18 Oct 2014
Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.
This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below ).
Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.
Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.
Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.
For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.
'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’
‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven that old serpent Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’
There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.
‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.
The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.
The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.
With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.
Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.
"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."
The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.
Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.
There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”
“Music for a while, shall all your cares beguile.”
The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Ever since the September 24 opening of the Met’s current production of Verdi’s Macbeth, critics have been pretty much unanimous in their acclaim for Anna Netrebko’s portrayal of the iconic Lady Macbeth. The praise is well deserved, all the more so considering the transformation of vocal timbre she had to undergo to prepare for this role. By the time of Saturday’s Live in HD simulcast, about the only question remaining was how the Russian superstar would withstand the intense scrutiny of the close-up camerawork.
Netrebko, once a lyric soprano embracing bel canto roles, has slowly been shedding her past and adding weight both to body and voice. And while the change has been gradual, it’s clear from this production that the diva has now reinvented herself as a dramatic soprano. Judging from the quality of singing and level of stamina Saturday, I’d say this new voice is here to stay.
“Behind every great man there stands a great woman,” the saying goes, and those familiar with this Shakespeare tragedy are not likely to argue the point. But Netrebko’s Lady Macbeth stands much the taller throughout this reprise of Adrian Noble’s (still-potent) 2007 production — hovering over the hapless Macbeth (Željko Lučić) a good deal of the time, as he cowers at her feet like a trained dog awaiting the next command.
In the end, however, it’s Netrebko’s ferocious display of vocal power, and not the warped power relationship, that tells the story in this Macbeth.
Whatever your opinion as to the relative merits of Peter Gelb’s simulcasts (my circle of friends are pretty much evenly divided), most will agree that viewers of the broadcasts get to see certain aspects of the production not readily available to audiences at the opera house.
Case in point: In Saturday ‘s simulcast, Live in HD Director Gary Halvorson projected close-ups of Netrebko’s eyes, affording viewers a window into her soul. (I saw a fanatical lust for power.) Halvorson projected close-ups of her facial expressions and seductive body movements, offering a revealing view of the femme fatale spinning a deadly web from which there will be no escape. Mostly, though, Halvorson projected close-ups of Netrebko’s cleavage — shot from every possible angle and broadcast across some 2,000 theater screens around the globe. Viewers from 67 countries now know what it means to be in top form in America. (No word yet on whether Gelb plans to simulcastAnna Nicole.)
Though largely gratuitous, this alternate view of Netrebko didn’t bother me as much as the cropping of the chorus scenes, which rendered it difficult to get a visual sense of the large number of singers involved. It’s also maddening to be forced to look only where the camera director allows you to look. We can see the singers in glorious detail, but are not privy to the looks and reactions of characters whom the singers are addressing. It’s as if we’re sitting in the front row of the opera house strapped in a neck brace.
In the title role, Željko Lučić forges a daring but complex character who wildly chases his ambitions but ultimately succumbs to his fears. The uxorious husband follows his wife’s bidding without question, yet appears incapable of enjoying the sexual favors she offers as bait to lure him into action. When he does reach the top, Macbeth can experience neither physical pleasure nor emotional satisfaction afforded by this absolute power. Lučić’s “mad” scene at the banquet, where he begins to mentally unravel in front of his obsequious guests, was a dramatic tour de force.
Though an excellent actor, Lučić fell far short of the other principal singers. His phrases were generally choppy, and his voice, which in all but the loudest sections came across as hoarse, sounded raspy and unfocused. By his final aria, Pietà, rispetto, amore, Lučić sounded clearly fatigued, and pitch began to wobble.
It’s always a pleasure to see and hear the incomparable bass René Pape (Banquo), even if his character does get killed off early in the second act. (Pape returns, in a bloody white shirt, as a ghost — but alas, no more singing.)
Banquo, who along with Macbeth served as King Duncan’s generals before the latter murdered the monarch, enters the forest with his young son and quickly realizes that the band of thugs in the forest (led by Richard Bernstein) have other plans for the pair. Pape delivers his great aria Come dal ciel precipita in a commanding bass, and with deep feeling.
Those looking for a tenor aria in this opera had to wait until the fourth act for Macduff to step into the spotlight. But Joseph Calleja’s poignant Ah, la paterna mano was well worth the wait. Lamenting the loss of his character’s wife and children at the hands of Macbeth, Calleja’s moving delivery — sung with a combination of tenderness and agony — captured the moment.
Of course, the lion’s share of vocal accolades belong to Netrebko. She was strong in voice from her opening cavatina (Vieni t’affretta ) and the concluding cabaletta (Or tutti, sorgete), with a firm upper register that never wavered in pitch or intensity. She navigated the wide intervals in the cheerful Brindisi (drinking song) Si colmi il calice di vino with seemingly little effort, toasting her guests gleefully while savoring the murder of Banquo only moments earlier.
Netrebko’s facial expression in the opera’s signature sleepwalking scene, where Lady Macbeth tries in vain to wash the imaginary blood off her hands, told the story better perhaps than Francesco Maria Piave’s libretto.
Set director Mark Thompson captured the dark and murky underpinnings of the drama through barren staging that provided only hints of the interior of the castle.
The forest scene in Act Four, populated with soldiers and refugees, was far more tangible, including a frozen military jeep with frosted windows and a machine gun mounted on the seat. The falling snowflakes made me reach for my coat. Thompson, also the costume director, outfitted the witches in disheveled 1940s-vintage garb that gave them the appearance of “bag ladies.” Concealed in the women’s handbags were flashlights used in clever fashion to illuminate their faces against the dark backdrop of the stage.
It’s growing increasingly difficult to take shortcuts with the props during simulcasts. Snowflakes falling in the cold and depressing forest had four sides, not six — as was abundantly clear during the close-ups of Calleja, who sang his touching aria sporting three rogue flakes stuck to his hair, each in the shape of a square.
From the foreboding opening Preludio, led by a marvelous brass section punctuated by trombones and bass trombone, the Met Orchestra under Fabio Luisi captured all the right moods at all the right places. Luisi’s invigorating Allegro Brilliante at the close of Act 1 Scene 1 was a real foot-tapper, though taken considerably faster than Verdi’s indicated tempo of half-note = 144 (my metronome clocked the maestro at an astounding 164, which all but set off the smoke detectors in my theater).
Don Palumbo’s men’s and women’s choruses were in good form throughout the production, particularly the chorus of witches. The patriotic Patria Oppressa, where the oppressed masses are lamenting the loss of their homeland, was especially lovely — though the hushed pianissimos appeared amplified out of proportion in the simulcast.
The jury may still be out as to where best to experience the Metropolitan Opera. But for the company’s unforgettable production of Macbeth, at least, there wasn’t a bad seat in the house anywhere in the world.
David Abrams
CNY Café Momus
This review first appeared at CNY Café Momus. It is reprinted with the permission of the author.