REVIEW: Macbeth (Lyric Opera Chicago)

 

Verdi’s "Macbeth" is a Beautiful Tragedy

 

32 Act Four, MACBETH pic12507 c. Robert Kusel

   
Lyric Opera presents
   
Macbeth
  
Composed by Giuseppe Verdi
Libretto by
Francesco Maria Piave
Directed by
Barbara Gaines
Music directed by
Renato Palumbo
at the Civic Opera House, 20 N. Wacker (map)   
through October 30  | 
tickets: $46-$207  |  more info

Reviewed by Keith Ecker 

If Shakespeare were a rock band, Macbeth would likely be the first track on the B-side of his greatest hits album. The classic tragedy about a power-hungry Scottish royal couple is certainly popular, but has never managed to reach the same lofty placement on the theatrical mantle occupied by Hamlet and Romeo and Juliet.

12 Nadja Michael, Thomas Hampson, MACBETH DBR_2517 c. Dan RestI can understand why. For me, the title character always came across as a brutish ogre who stomps around in fits of testosterone-driven rage. You can almost picture him delivering his lines, as poetic as they may be, in a series of grunts. He’s like the Arnold Schwarzenegger of the Shakespearean world.

But Lyric Opera’s production of Verdi’s Macbeth infuses the treasonous Scottish nobleman with a vulnerability I have never witnessed before. Perhaps it is because of the passionate singing, the low bellow delivered by performer Thomas Hampson, that allows you to really feel the emotions behind Macbeth’s words. Or perhaps it is that unique quality of opera wherein characters sing aloud their inner dialogue regardless of how many chorus members are on stage. Either way, this Macbeth may have a bold exterior, but there’s no mistaking that inside he hides a sensitive, insecure soul.

Although Hampson is billed as the star of the show, and he certainly delivers, the real standout is Nadja Michael as Lady Macbeth. This woman is absolutely outstanding, with a stunning presence anytime she’s onstage. The amount of endurance and vocal strength required to sing her four arias must be a harrowing task. Yet she does it without ever dropping her energy. And although the production is in Italian (with English super-titles), Michael’s acting and vocal inflection are paired so perfectly that you know what she is saying even if you have absolutely no clue what she is saying.

Leonardo Capalbo, as Macbeth’s foe Macduff, executes an aria in the fourth act that outdoes all the other male cast members. Sung right after he discovers Macbeth has slain Macduff’s entire family, it is a powerful and tragic piece that is infused with real heart, mourning and rage.

Unfortunately, Štefan Kocán’s portrayal of Banquo. Kocan is not as impressive – he has a uniquely guttural voice that, while I appreciate its distinctiveness, serves as a distraction.

21 Nadja Michael, MACBETH DBR_3062 c. Dan Rest 18 Nadja Michael, Thomas Hampson, MACBETH DBR_2666 c. Dan Rest
03 Nadja Michael, MACBETH DBR_2329 c. Dan Rest 29 Thomas Hampson, MACBETH DBR_3218 c. Dan Rest 23 Thomas Hampson, Nadja Michael, MACBETH pic11478 c. Robert Kusel
15 Act One, MACBETH pic22287 c. Robert Kusel 09 Nadja Michael, Thomas Hampson, MACBETH DBR_2463 c. Dan Rest

As you would guess, the Lyric does not shy away from spectacle. There’s plenty of eye-catching scenes throughout, including the opening which features not one but three actors flying through the air on cables. The set itself is towering, resembling a giant metal spaceship. Although it’s impressive in its scale, the futuristic look of the sleek metal seems out of place for a play in which swords are considered advanced weaponry.

Macbeth may be a man’s world, but that doesn’t mean a woman can’t steal the show. And Michael certainly does as Lady Macbeth. At the same time, the intensity of Verdi’s musical orchestrations brings unparalleled clarity to this Elizabethan classic, which – for all its action – really is about emotional tragedy.

For a combination of stunning spectacle and masterful acting and singing, Macbeth is the perfect production for those wanting to witness opera for the first time.

