Muti unlocks the immense dramatic potential of Verdi's revolutionary score, providing a wealth of colour and detail capable of conjuring mysterious Shakespearean worlds with no need for staging.
The Royal Opera's revival of Phyllida Lloyd's production is marked by two outstanding Verdian singers and a superb rendering of the score from Pappano and the ROH Orchestra.
In Lyon, Daniele Rustioni drives through a pulsating reading of Macbeth, Ivo van Hove's imaginative setting not always fully backed by the vocal performances.
Verdi’s Macbeth, performed at the first Edinburgh International Festival returns for its 70th anniversary in Emma Dante’s sumptuous new production from the Teatro Regino Torino under Gianandrea Noseda.
A searing, edge-of-your-seat spinetingler from Elijah Moshinsky makes the strongest possible case for Verdi's first Macbeth, ideally suited to the proportions of Buxton's beautiful Opera House.
Brett Bailey's acclaimed production of Macbeth is unmissable, combining top-notch theatrical and musical values with a disturbingly timely political warning
On Saturday night, nine androgynous, saucy, rambunctious dancing witches with thick, three-foot tails and exuberant tassels, whose heritage included the Wizard of Oz and the Lion King, stole the show.
Hot on the heels of its Eugene Onegin, full of potential marriages that never reach the altar, Dorset Opera put on an excellent production of an opera with a successful, slick and murderous power couple.
Iford's stone cloister makes a suitably eerie setting for a fine traditional account of Verdi's Macbeth, notable for its powerful male leads, from Iford Festival Opera and the CHROMA Ensemble.
Barrie Kosky’s new Macbeth is devoid of riff-raff, shrill costumes and anything trivial. Instead, it’s a feast for the imagination, a case for modern opera at its very best.
Thanks to Wilson, to an orchestra in great shape, and to an excellent cast, this production was a success. Everybody did his best in the orchestra and in the chorus, without disregarding the soring passages of the score.
The Netherlands Philharmonic Orchestra gives a patrician performance of Verdi’s Macbeth and Scott Hendricks is riveting in Andrea Breth’s claustrophobic exploration of oppression and derangement.
In Auckland, macbEth: the opera succeeds not only as a work of art, but also as a conduit for understanding of a frequently ignored and tragic conflict and an unforgettable reflection on the harsh realities of post-colonial Africa"
This revival of Peter Mussbach's production of Macbeth is devoid of props and places the focus squarely on singers and orchestra. This challenge was splendidly met by Plácido Domingo, making a role debut as Macbeth, and Liudmyla Monastyrska.
A triumphant opening night was crowned by superb performances from Željko Lučić and Anna Netrebko as Macbeth and his Lady. But why the negative audience reaction to Adrian Noble's intelligent production?
The most Scottish of operas, Verdi's Macbeth, makes big demands on its soloists and is packed with choruses, so it was interesting to see how Scottish Opera's production managed with only seven singers and a chamber orchestra.
According to Riccardo Muti in a recent interview for Chicago Classical Review, the cardinal sins of modern conductors when interpreting Verdi are over-aggression and vulgarity. He also notes in an interview included in the concert program that one of the most unique aspects of Macbeth is its use of expressively soft dynamics, even going as far to call the technique avant-garde.
Verdi’s opera Macbeth is often considered less successful than his later operas, and considerably less so than his other two Shakespeare operas, Falstaff and Otello.
Imagine a tattered red curtain, blocking the set but revealing several bodies, bound head to toe in grey, hanging from the ceiling by their feet. It looks like the home of a malevolent, human spider - its prey a silent presence overhead. This is the opening of Verdi's Macbeth, at Boston Lyric Opera.
As the curtain rises at the beginning of Act I, we are greeted with violent flashes of light, rocks strewn across the stage and the witches almost slithering among the rocks, as they make their prophecies to Macbeth that he will eventually become King, prompting him and Lady Macbeth in their murderous, Machiavellian pursuit of power.
Ukranian soprano Liudmyla Monastyrska made a sensational Royal Opera debut earlier this season, as a late substitute for the title role of Aida. In the revival of Phyllida Lloyd's production of Verdi's Macbeth, she produced an equally commanding performance.
A sus 76 años, nuestro mito viviente triunfa en el final de la temporada lírica madrileña, en una version concierto semiescenificada, y acompañado de un solvente cartel vocal.
Se presenta en el Liceu Macbeth en la fantástica producción de Christof Loy, con un recuperado Tézier debutando en el papel de Macbeth y Serafin en el rol de la pérfida esposa. Una velada que sienta un buen inicio de temporada.
