Opera’s 'Macbeth' gives standout performances

The first standout, among many, in the Kentucky Opera’s opening night production of Verdi’s “Macbeth” came when Lyne Fortin as Lady Macbeth was awaiting her husband’s return home after hearing prophecy from a group of witches that he will be king.

In the couple’s bedroom, Lady Macbeth conspired and relished the opportunity for her and her husband to attain power over Scotland. She climbed into the bed on her knees and writhed as she sang in a rich soprano. She caressed a knife and stood before a full-length mirror. Not only was her excitement infectious, so was her voice with its strong and rich haunting power.

Fortin’s performance — all the way through her character’s spiral into insanity and her last moment on stage singing a sorrowful and eerie high note — created a powerful center for this production, deftly directed by Keturah Stickann.

But that strength is reflected in the performances from the rest of the cast including Gregory Dahl as Macbeth, who maintained a sturdy demeanor. His baritone voice resounded with resolve as Macbeth pursued his rise to power through murder and deceit. Revelations of doubt came only in rare moments until the ghost of one of his victims, Banquo, began to haunt him.

Bass Soloman Howard as Banquo performed with a voice like molasses, strong and sweetly alluring. Tenor Gregory Turay as Macduff’s singing provided gleaming valor to his character’s resolve to avenge Macbeth’s murder of his family members.

Music director Joseph Mechavich led the Louisville Orchestra and the singers to seamlessly coordinate with clear instrumentation that never overpowered the voices on stage or vice versa.

Stickann deserves further credit for inventively arranging the characters on stage and keeping them moving to coincide with the libretto, particularly in the witches’ scenes and the banquet where Macbeth presiding as king comes face to face with the ghost of Banquo.

Her direction also deserves credit for ensuring clear visibility of scenes from further edges of the Brown Theatre — or at least the auditorium’s far left balcony, where this reviewer was sitting. (The lack of visibility from the theater’s sides has been a frequent problem with many of the opera’s productions here.)

Kentucky Opera takes on 'Macbeth,' ambition

But this Kentucky Opera production was hobbled by some of the design elements it used from a production designed by Canada’s Pacific Opera Victoria. Many of the heavily-used graphics throughout the production by projection designer Jamie Nesbitt and lighting designer Alan Brodie became tiresome.

Often, they distracted from the opera and made the production appear to striving to be a film instead of a live performance. Those projections often necessitated the use of an opaque screen or scrim. Nearly a fourth of the performance took place behind that scrim, including the scenes with the witches. It became more of an impediment in seeing the action rather than helping illuminate the story.

Kentucky Opera’s production of Verdi's “Macbeth” continues with a performance at 2 p.m. Sunday, Sept. 20 at the Brown Theatre, 315 W. Broadway. An opera preview will be presented one hour before the performance in the Brown Theatre Rehearsal Hall. An Opera Talk Back with conductors, stage directors and artists will take place after the performance in the Brown Theatre's first-floor conference room. More information: 800-775-7777; www.kyopera.org; www.kentuckycenter.org.

Reach reporter Elizabeth Kramer at (502) 582-4682 and ekramer@courier-journal.com. Follow her on Twitter @arts_bureau and on Facebook at Elizabeth Kramer - Arts Writer.