  
  
Rating: ★★★½
   
   

01 Act One, MACBETH pic04030 c. Robert Kusel

 

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Lyric Opera announces 2010-2011 season

fleur_de_lis 

Lyric Opera of Chicago

 

2010/2011 Season

 

The Lyric Opera kicks off its 56th season on October 1st presenting 68 performances of 8 operas in a 24-week period. On January 26, 2010, the upcoming season schedule was announced by General Director William Mason. Joining Mr. Mason at the press conference to discuss next year’s performances were Sir Andrew Davis, Music Director and Barbara Gaines, Director for Macbeth and Artistic Director for Chicago Shakespeare Theatre.

by Katy Walsh 


Macbeth  October 1st through 30th 

By Giuseppe Verdi
Italian with projected English translation (libretto) 
Directed by Barbara Gaines*, Artistic Director of Chicago Shakespeare Theatre
Conducted by Renato Palumbo
Principals: Thomas Hampson, Nadja Michael*, Dimitri Pittas, Stefan Kocan*, and Carter Scott
Extra Special: New production by designers James Noone (sets), Virgil C. Johnson (costumes) and Robert Wierzel (lights).

 


Carmen October 13st through 29th and March 12th through March 27th

By Georges Bizet
French with projected English translation
Directed by John Copley
Conducted by Alain Altinoglu*
Principals:

  • October: Kate Aldrich*, Yonghoon Lee*, Elaine Alvarez, and Kyle Ketelsen
  • March: Nadia Krasteva*, Brandon Jovanovich, Nicole Cabell and Kyle Ketelsen

Extra Special: Fire burning Warhorse!


A Midsummer Night’s Dream November 5th through 23rd 

By Benjamin Britten
English with projected English translation
Directed by Neil Armfield
Conducted by Rory Macdonald*
Principals: David Daniels, Anna Christy, Peter Rose, Keith Jameson, Wilbur Pauley, Kelley O’Connor*, Shawn Mathey*, Elizabeth DeShong, Lucas Meachem, and Erin Wall

Extra Special: Lyric Opera premiere – new production designed by Dale Ferguson* (sets and costumes) and Damien Cooper* (lighting).

 


A Masked Ball  November 15th through December 10th 

By Giuseppe Verdi
Italian with projected English translation
Directed by Renata Scotto
Conducted by Asher Fisch
Principals: Frank Lopardo, Sondra Radvanovsky, Mark Delavan, Stephanie Blythe*, and Kathleen Kim

Extra Special: New San Francisco production by designers Zack Brown (sets) and Christine Binder (lights).


The Mikado  December 6th through January 21st 

By William S. Gilbert and Sir Arthur Sullivan
English with projected English translation
Directed by Gary Griffin
Conducted by Sir Andrew Davis, Lyric’s Music Director
Principals: James Morris, Neal Davies, Stephanie Blythe, Toby Spence*, Andriana Chuchman, Andrew Shore, Phillip Kraus, and Katharine Goeldner

Extra Special: New production by designers Mark Thompson* (sets and costumes) and Christine Binder (lights).


The Girl of the Golden West  January 22nd through February 21st 

By Giacomo Puccini
Italian with projected English translation
Directed by Vincent Liotta
Conducted by Sir Andrew Davis, Lyric’s Music Director
Principals: Deborah Voigt, Marcello Giordani, Marco Vratogna*, David Cangelosi, and Daniel Sutin

Extra Special: Premiering at the Metropolitan Opera in 1910, this Puccini classic is celebrating a centennial anniversary.


Lohengrin February 11th through March 8th 

By Richard Wagner
German with projected English translation
Directed by Elijah Moshinsky
Conducted by Sir Andrew Davis, Lyric’s Music Director
Principals: Johan Botha, Emily Magee, Michaela Schuster*, Greer Grimsley, Georg Zeppenfeld*, and Lester Lynch

Extra Special: New production designed by John Napier* (sets and costumes) and Christine Binder (lights).

 


Hercules  March 4th through 21st 

By George Frederic Handel
English with projected English translation
Directed by Peter Sellars
Conducted by Henry Bickett
Principals: Eric Owens, Alice Coote, David Daniels, Lucy Crowe*, and Richard Croft

Extra Special: Lyric Opera premiere! New production designed by George Tsypin (sets), Dunya Ramicova (costumes) and James F. Ingalls (lighting).

 


fleur_de_lis * Lyric Opera Debut

Twenty-three subscription packages will be offered with a 25% down payment plan option. Individual tickets for the 2010/2011 will be made available closer to the beginning of the season. It’s never too early to make a plan to experience the majesty that is the Lyric Opera.