Macbeth

Published Monday 15 October 2007 at 15:40 by George Hall

A vein of grim humour runs through Richard Jones’ production of Verdi’s first Shakespearean opera, here revived by Geoffrey Dolton. There’s less precision, perhaps, than when the show was first seen, but it still packs a memorable punch, while Ultz’s designs have their own manic authority, even though the sets have been slimmed down for touring purposes.

The weak link in the cast is Russian soprano Svetlana Sozdateleva as Lady Macbeth. She lacks stage presence and makes little impact dramatically. In addition, she quite often sings out of tune. Verdi did not demand a beautiful voice for the role - in fact he said it would be inappropriate. But this particular soprano does not fit the bill under any heading.

By her side, Stephen Gadd’s Macbeth is a tower of strength. Not only is he in perfect vocal command of the role, but there is plenty of nuance both in his singing and his acting. His realisation is an exceptional achievement.

Notable also are Ilya Bannik’s strongly sung Banquo and Stefano Ferrari’s equally vibrant Macduff. But the chief factor in the evening’s success is the young conductor Robin Ticciati, now Glyndebourne on Tour’s music director. He shows a keen understanding of Verdi’s style and knows how to propel the rhythms without ever hurrying them. His performance, ably seconded by the chorus and orchestra, not only reveals what an exceptional score this is but also fully justifies his appointment.