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Michele Kalmandi brings true Verdi style to Macbeth

23/09/2010

PUBLICATION: The Opera Critic
REVIEWED BY: Michael Sinclair
WHERE: Aotea Centre, opening night

Macbeth, as it is performed today, is something of a hybrid. Written in 1847 very much during Verdi's early period, it underwent substantial changes when the composer was asked to present the work in Paris in 1865. By this time Verdi had already written three of his greatest works - Rigoletto, Il Trovatore and La Traviata - and therefore these changes should theoretically bring some maturity to the original opera. However the current performing edition, a mixture of the two versions, still seems to place the opera dramatically and musically in the earlier camp and falls well short of the insights that Verdi was to bring to his other Shakespeare based opera, Otello. Despite its weaknesses Macbeth remains a regular in the repertoire mainly because of the strength, both musically and dramatically, of the two principal protagonists, Macbeth and Lady Macbeth, but it needs to be presented with flair and imagination if it is to overcome some its musical weaknesses.

Tim Albery's restaging of his production for Opera North makes a solid case for the work in an updating that is suitably dark and compelling, while remaining faithful to both Shakespeare and Verdi. There is more than a whiff of fascist Italy in the 1940's in both the setting (Johan Engels) and costumes (Brigitte Reiffenstuel), but this does not undermine the underlying story and the political overtones and power struggles that are at the heart of the plot. If there is a weakness it is that Albery has run out of ideas by the second half of the evening leaving little new dramatically during some of the opera's strongest scenes.

The action takes place in a single setting. There is a gray curved wall at the back of the stage that constantly acts as a brooding backdrop to the dastardly deeds that are being played out before it. Chairs line each side of the stage as the curtain goes up and these are moved into the action as required. A few other props litter the stage - bare movable trees, newspapers and most importantly of all a bed that is wheeled on and off stage on a regular basis. The bed is the one Duncan is murdered in; the one Lady Macbeth alights from for her sleepwalking scene and acts as a hospital bed for the witches' gruesome deeds. Bruno Poet's evocative lighting adds to the sombre mood, although a little more care could have been taken to light the singers' faces.

It has often been said that the witches are the third leading character in Macbeth and this is definitely the case in Albery's production. Presented as a bunch of cleaning ladies, turned nurses on occasions, they are omnipresent throughout the evening. From dispensing prophecies to delivering babies (miscarried or otherwise) they weave their way in and out of the action constantly reminding us of their power over the course of events.

Vocally the performance is of a consistently high standard. Michele Kalmandi is outstanding as Macbeth. He has a true Verdi baritone with a warm burnished tone that is consistently beautiful and even throughout the range. The sense of anguish that the character feels just before he goes into battle is passionately delivered by Kalmandi in "Pietà, rispetto."

In comparison Jud Arthur's Banco is somewhat stiff vocally although the gruffness in his portrayal is in character. Roman Shulackoff, returning to New Zealand after his impressive Lensky last year, makes the most of the short role of Macduff, making one wish that Verdi had somehow been able to expand the character. Derek Hill also impresses in the even shorter role of Malcolm.

Antonia Cifrone sang the role of Lady Macbeth in the original Opera North production and now repeats it here in New Zealand. It is a serious and intelligent portrayal that combines musical accuracy with dramatic insight, strutting the stage like a prowling leopard about to attack her prey. However her overall interpretation remains a little too controlled - 'La luce langue" is strangely underwhelming, while her sleepwalking scene is more poignant than deranged. Nevertheless this is a solid performance even if it doesn't quite have us on the edge of our seats.

If you need any evidence that this is a Verdi opera you will hear it in the choral writing. His ability to integrate the chorus into the storyline and create memorable musical moments is one of his singular talents and is plainly on display here. The Chapman Tripp Chorus are on top form whether as witches, party guests or Scottish exiles. The opening chorus of Act IV, "Patria oppressa" is delivered with heartfelt emotion as the exiles read about the events in their homeland in newspapers.

Holding the proceedings together is conductor Guido Ajmone-Marsan who guides the Auckland Philharmonia through the score with flair and panache. Overall Macbeth may lack the musical invention of his later operas, but nevertheless this was a performance that faced up to the challenges and delivered impressively on a number of fronts.