New Macbeth production at the Met

On Saturday, October 17, the Metropolitan Opera broadcast the ninth performance of Verdi's Macbeth in a new production directed by Louisa Proske, with sets by Jon Bausor and costumes by Montana Levi Blanco. The production features a rotating stage and an apocalyptic landscape representing a modern world ravaged by war, while the costumes evoke the time of Shakespeare. The evening was dedicated to the memory of Martina Arroyo, who performed the role of Lady Macbeth on this stage in 1973. Before the curtain rose, Peter Gelb, the Met's director for 20 years, addressed the audience in a short speech, declaring his unwavering support for Ukraine, likely in response to recent remarks by Donald Trump, after which the orchestra played the Ukrainian national anthem while the audience stood.

Original elements in the production

The production includes strong or original ideas, such as the omnipresence of witches, who appear at any moment, dress Lady Macbeth, and crown her husband after the murder of Duncan. During the two preserved ballet numbers, they reenact the murder of Banquo in a burlesque manner and at the end, they crown his child after having watched Macbeth die. Here, he is not killed by Macduff but led to the stake by the crowd.

Performances and casting

The supporting roles are judiciously cast, with Marc Stonikas delivering a powerful voice and Bradley Garvin contributing relevant interventions during the sleepwalking scene. Jonathan Burton's portrayal of Malcolm benefits from a generous timbre. Freddie de Tommaso, despite a ridiculous costume, delivers a moving interpretation of his aria "Ah la paterna mano." Ryan Speedo Green's warm timbre fits well with the character of a loving and protective father, with his aria "Come del ciel precipita" demonstrating an impeccable vocal line. However, the recording does not do justice to the abilities of Lise Davidsen, whose performance remains in the background due to the lack of impact from her voice.

Standout performance by Quinn Quelsey

Quinn Quelsey was the great triumph of the evening, offering an extremely detailed interpretation of Macbeth. His performance of "Mi si affaccia un pugnal" begins softly and gradually builds up to a forte on the last note. At the banquet, his hallucinated expression conveys the character's terror. In the third act, his imprecations addressed to the apparitions ("Fuggi regal fantasma") are treated as a scene of madness. Finally, "Pietà, rispetto, onore" in the last act, sung with an exemplary legato, is imbued with intense emotion, while "Mal per me che m’affidai" from the 1847 version resonates like the lament of a mortally wounded animal. This added aria allows for a less abrupt conclusion.

Orchestral and choral contributions

The choruses prepared by Tilman Michael were impressive in their interpretation of the witches and moving in "Patria oppressa," taken at an extremely slow tempo by the conductor. Yannick Nézet-Séguin, at the head of the magnificent Metropolitan Opera Orchestra, offered a dramatically theatrical direction without any haste.

Upcoming broadcast of Samson et Dalila

On Saturday, December 5, the Metropolitan Opera will broadcast in Pathé Live cinema networks Samson et Dalila under the direction of Giacomo Sagripanti with Aigul Akhmetshina and Clay Hilley.