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Verdi,  Macbeth:  (Première) at the Royal Swedish Opera, Stockholm, 21.2.2009 (GF)

Directed by Vilppu Kiljunen
Set designer: Sampo Pyhälä
Costume designer: Marja Uusitalo
Light designer: Linus Fellbom

Cast:

Macbeth – Marco Vratogna
Banquo – Jaako Ryhänen
Lady Macbeth – Lena Nordin
Lady Macbeth’s Lady-in-Waiting – Agneta Lundgren
Macduff – Badri Maisuradze
Malcolm – Jonas Degerfeldt
Macbeth’s confidant – John Erik Eleby
Spirit – Ian Power

The Royal Swedish Opera Chorus and Orchestra / Pier Giorgio Morandi

Verdi’s first Shakespeare opera hasn’t been a frequent guest at the Royal Swedish Opera. This is the fifth production and the premiere performance was the 72^nd since it was first shown as early as 1852, only five years after the work’s first performance in Florence. The subsequent productions were premiered in 1921, 1947 (legendary for being Birgit Nilsson’s glorious breakthrough) and 1980. In that production Knut Hendriksen had transported the action to the 20^th century with references to diverse military dictatorships. Erik Saedén and Margareta Hallin were the bloodstained couple striving for power and an excerpt from the production can be heard on Bluebell ABCD 098 (see review). In spite of the more than twenty-eight years that have passed I have rather clear memories of that production. Having encountered Vilppu Kiljunen’s directorial work before – I saw his La fanciulla del West at the Finnish National Opera as recently as last August (see review) – I was expecting sturdy realism and well chiselled individual characters. Of course the Golden West in the 1850s and Medieval Scotland peopled with witches and demons are worlds apart, but I was somewhat perplexed about the opening:

Imagine during the short prelude the curtain rising on a dimly lit mountainous landscape wrapped in mist. Some mysterious dancing female creatures appear from nowhere, dressed in half-transparent veils. This is certainly spellbinding ancient myth. Then, suddenly, a male figure, dressed in black, like some present-day terrorist, rushes in from the wings, machinegun in hand, fires a volley, mowing down the dancers! Whereupon he stumbles down to the front of the stage and falls to the ground – lifeless. We recognize him. It’s Macbeth.

What is this? A parody? Apprehensions are awakened. There are giggles in the audience, which seems unforgivable. In fact it isn’t a parody. The story unfolds, in evocative settings, relentlessly to the tragic end or happy, depending from whose perspective it is seen. We are in the main in the Middle Ages, costumes vaguely period – or rather period-less – and with intense acting from, first and foremost, Macbeth and Lady Macbeth, this turns out to be an utterly gripping reading of Macbeth.

But there are distracting details that may not be serious enough to divert interest from the central conflict but still feel un-necessary and irritating. That the final combat in act IV is fought by machinegun armed commando troops is only in line with the beginning; that Macbeth is done with through a couple of pistol shots from Macduff is also logical in the light of this. But whatever is the idea of having Lady Macbeth wandering about the stage during the sleepwalking scene carrying a fluorescent lamp (!), which she more often than not directs towards the audience? More than one in the stalls complained about being blinded. NBut all this is in the final analysis marginal irritants and should not deter anyone from seeing this Macbeth. It is a strong performance of a strong drama.

An important part is played by the witches and the women of the Royal Opera chorus are obviously relishing in their collective role. And it isn’t only collective. They are often divided in two groups and there are a lot of individually designed patterns of movement. Vivid participants in the drama they have also clearly obeyed the composer’s instruction: ‘Sing uglier!’ At key moments they forget their classical voice training and produce rawer, more primitive noises.

Macbeth was a big step forward in Verdi’s development of opera as drama but he wasn’t yet fully fledged in 1847. There is a lot that points forward to the dark greatness of Simon Boccanegra, Forza del destino and Don Carlos but there is also music where he relapses in the enthusiastic and ear-catching rum-ti-dum of his previous operas. Pier Giorgio Morandi, who has been a regular visitor in Stockholm during the present decade, doesn’t underplay these discrepancies but gives them their full value and even though Macbeth through this melange is a less than fully developed work it would be a mistake to smooth them over. It should be mentioned that this production in the main follows the later Paris version but retains the earlier finale and disposes with most of the ballet music. The Royal Orchestra have been on superb form the last few years and the playing on the premiere was as magnificent as I have ever heard them.

For this production the Royal Opera have assembled a splendid cast of soloists of four nationalities. The title role was originally assigned to Peter Mattei but during the autumn he backed out and I think that was a wise decision. He is one of the finest baritones around at the moment but his is still primarily a lyrical voice and Macbeth is a notorious voice-killer role. Italian Marco Vratogna isn’t the possessor of the most ingratiating voice imaginable but he is expressive as few others, he has all the vocal colours available for this many-faceted role and he has the power and stamina needed. Moreover he is a charismatic stage personality. His was a superb impersonation of Macbeth. He was matched by a Lena Nordin on top form. She has for many years now been one of the foremost dramatic actresses in Stockholm. Her Norma and Tosca in recent years have been all-embracing in a Callas-like mould. She has both the looks and the voice quality of her great predecessor, though vocally she is much more reliable than Callas ever was. Finnish bass Jaakko Ryhänen was an imposing Banquo, his thundering voice filling every nook and cranny of the opera house with marvellous euphony. Having previously sung Don Carlos and Manrico in the house, Georgian tenor Badri Maisuradze now returned in the role of Macduff, which he executed gloriously, not least through his sensitive scaling down to soft piano in his aria. Jonas Degerfeldt sang and acted well in Malcolm’s rather marginal role. Vocally this performance was a true feast.

With so much first class singing and generally fine dramatic concept this Macbeth is definitely a worthy addition to the Royal Opera’s repertoire. It will be running until 2 April but will hopefully return next season.

Göran Forsling

Photos:  Carl Thorborg (Top) and Alexander Kenney (Center)


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