SEATTLE – Seattle Opera’s new production of Verdi’s “Macbeth,” which debuted Saturday night, is as complex and intricate as Shakespeare’s blood-soaked tragedy of lust for power, betrayal and revenge upon which it is based.
The company has mounted a huge effort to make this “Macbeth” compelling musically, dramatically and visually, giving us a “Macbeth” cast in a world of darkness, evil and the macabre. It’s a riveting story, told with dramatic heft and with many musical riches.
“Macbeth” – the man who would be king – is an ambitious 11th century Scottish nobleman. When witches predict that he will take the throne, Macbeth and Lady Macbeth embark on a murderous path to secure the crown.
Shakespeare’s 17th century play became a Verdi opera in the mid-19th century. Seattle Opera’s production is not constrained by any of these times, offering instead a more timeless production that begins with designer Robert Israel’s set, a box of metallic gray punctuated by a balcony perched above the stage. There are three doors of differing sizes and pile of rocks. A banquet table and a large four-poster bed appear during key scenes. In Lady Macbeth’s famous sleepwalking scene, the walls ooze blood.
I found this setting off-putting at first, especially when lighting designer Christopher Akerlind bathes the scene in such harsh colors as purple. But as the story progressed, I appreciated this spare approach that keeps the focus on the story and the artists.
The costumes by Israel – and there are many in this large-cast production – reflect the early Victorian era and setting of the opera’s 1847 premiere in Florence. So while the setting is contemporary, the dress is not.
Stage director Robert Uzan pushes the story forward with staging that is artful and direct. The opening scene telegraphs his dramatic intent. A young Lady Macbeth is playing with a favorite doll, then she hauls out a knife, stabs the doll and rips its head off.
Soon dozens of witches – some dressed in bridal white and others in black – crawl and slither about the stage, writhing and singing the prophecy for Macbeth that will lead to his doom. These witches appear throughout the opera.
Sometimes the staging goes too far. The trap-door apparatus at McCaw Hall gets a workout in this opera, and when Macbeth departs this world via trap door presumably to hell for his deeds the audience snickered.
The opening night cast was led by baritone Gordon Hawkins, who etched a convincing portrait of Macbeth and sang with warmth and beauty all night. Andrea Gruber gave a committed performance as Lady Macbeth, digging into the part at fever pitch. Verdi asks so much vocally of his Lady Macbeth: a dramatic soprano who can sing low but pull off punishing high notes. She’s even called upon to navigate a big coloratura passage in the second act banquet scene. After a tentative start, Gruber met the challenges in a convincing portrait.
The supporting cast was excellent. As Macduff, tenor Joseph Calleja brought down the house with a thrilling aria, a true Verdi tenor. Burak Bilgili and Leodigario del Rosario were excellent as Banquo and Malcolm, as were the other singers. The Seattle Opera Chorus was in top form.
A big part of this opera’s success rests with conductor Nicola Luisotti, making his Seattle Opera debut in “Macbeth.” The Italian knows his Verdi, and he conducted the score with an enthusiasm, warmth and understanding that swept everyone into the glories of the Verdi score.
Rozarii Lynch photo
Andrea Gruber as Lady Macbeth in Seattle Opera’s production of “Macbeth.”
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