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Verdi, Giuseppe (1813-1901) | Macbeth | Livret de Francesco Maria Piave |
Opéra d'État hongrois | ||
Martin Rajna | Direction | |
Matthew Wild | Mise en scène | |
Sebastian Hannak | Décors | |
Heide Kastler | Costumes | |
Tamás Bányai | Lumières | |
Orchestre de l'Opéra d'État hongrois | ||
Zsombor Czeglédi | Vidéaste | |
Chœurs de l'Opéra d'État hongrois | ||
Gábor Csiki | Chef de chœur | |
Attila Mókus | Baryton-basse | Macbeth |
Mihály Kálmándy | Baryton | Macbeth |
Sándor Köpeczi | Basse | Banquo, Doctor |
Anna Netrebko | Soprano | Lady Macbeth |
Csilla Boross | Soprano | Lady Macbeth |
Szabolcs Brickner | Ténor | Macduff |
Barna Bartos | Ténor | Malcolm |
Anna Csenge Fürjes | Mezzo-soprano | Lady in Waiting |
Bence Pataki | Basse | Cutthroat, Herald, Servant to Macbeth |
Boldizsár Zajkás | Basse | First Apparition |
Anija Lombard | Soprano | Second Apparition |
Luca Csörgeő | Soprano | Third Apparition |
Macbeth hears a prophecy from three strange witch-like figures that he will become king of Scotland. The news triggers a series of brutal thoughts and actions in him and even more so in his wife, Lady Macbeth. It was not by chance that Verdi chose this Shakespeare text as the basis of his opera: the title character goes through the hell of spiritual depth, doubts and ruthlessness, unearthly forces, dramatic murders, and psychic turmoil again and again. Situation and motifs that yearn for an opera stage and unfold to music. The production is staged by Matthew Wild, who is widely recognized as a leading musical theatre director of his generation in South Africa, and he is now an increasingly sought-after artist on European stages as well. His productions are praised for their intelligence, visual prowess, and musicality. The clash of cultures and their influence on each other also play an important role in his Macbeth performance, just as the earthly and mystical-transcendental worlds intertwine as sharp contrasts in the opera.