Sondra Radvanovsky and Craig Korkov in the production of the Lyric Opera of “Macbeth”. (Photo by Ken Howard)
Lyric opera production Giuseppe Verdi’s “Macbeth” It’s not a standard witch brew that demonstrates both the resumption of the pandemic era of the company’s refurbished 3,200-seat theater and its formal term as music director for Enrique Mazzola. When you enter the hall, you can feel this when you stand in the middle of the cemetery and see the curtains adorned with the black charcoal façade of the church with a large cross. This place, like Scotland, feels like Salem, Massachusetts during the witch-hunting season.
And when the opening notes were played by Lyric’s impeccable orchestra (Mazora pays great attention to the singer), a calmly determined chorus of female parishioners in heavy black clothes arrives. , Each woman clasps what looks like the Bible. In fact, in this clever work directed by David Vicar, the three prophetic witches of Shakespeare’s play were a large congregation of women who worked diligently on the dark prophecies of evil enacted by both men and women. Seems to be supported by.
And Verdi’s music (a lyric using the “Paris version” of the composer’s original 1847 score of 1865) is of the unfortunate wife (playing the role of the wonderful soprano Sondra Radvanovsky, Lady). Vividly amplifying those impulses with crazy ambitions and deadly consequences (for the first time in Powerhouse debut, where Macbeth climaxes in the fascinating madness scene of opera), and the inevitable destruction of her husband. (Bass Baritone’s Craig Col Claw makes his lyric debut as Macbeth).
Christian Van Horn and Craig Colclough of Lyric Opera Productions of “Macbeth”. (Photo by Ken Howard)
A successful general but weak man, easily manipulated by his deeply dissatisfied and ambitious wife, Macbeth is stunned and seduced by the prophecies of a witch who claims he will be the King of Scotland. However, Lady Macbeth begins with the bloody murder of King Duncan and his fellow soldier, Banquo (who gracefully commands Bass Baritone), and the murders necessary to achieve his unexpected promotion to supreme power. Drive to take. Christian van Horn), he will continue to bother him if all the prophecies are too true.
Throughout, a pair of childless marriages serve as the decisive undercurrent of the story, even if it is not explicitly stated. The ultimate ascension of Macduff (the wonderful tenor Matthew Vickers) as the King (and Savior) of Scotland adds a twist to the notion of being a legitimate heir to the throne no matter how his son enters the world. Add.
Of course, it was Shakespeare who provided this decisive psychological twist of the lineage. And it’s Verdi that the score illuminates all the plot twists and characters vividly. Undoubtedly, Verdi is an opera Shakespeare.
A lyrical opera of the Chicago Choir of “Macbeth”. (Photo by Andrew Cioffi)
In addition to the dark and horrifying magic of this piece, there is an outstanding support cast, John McFarlane’s set design and Douglas Finn lighting, and Moritz Junge’s black and maroon outfit.
Chorus Master Michael Black oversees an extraordinary chorus of outstanding singers / actors. Choreographer Andrew George keeps them and a small delegation of talented children (and spooky dolls) in top shape. And Nick Sandy devised a sharp razor combat with a spear in this highly theatrical arousal of personal and political destruction.
The performance of “Macbeth” will continue until October 9th. lyricopera.org For more information.
Follow Hedy Weiss on Twitter: @HedyWeissCritic
Verdi’s “Macbeth” ghost and ghostly production opens Lyric Opera’s 2021-2022 season | Chicago News
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