Macbeth by Verdi

Witches, prophecies, multiple assassinations, a ghost, sleepwalking, all the elements of Shakespeare’s Macbeth are here. However, we read in the Director’s Notes that Verdi never saw Shakespeare’s play performed until after the opera’s premiere, and knew its text only in translation. So we have Verdi’s take on the Macbeth story, a different perspective.

The programme GOC produced was great. We had some really interesting and helpful Director’s Notes, and some exceedingly useful information about Verdi – for example, that he had Risorgimento (Italian unification) sympathies, and was therefore unpopular with the authorities, who feared his themes of regicide, and powerful anthems against oppression and exile. Who knew? I didn’t, so thank you GOC. Full profiles of both directors, and of the principal roles, and a good synopsis were present, as was a piece on the history of the group, and the ever fascinating List of Past Productions. (I wish more groups would include one in their programme). Last but not least, I really enjoyed ‘Some thoughts from our newcomers’, which gave a real insight into the work of the company, and the joy of being a part of it.  If only I could sing…..!  All in all a really good read, and well-designed into the bargain.

Scant scenery, a stepped set which enhanced movement around the stage. Baskets, bundles, cauldrons, rifles, and of course a fearsome knife, larger than a dagger, all played their part. Hanging from the ceiling were some white pipes, which puzzled my companion and I, and some large dangling objects, resembling hams, which I was informed represented corpses in shrouds.

There was good use of spots and evocative use of colour – especially the blood-red shade for the assassination scenes.

Costumes were minimal, so to speak, in that the opera was set in the 20th century, or even the present day, so people seemed to be wearing their own clothes, the men either embellishing these to look more like peasants, or in uniform.  I felt that Macbeth and his wife might have been dressed more regally, even if in modern dress.

Lewis Gaston, the company’s fine Musical Director, was able to create a well-balanced sound from orchestra and voices. His work with the chorus clearly paid off, they excelled themselves, they shone.

The exciting thing about Guildford Opera for me is that they choose such a varied programme of operas, and include also rarely performed and/or challenging ones. I feel that Macbeth must have been a very satisfying experience for all concerned, hard work, challenging, a great deal of learning involved, and great fun as it all came together.

At first I was puzzled. Verdi’s Macbeth has various differences from Shakespeare’s story. For example the witches. Shakespeare’s trio becomes a coven of witches in Verdi’s version.  I think the modern dress also fazed me in the first half, and the uniforms. In the second half, however, I realised how the stark set, modern dress, uniforms, and weapons really brought home the themes of the story -  how ambition and power corrupt, and how, sadly, this has continued throughout all our lifetimes and will into the future.  So Verdi, and Guildford Opera Company have done this rather well! Stephen Oliver, the Director, points out in his notes that whereas Shakespeare’s tragedy is essentially a private one between husband and wife, Verdi draws our attention towards wider political and moral concerns, how this personal conflict, this ambition, consequently affects the wider public.

Chris Childs Santos was in fine voice as Macbeth, and vividly expressed his inner turmoil, his fears, his tortured soul. Laura Wolk-Lewanowicz was a brutal, power-hungry, super-strong Lady Macbeth, able to goad her husband into ever more dreadful acts, belittling him all the while. A fine, powerful voice, almost harsh when the role demanded, yet showing desperate vulnerability in the sleepwalking scene.

Michael Christie (Banquo), Guido Smeets (Malcolm) and Sidonie Winter (Gentlewoman) all gave good performances. The highlight of the evening for me was Kevin John’s performance of Macduff’s lament on learning of the murder of his wife and children. His horror at not having been able to be present in their last moments, and defend his family, and vowing to take his revenge on their murderer, came across so clearly. He was so believable, and the voice was exquisite, very moving indeed.

The chorus relished their various key scenes. The witches, - three cauldrons, not just the one, as in Shakespeare, - were very busy mixing their complex spells, and very menacing. As refugees, their rendering of the lament: ‘Oh tragic country! You cannot have the sweet name of Mother now that you have become a grave for all your sons’ moved me intensely, in our world of refugees from numerous conflicts. Sadly nothing much changes, and I was filled with despair. I will not forget their anguished faces, their bundles and old suitcases. A stunning performance of this lament, by this excellent chorus, well directed.  In the Victory Song after Macduff had dispatched Macbeth, the joy and relief was palpable. 

Good theatre should, in my opinion, make one stop and think. I have been thinking about the everlasting themes of Verdi’s Macbeth ever since. So, once again, a good success. Thank you, Guildford Opera Company.

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