three act show. Operettas and musicals tend to be shorter.

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