Macbeth

Published Friday 25 April 2008 at 13:30 by George Hall

Opera North opens its Shakespeare season on the Bard’s birthday, with one of the greatest operas his work has inspired. Verdi’s early Macbeth shows the young composer extending the possibilities of harmony, form and orchestration in a thrilling yet dark and probing score. With Opera North’s orchestra and chorus on top form, and music director Richard Farnes in the pit, this is a world-class interpretation that displays all the might and psychological richness of the score.

Tim Albery’s production, designed by Johann Engels (sets) and Brigitte Reiffenstuel (costumes) matches it well. The period is modern though not specific - Macbeth’s tyranny has been echoed all too often in recent decades. The chorus of witches are cleaning ladies, observing the action as well as intervening at crucial points. The appearance of the dead Banquo at the banquet is suitably shocking.

The opera is finely sung, with Peter Auty’s Macduff excelling in vocal prowess. Robert Hayward’s usurper could do with more light and shade, though he’s on the right lines. Antonia Cifrone discloses a keen dramatic presence and knows her way around the notes. Ernesto Morillo Hoyt’s Banquo is effective if a touch on the small side vocally.

But it’s an exciting evening as a whole. Many young opera-goers in this audience were there as part of Opera North’s educational work and, judging from the reception, this show proves a great experience for operatic novices and old hands alike.