Met’s Starry ‘Macbeth’ Shines Through Gloom Of Tragedy, Corruption

This fall, Verdi’s Macbeth has become a favored choice among opera companies, with at least ten organizations worldwide spotlighting the work to open their seasons. Among these, the Metropolitan Opera’s production, which premiered on September 22, stands out for its blend of illustrious casting and fresh directorial vision.

The Met’s staging introduced audiences to director Louisa Proske, a 42-year-old Berlin-born artist who has been gaining prominence across Europe and New York. Proske, who studied English literature at Cambridge and co-founded the innovative Heartbeat Opera in New York, brings a nuanced understanding of Shakespeare’s text to her operatic endeavors. Known for her dynamic yet intimate productions, this Macbeth marks a departure from her usually minimalist approach, embracing instead a richly detailed and atmospheric presentation.

The production’s visual language, designed by Jon Bausor, immerses the audience in a world marked by decay and menace. A revolving stage toggles between a dilapidated palace interior and an outdoor battlefield cluttered with rubble, enhancing the narrative’s tension. The sets utilize mist and shadows, with Adam Silverman’s lighting design underscoring the pervasive gloom and guiding viewers through the unfolding drama.

Costume design by Montana Levi Blanco reinforces the Elizabethan aesthetic, contrasting sharply with the modernist set. The supernatural elements, embodied by a large ensemble of 38 witches and a dozen dancers, are integrated seamlessly into the action, their eerie presence amplified by choreography from Jorrell Lawyer-Jefferson and movement direction by Ran Arthur Braun. Their intermittent acrobatic displays and folk-inspired dances inject energy into scenes otherwise dominated by static singing.

Musically, the Met’s orchestra, under the baton of music director Yannick Nézet-Séguin, delivered a compelling and vividly colored performance. The orchestra’s clarity and power were particularly notable in the opening battle music and the poignant chorus lament “Patria oppressa,” which highlighted the opera’s themes of oppression and revolt. Nézet-Séguin’s pacing, occasionally broad, maintained dramatic momentum without sacrificing subtlety.

Quinn Kelsey’s portrayal of Macbeth was a focal point of the evening. Departing from the typical villainous archetype, Kelsey depicted Macbeth as a conflicted figure, whose descent into tyranny is propelled by his wife’s ambitions. His robust and polished vocal delivery brought depth to this complex character, earning widespread acclaim.

Lise Davidsen, performing Lady Macbeth in her tenth role at the Met, delivered a performance marked by vocal power and emotional nuance. Although the role stretches her usual Wagnerian and Strauss repertoire, Davidsen’s intense upper register effectively conveyed Lady Macbeth’s chilling determination. Her interpretation also revealed a more vulnerable side, emphasizing the character’s psychological unraveling, particularly in the sleepwalking scene where her delicate pianissimos suggested a fading grip on reality.

Supporting roles added further texture to the production. Ryan Speedo Green’s Banquo, while vocally lighter than traditional interpretations, brought dignity to the role. Freddie De Tommaso’s Macduff impressed with his commanding presence and resonant voice, though his performance leaned toward straightforward heroism. Ensemble members, including Marcy Stonikas as Lady-in-Waiting and Jonathan Burton as Malcolm, contributed solidly to the overall dramatic fabric.

The production honored Verdi’s 1865 Paris revision by restoring the ballet sequences and Macbeth’s final aria, balancing the opera’s two acts without detracting from its dramatic thrust. The inclusion of these elements, alongside the compelling visual and choreographic components, made for a full-bodied theatrical experience.

Critics have noted that while the chemistry between Macbeth and Lady Macbeth still requires fine-tuning, the Met’s rendition of the opera promises a powerful exploration of the corrosive effects of power and corruption. With several performances scheduled through October 30 and a high-definition broadcast planned for October 17, this production is positioned to make a significant impact on the operatic season.

As classicalvoiceamerica.org reports, the Met’s Macbeth, through its blend of innovative direction, stellar performances, and lush orchestration, offers an invigorated perspective on a classic tragedy, reaffirming the enduring relevance of Verdi’s first Shakespearean opera.