* Notes *
The Met's simulcast of Macbeth aired today. The production, by Adrian Noble, is new to the Met and opened October 22, 2007. Set after World War II, Mark Thompson's set and costumes are dark, lots of black, grey, olive, khaki. There were many leather jackets and machine guns, Banquo, for example, seemed to be dressed as Rambo for most of Act I. The witches were based on Diane Arbus, each witch wore some sort of hat and smeared lipstick. The purses of the witches were much too loud in Act I, it sounded like coins were dropping on the stage. There were a few supernumeraries used in this group, including three female children. A low point of the opera was the beginning of Act III, when a witches brew was created from little girl vomit, the three had to eat bread and spit it out in an over-sized chalice. I never imagined I would see simulated bulimia onstage at the Met. Sue Lefton's choreography was a little vulgar for the witches, a lot of hip thrusts and such, though when the witches set out chairs for Lady Macbeth to walk on just before she sings in her mad scene worked well.
The cast was impressive, everyone sang at a high level. Baritone Željko Lučić was a fine Macbeth, with much emotional range, going from mournful, to afraid, to defiantly angry with ease. Maria Guleghina was incredible as Lady Macbeth, her voice sounded almost angelic at times, but also could be crystalline and downright frightening. She had good control of her vibrato, for the most part, though she did have a tendency to have an occasional wobbling gasp, especially at the beginning of the brindisi in Act II. Dimitri Pittas (Macduff) sounded a little reedy to me at first, but he was incredible in his Act IV aria, singing well and even shedding tears. He was somewhat difficult to hear over the movements of the chorus and the playing of the orchestra toward the end of the opera. Bass-baritone John Relyea also had a few inaudible moments after the discovery of Duncan's body, but sang his Act II aria "Come dal ciel precipita" quite beautifully. I was most moved by the choral parts at the end of Act II and IV, everyone sounded together and James Levine had the orchestra well in hand.
I do find the May performances of Macbeth tempting, for René Pape will be singing Banquo, and Joseph Calleja sings Macduff. As for the lead roles, I have never heard baritone Carlos Alvarez, but I do avoid Andrea Gruber, whom I find grating. It might be fine, given that Lady Macbeth is supposed to be unpleasant to the ear.
* Tattling *
The line to enter the Century San Francisco Centre 9 formed before 9:30 am, and Theater 4 was pretty full. Lado Ataneli was listed online as Macbeth today, and his name also appeared on the program I was given at the theater. Apparently he took ill, and Lucic replaced him. The picture at this theater was clearer than at Bay Street, though I did get a headache by the second half. The image did go fuzzy or slowed down at least four times, once in the first chorus, another during "Mi si affaccia un pugnal," once again in "Ah, la paterna mano," and a last time at the last scene. These were minor, more unfortunate were the disturbances in sound, one lasted half a second near the end of Banquo's last aria, the other was during Macbeth's "Pietà, rispetto, amore," in which we were treated to three brief but loud sounds. A shame, considering these are two great moments of the opera. They also did not cut the sound from backstage fast enough for the beginning of Act IV, and we could hear stage directions with the orchestra.
The host today was Peter Gelb himself, the General Director of the Met. He gave a brief interview of James Levine just before the conductor went out to the orchestra pit. The cameras moved around quite a bit, and I was better able to appreciate this by sitting a bit further back this time. It gave me a headache, but for the most part it wasn't too bad. The worst was when Banquo's ghost appeared, it was difficult to make sense of how he appeared or what exactly was going on, because there were so many close-ups. Again, I would have preferred not to see the young supernumeraries regurgitate bread up close or see John Relyea's fillings. I did enjoy Mary Jo Heath's interviewing the two leads at the beginning of intermission. Lučić told us he is a Verdi fan, and Guleghina stated "I am becoming crazy" of her character, not herself.
