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.
From the moment the audience enters the theatre, there is a feeling that something evil is lurking, and it's not just the chorus. Prophetic outcasts swarm the stage, swirling around Macbeth and Banquo and telling of Macbeth's rise to power and the future of Banquo's descendants. They infect Macbeth with their madness, sending him home a corrupted version of himself.
Verdi's music is haunting and tense. It creates a painting of sound in which the action takes place. So emotive is his score that one can, with closed eyes, not miss a bit of the storyline. But you won't want to miss seeing it. It encompasses all the emotions of fear, greed, envy, remorse, love and hope, chronicling the descent into madness and a hard-won victory. It requires very strong singers, capable of a large emotional range and convincing stage presence.
Lady Macbeth (Carter Scott) goes famously mad, but it is her husband (Daniel Sutin) who acts on the psychological poison. I was glad to see Darren K. Stokes return to BLO as Banquo (I last saw him in A Midsummer Night's Dream last season). While I enjoyed watching him shake his “gory locks,” it was his time on stage with son Fleance (Elijah Jean-Pierre) that humanized his character. The most heartbreaking is Macduff (Richard Crawley), whose family is slaughtered in his absence. His aria received one of only a few bursts of applause during the evening – the overall lack of which could only be due to the audience's collective holding of breath.