Though he notoriously falls from glory at the end of Act 5, tomorrow and tomorrow and tomorrow shall Macbeth live on, on stage and in film and, curiously enough, in opera. Giuseppe Verdi adapted three of the bard’s plays, Macbeth being the first, and they premiered in Florence in 1847.
A new production of the opera premiered at the Metropolitan Opera House on Oct. 22 and played again on the 26th at the Metropolitan Opera to two packed houses. It is a stunning show, directed by Adrian Noble and conducted by the inimitable James Levine, with superb performances by the leading actors.
Unlike Verdi’s other operas, the music in Macbeth is generally unmemorable—but this does not detract from the opera. Rather, the dramatic and catchy arias which abound in other works by Verdi would distract from the compelling story. Fittingly, the music here serves mainly to propel the plot.
Adapting Shakespeare into any form is a daunting task, and adapting it into this genre seems particularly so. The drama of the narrative—the unending greed and ambition of the title character, the fierce love between him and his wife, and their rapid fall from glory—is fitting to the over-the-top quality of opera. The play makes a smooth transition in this sense, but other aspects are not so cohesive in translation, including literal translation.
Seeing the words of William Shakespeare played out in Italian seems a bit like heresy to a devotee. The language is even odder when juxtaposed with the Scottish countryside where the action plays out, and it is disconcerting when unknown words are sung out, but translated as “Out, out, damned spot” on the digital subtitles. But the mind adjusts to the strangeness after a while, especially with all of the lovely distractions provided by that countryside.
Noble reset Macbeth in post-World War II Scotland, and the corresponding set and costumes—both designed by Mark Thompson—are nothing short of stunning. The curtain that descends between acts features a large, ominous full moon with dark clouds circling the perimeter. The stage is dark, dark, and darker, which stands out particularly during Lady Macbeth’s—played by Maria Guleghina—first scene, when she appears in only a slight white nightdress. A large, round background encompasses the rear of the stage, opening at the top to reveal an expansive night sky, which adds depth to the entire setting. The sky, evidently a projection screen, transforms into a swirling green mass when the action really heats up.
The whole production appears to take place in a dark forest—the background is supported by tree-like columns, while other massive trunks move around the stage, controlled by an invisible force. The overall effect is eerie, and perfect for the text.
Verdi apparently had few qualms about revising Shakespeare. The three witches who fuel Macbeth’s downfall have been transformed into an entire chorus of old-lady purse-bearing women and girls, who form quite a powerful wall against the unsuspecting Macbeth and Banquo.
When Lady Macbeth first appears and learns of her husband’s sudden rise in position, she immediately worries about the violence which will ensue—far more foreshadowing than presented in the original text.
Macbeth is impressively portrayed by the Serbian baritone Željko Lučić, who must simultaneously play one of the most challenging theatrical roles written and sing a wide-ranging part. Impressive all along, he proves his chops during Act 4 with the rousing “Pietà, rispetto, amore,” causing one audience member in the Friday night performance to lose his stiff-lipped opera decorum and shout “Bravo!”
The chemistry between Macbeth and his lady is driven by their mutual bloodlust. They sing of “the ecstasy of power” and “ruthless violence,” then collapse lustfully into each other.
Another stand-out performance is John Relyea as Banquo, the loyal friend who is destroyed by Macbeth’s ambition and comes back to haunt him during a celebratory dinner, wearing a blood-soaked shirt. Relyea’s bass is incredibly low and powerful, but his mere silent presence during that scene is enough to stop all other action on stage.
All three of the lead performers are not only exemplary singers but talented actors, taking on their respective roles with the evident preparation required of anyone playing a Shakespearean protagonist.
Macbeth clocks in at just under three hours, but feels far shorter than that: the combination of a talented cast and orchestra, beautiful set, and one of the best stories of all time holds the audience’s attention until the bitter end.