Opera Reviews
29 March 2024
Untitled Document

A musically and dramatically mixed Macbeth



by Moore Parker
Verdi: Macbeth
Vienna State Opera
17 October 2015

As the Vienna State Opera’s first production of the season, this Macbeth’s strengths (Christian Räth, director) most definitely lie in its musical spheres. The setting features several mobile tenebrous grey towers, with neutral props and costumes (Gary McCann) including military uniforms which could serve any modern war lord, as well as any number of other operas.

Nevertheless the production was effective in portraying the spotlighted cycle of ambition and crime as blood soils hand upon hand, and the evident corruption as two innocents are arrested by Forensics who present the fatal weapon in a plastic bag for examination following Duncan’s murder. 

Despite use of the revolving stage, scene changes are tediously lengthy, leaving an overall impression of disconnected tableaux as well as a certain incoherence. The witches are truly granted their leading role however - appearing in various constellations and well choreographed with their eerily unending black-sleeved garb, and eventually tormenting Macbeth in his sleep through a claustrophobic ballet episode in which dancers crawl with blood-stained garments across their victim’s writhing body. Otherwise, the leading protagonists generally go about their business in standard operatic modus. 

Top marks to Mark McCullough (lighting) and Nina Dunn (video) for exceptionally powerful lighting, and effects.

In the title role, George Petean produces some very well schooled singing which - while expanding in expression (Act 4’s 'Pietà, rispetto, amore,' in particular) as the evening unfolds, nevertheless fails to wholly triumph. The character remains somewhat on the drawing board, lacking the depth to fully impact. However, as an initial reading (which this is), it is unquestionably a notable achievement.  

Giving her house debut as The Lady, Tatiana Serjan, undoubtedly brings much to her Verdian finesse from the close collaboration with Riccardo Muti. Much of the phrasing displays fine lyricism and style (though an unfortunate loss of pitch in the final a cappella phrases of 'Vieni! t’affretta!' resulted in a crashing discord when the orchestra entered for the cabaletta, 'Or tutti, sorgete…' on this evening) - and in general the scale work could have been crisper throughout. The sleepwalking scene ultimately served as Serjan’s climax - advantaged by a voice which tapers off toward its top, thus accessing heady lyricism - rather than yielding the ideal attack required in Lady Macbeth’s two earlier arias, as well as in Act 2’s Brindisi. Naturally this deficit casts a shadow when initially proclaiming the character’s purported ruthlessness and strength. Serjan’s acting is, however, intensely focussed and credible, leaving the overall impression of a well-rounded reading.

Arguably producing the greatest number of decibels in the cast, Jorge de León’s Macduff won presence (and positive audience reaction) through volume rather than style in this, one of Verdi’s lesser rewarding roles. 

Unmistakably Italian in dramatic and musical instinct, Ferruccio Furlanetto towers among his colleagues as a compelling and touching Banco - albeit (quite naturally) with a timbre not left untouched by three and more decades of service. 

The remaining cast was solid, with particular marks going to Jinxu Xiahou’s Malcolm for his clean, unmannered vocal production and intense portrayal.

The Vienna State Opera chorus truly rose to the considerable challenge this work poses - indeed Act 4’s opening 'Patria oppressa' was one of the vocal and dramatic highlights of the evening.

Alain Altinoglu and the Vienna State Opera Orchestra truly pulled out all the potential stops in a subtly detailed reading full of passion and drama, and unfailingly united with the stage.  

Text © Moore Parker
Photo © Wiener Staatsoper / Michael Pöhn
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