Dramatically forceful and robustly performed, Syracuse Opera's production of Giuseppe Verdi's "Macbeth" carries the weight of centuries filled with greed and gore. It is the perfect season opener, presenting a solid cast of spectacular vocal artists and evoking the eerie milieu of Halloween,
Innovative director R. B. Schlather intrepidly strips away all but the essentials to convey the corruption of political tyranny and the morbid conflicts of a greedy, power-hungry middle-aged couple. Details essential to the story arc, however, are never overlooked: helium-filled balloons float skyward to signal the death of King Duncan; pumpkins are eviscerated to foreshadow the brutality to come; glaring lights symbolize the flaming cauldron. Schlather's interpretation highlights the timeless nature of the story and emphasizes its relevance to ancient Scotland, 19th century Italy, and 21st century America.
The "Scottish Play," the first of three Shakespeare works Verdi set as operas, summonses witches and prophecies to tell the 11th century story of Macbeth and Banquo, generals in King Duncan's army. In the opening scene, they learn from witches that Macbeth will be king and Duncan will be the ancestor of kings. Macbeth's wife, having heard of the prophesy, plots the murder of Duncan just to make sure her ambitions for Macbeth to claim the throne are realized. The intrigue continues and blood flows freely as Macbeth wallows in guilt, and Lady plots more atrocities until her death by her own hand in Act IV.
Luis Ledesma sings Macbeth in tones as rich, smooth, and zesty as the chocolate-chili sauce of his Mexican homeland. Known for his operatic and concert stage performances, he is an experienced performer of Italian opera whose expressive baritone communicates the depth of anguish his character suffers.
Ledesma's dramatic voice is especially breathtaking in the Act III fainting scene, as he learns the news that Banquo's son will survive, a threat to his own rise to power. His final scene aria, when Macbeth acknowledges his failure and laments that his legacy will only be bitter curses, is emotionally dense, conveying at once the bogus king's false bravado and his ultimate despair.
Alexandra Deshorties brings her own special brand of chilling terror--suitable for Syracuse's Fright Night at the Fair--to her role as Lady. Macbeth's wife is no lady in the societal sense and, in fact, she begs to be relieved of her feminine qualities so she can be as ruthless as a warrior. Sopranos know that 34-year-old Verdi was not looking for bel canto lyricism when he envisioned this mad, ambitious wife. His score demands dark, diabolical tones and alarming passion, and this Lady fulfills those demands
Deshorties powerfully delivers her boisterous brindisi, or drinking song, in Act II, which is all the audience needs in order to grasp the artistic discipline behind her performance. She plays a vigorous, physical Lady Macbeth, always dominating her husband in gesture and stance. In the famous Act IV sleepwalking scene, Deshorties mesmerizes the audience as she curses the blood stains that won't be washed away. Hers is a talent that has already taken her to the world's most notable opera houses and concert halls; it was a privilege to see her in this demanding role in her recently adopted hometown of Syracuse.
For cathartic heartbreak amidst all the rage, Dominic Armstrong's affecting portrayal of Macduff conjures pathos in the opening scene of the final act, as he mourns the murders of his wife and children. The audience's applause affirms the beauty of his lyrical tenor. Italian bass Paolo Pecchioli, making his debut with Syracuse Opera in the role of Banquo, is captivating with his dark, enveloping voice and charismatic stage presence.
Hailed as a natural talent, Angolian tenor Nelson Ebo animates the role of Malcolm, the rightful leader, who returns to ascend to the throne of Scotland. Ebo's vocal purity, physical strength and commanding stage presence make him a natural monarch.
Paul Tate DePoo's scenic designs and JAX Messenger's lighting are stark--a few jack-o-lanterns and some picnic tables, with mostly white spotlights to flood the stage with contrast for mood and depth. Kitschy, contemporary costumes that hint at trips to the thrift store are Schlather's design, coordinated by Jody Luce.
The ensemble chorus, Richard Crawley chorus master, and the chorus of witches, as well as local children, provide essential story support. The chorus is brilliant after Duncan's death and in the final, victorious scene.
Symphoria musicians contribute rich intensity to the production, with Christian Capocaccia, their associate conductor and the artistic director of Syracuse Opera, leading them in a vigorous interpretation of Verdi's score. Capocaccia, a native of Rome, Italy, who has earned international acclaim, has established a sense of intimate communication with the orchestra that translates into a seamless, nuanced, and powerful performance.
With his wife, Deshorties, in a lead role and his 6-year-old son as Fleance, surviving son of Banquo, Capocaccia has made his first performance as artistic director a family affair.
THE DETAILS:
Who: Syracuse Opera with Symphoria and Syracuse Opera Chorus
What: Verdi's "Macbeth"
Where: Crouse-Hinds Theater, John H. Mulroy Civic Center
When: Reviewed Oct. 19; plays again Oct. 21 at 2 p.m.
Of Interest: Free conductor's talk for ticket holders one hour prior to curtain
Running Time: Approximately 2 hours 10 minutes with one 20-minute intermission
Language: Sung in Italian with projected surtitles in English
Tickets: From $26; students, $10; season tickets still available
Purchase: online at syracuseopera.org or by phone at 315-476-73