Macbeth

Verdi is always an ambitious ask for any opera company. State Opera of SA’s production of Macbeth is no exception. Full of rich orchestration, thrilling arias and duets, rousing choruses, and a plot by the Bard himself, it relies on visual and aural impact from start to finish, this production succeeds in many ways.

Macbeth was the first Shakespeare play that Verdi adapted for the operatic stage. Almost twenty years later, Macbeth was revised and expanded in a French version and given in Paris on 21 April 1865.

Francesco Maria Piave's text was based on a prose translation by Carlo Rusconi that had been published in Turin in 1838. Verdi did not encounter Shakespeare's original work until after the first performance of the opera, although he had read Shakespeare in translation for many years.

Any avid theatre goer knows the plot of Shakespeare’s immortal story and the curse that goes with the play supposedly by real witches.

A witches’ prophecy, and fierce ambition, lead Macbeth and his wife to commit ruthless acts of violence against their family and friends, until they are both driven mad with the guilt and consequences of their actions. Lady Macbeth’s descent into madness, in her famous sleepwalking scene, is considered one of the most sublime moments in all of Verdi’s operas.

Director Stuart Maunder sets this Verdi classic in an open stage with multiple columns that are moved in different configurations by the cast providing multiple acting areas. Maunder focuses on the drama between Macbeth and Lady Macbeth and the people involved in their story. His placement of performers onstage fills the acting space preventing the stage becoming cavernous (except for effect).

Conductor Finnegan Downie Dear’s orchestra has everything we expect from Verdi and more - lush strings, vibrant brass, and booming percussion. Bravo!

Roger Kirk’s set and costume designs are deceptively simple but produce maximum effect, particularly the men’s court clothing which is beautifully layered.

At the opening of the opera, the stage is bare with shadows and a mist hanging in the air reminiscent of the Scottish moors thanks to Trudy Dalgleish’s atmospheric lighting including light corridors and stark effects for Duncan’s death and the ghost scenes. Unfortunately, there are many times when the general lighting state is too low resulting in the facial expressions of minor characters and the chorus not being seen clearly.

José Carbó inhabits the title role of Macbeth. It is a massive role with Carbó onstage for the majority of the opera. His ‘Fuggi regal fantasima’ from Act 3 is an emotional roller coaster sung masterfully, as is ‘Pietà, rispetto, amore’ from Act 4.

Kate Ladner as Lady Macbeth starts tentatively in the first half, but gives a moving performance in the second, particularly the famous ‘Una macchia è qui tuttora!’ or sleepwalking scene. She is the strength behind Macbeth and also his downfall. Her ‘Vieni t'affretta’ from Act 1 Scene 2 is another highlight.

Pelham Andrews has a glorious bass voice and excels as Banquo particularly in ‘come da ciel precipita’. He is a truly haunting presence as a ghost drenched with blood.

Paul O’Neill’s MacDuff is a crowd pleaser. His ‘Ah, la paterna mano’ in Act 4 is a highlight.

The principal cast is completed by Tomas Dalton (Malcolm), Nicholas Todorovic ((Duncan/Doctor), Fleance (Elliott Purdie) and a wonderfully sung cameo of Lady in Waiting (Teresa LaRocca).

The chorus (under the direction of Anthony Hunt) add depth to the large numbers. The male chorus are to be commended for their projection and richness of sound. Unfortunately, the female chorus were at times swamped by the orchestra and could not be heard.

Macbeth is a worthy addition to the State Opera repertoire. It is a magnificent opera and gives me hope that Otello will be reconsidered in the future (it was last staged in 2014).

Barry Hill OAM

Photographer: Tyr Liang