Macbeth [Import]

If the concept behind Phyllida Lloyd's direction at the Royal Opera House production of Verdi's Macbeth (revived here under director Harry Fehr) isn't immediately obvious and doesn't seem totally coherent, it's perhaps because the marriage of Verdi and Shakespeare itself in this earlier opera of the composer (unlike the magnificent later adaptations Otello and Falstaff) isn't the most consistent or coherent either. Lloyd's production however remains faithful to Verdi's imperfect interpretation of the work, working closely to mirror the tone of the production with what Simon Keenlyside, in an accompanying interview on the DVD and Blu-ray, vividly describes as the "black tides" of Verdi's score. Partly, that's mirrored in the black, white and red colour schemes, but there's also a sense that the production wants to put all the dark violence, all the horror and its consequences right up there on the stage also.

Here the true nature of the violence is made ever present, and the full extent of its consequences made real. The reign of blood that is embarked upon is visible throughout here and no amount of hand-washing will completely erase it. The stage is often littered with the bodies of Macbeth's crimes that usually take place off-stage, and since all this is so vividly described in Verdi's score, why shouldn't it? Directing the orchestra of the Royal Opera House, Antonio Pappano seems determined also to tease out some greater subtleties in the score that aren't really there (although the Currentzis/Tcherniakov production for the Paris Opera would beg to differ) and, consequently, it's a little bit too delicate when a bit of a heavier punch would be more appropriate, but it does nonetheless manage to draw that gloomy darkness out of the work very well. For all its efforts to put the horror up on the stage and the close attention paid to the score however, there's initially a detachment between the orchestration and the performances in Act I at least, which seems to be down to there not being enough attention paid to the acting. Things warm up a little by the end of Act II, Act III's potions, prophesies and apparitions are delightfully staged, and thereafter the deepening horror of the drama and the score starts to make the full extent of its presence felt.

At the very least, the listener will be beaten into submission - as they should be - by the singing and presence of Lady Macbeth. The formidable ringing tone and sheer power of Ukranian soprano Liudmyla Monastyrska's voice certainly achieves that, even if there isn't always an emotional depth behind her pronouncements and her acting ability is practically non-existent. With that voice, and Verdi behind it, that's not something to worry about in this particular opera however. On the lighter end of the register Simon Keenlyside is a true Verdi baritone. His consideration of his lines and delivery of them makes real the forced bravado and the underlying horror of his fate that lies in his character. That's quite impressive, particularly in his death scene aria 'Mal per me' (the opera working from Verdi's 1865 revision of the opera, but successfully reinstating some of the 1847 cuts like this one). Banquo is also well served by American bass, Raymond Aceto, and his Gran Scena 'Studia il passo, o mio figlio' is sung very well.

The Blu-ray release of Macbeth is up to the expected high standards, the strong high contrast lighting showing good detail, while the mixing on both the PCM Stereo and DTS HD-Master Audio 5.1 tracks give a fine account of the score, the mixing (along with Pappano's conducting), achieving a good balance between the orchestration and the singing voices. Extras on the BD include a Cast Gallery, Behind the Scenes Rehearsals and Interviews with Simon Keenlyside, Raymond Aceto and Liudmyla Monastyrska. Subtitles are in Italian, English, French, German and Spanish.

Shakespeare's irony filled tragedy of the Scottish warrior and governor (or Thane) whose ambition drives him to murder always makes for great stage and screen. Verdi's librettist, Francesco Piave, sets the Shakespearean English into singer-ready common Italian and compacts the play into a fairly concise - and very compelling - two hours plus. It is also very interesting to watch and listen to how the essential roles are written. Macbeth and his conniving wife are written very chromatically and with some wonderfully threatening parts. King Duncan, his son Malcolm and Macduff, the general of the forces loyal to Malcolm, are given more "pure", higher and less sinuous vocals as if to draw sharp contrast between good and evil. This is some of Verdi's best music and among his most dramatic - and violent - stories, as is befitting the dark original play. This production. originally presented in 2002 at the Royal Opera, presents a visually stunning look and feel by director Phyllida Lloyd and designer Anthony Ward. Heavy on symbolism, there is the gilded cage that the murdered king's crown sits in until it is taken by Macbeth, seeming to symbolize the unattainable - or the not rightfully obtained. The poles of wood carried by the rebel army from Birnam Wood visually echo the sticks used by the cadre of red turbaned witches, with their fairly creepy "unibrow" appearance. The physical set is spare, minimalist with bursts of red - bloody and matching the turbans and the bright gold of the king's horsemen is echoed almost in parody by the armor worn by Macbeth and Lady Macbeth. This particular performance is of the 2011 revival and the performances are fantastic as well. Simon Keenlyside is a lean, warrior looking man who portrays his character with a nervous energy and a paranoia that grows as he realizes how accurate the witches' coven seems to be in forecasting his doom. I thought Liudmyla Monastyrska as Lady Macbeth presented perfectly as the conniving, self serving and - eventually - deranged and paranoid individual who wanted wealth and royalty by using her vain husband. Excellent performances are also given by Steven Ebel as Malcolm and Dimitri Pittas as Macduff. The orchestra and chorus of the Royal Opera House under maestro Antonio Pappano perform very well. Pappano's pacing is spot on and his use of exactly the right blend of punctuated brass and lithe string textures is exactly what is needed in Verdi. The chorus of warriors and courtiers was superbly trained by Renato Balsadonna. I enjoyed this production throughly as the first "Macbeth" I had seen (have only heard it before). This beautifully packaged DVD with excellent sound and crisp visuals makes a strong addition for any opera collection. It would even be a very compelling experience for someone just getting into opera. Well worth your time!

I must admit that whenever I see Simon Keenlyside's name associated with an operatic production based on Shakespeare I immediately have high expectations. And this production does not disappoint in the slightest.

Everyone is familiar with the story of Macbeth, but Mr. Keenlyside brings a true-seeming broodiness to the title role - at first reluctant, then willing to commit murder at the urging of his wife (played masterfully by Liudmyla Monastryska), then expecting to triumph over the dictates of fate and finding that what the coven of witches revealed to him is becoming all too true. It is a testament to Mr. Keenlyside's performance that you feel both sad for his character and glad to see him get what is coming to him all at the same time. The imagery of the crown being kept in a golden cage fits perfectly.

As for Lady Macbeth, Ms. Monastryska is captivating, initially greedy and cunning, but subtle and driving at the same time, simultaneously evoking feelings of sadness and just desserts as the deeds that she and her husband have done drive her sleepwalking - and the blood that has been shed preys on her subconscious. Verdi demands vocal gymnastics from his leading lady, and she delivers with room to spare. Simply marvelous.

As for the overall production itself, it is well staged, not too much set and not too minimalist, with just the right amount of blood evidenced for this viewer. Antonio Pappano does a good job with the orchestra, supporting the production and not distracting from it, while at the same time responding to the nuances of his cast. And the coven of witches (lots of them!) all in scarlet turbans is a nice touch. I enjoyed this immensely. Highly recommended!