Reviews

Message sung with stinging passion

11/10/2010

PUBLICATION: The Dominion Post
REVIEWED BY: John Button
WHERE: St James Theatre, Wellington

In a sense this is a big gamble for The NBR New Zealand Opera, for Macbeth is not one of the more popular Verdi operas, and it is the perennial favourites that balance the books.

But it is a gripping opera, made fascinating for buffs with its mixture of Verdian styles. It first appeared in 1847 and then was re-thought for Paris in 1865, and it is this version, without the ballet the French required, that is usually performed these days.

It is not a strict retelling of the Shakespeare play, but the essence is there – and how! With irresistible verve and tension and blood and guts, Verdi drives home Shakespeare’s message, and this production does so in spades. Here we have the transplanted Opera North production from 2008, directed by Tim Albery, set in modern times – a drab East European world circa 1950 – with a suitably stark set dominated by a curved back wall. Costumes, too, are drab and Bruno Poet’s lighting allows little mystical romanticism to intrude. The witches, rather than the usual cackling trio around a fire making predictions, are charladies who are a constant presence, prodding and provoking, and during more surreal moments they expand in numbers like a horde of sinister djinns.

The protagonists are very assured. Michele Kalmandi is a vocally splendid, theatrically believable Macbeth and the experienced Antonia Cifrone is superb as Lady Macbeth. She handles the mixture of styles with great assurance, moving from bel canto coloratura to more direct drama with complete aplomb.

Jud Arthur is more problematic as Banquo. His acting is a touch wooden, the voice is rich but woolly and his wide vibrato often disguises the note. However, he remains believable. Verdi provides only one tenor role, and that is brief – maybe explaining the comparative rarity of productions of the opera. Still, Roman Shulackoff makes the most of his brief appearance and all the minor roles are well taken.

But, Macbeth, more than any other of the Verdi operas – apart from, maybe, Nabucco – needs a great chorus and here it is served with singing of stinging passion and great precision. The big moments are absolutely spine-tingling, helped by the marvellously urgent conducting of Guido Ajmone-Marsan, and the richly confident playing of the Vector Wellington Orchestra.

Wonderful entertainment.



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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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