r/opera • u/charlesd11 Wolfgang Amadeus Mozart • 1d ago

Review: Verdi's Macbeth / Metropolitan Opera

https://interclassical.com/review-verdis-macbeth-metropolitan-opera/

Just my opinion, of course.

21 Upvotes

90% Upvoted

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7

u/PretendBake1536 1d ago

Best opera I have ever seen- not sophisticated enough to pick out some of the musical points you make. Viewed it as an amazing play!

7

u/johnuws 1d ago

Excellent, informed review.thx

3

u/johnuws 12h ago edited 9h ago

I haven't been to a Yannick perf yet where when sitting in grand tier the orch DOESNT overpower the singers. How is it in the orch section? EDITED...I THINK HE DROWNS THEM OUT FROM WHERE I SIT.

2

u/littlesnuglet Viva La Opera! 6h ago

The singers were drowned out by the orchestra. Gelb should rename the company to the Met Orchestra and sometimes Opera.

2

u/Fit-Elderberry3437 16h ago

Thanks nice work. I’m on my way to see the second to last showing right now. I’m hyped

2

u/Embarrassed-Gold-693 1d ago

I saw it in the second week, and agreed with many of your observations. Orchestra was overpowering from the vantage of the Family Circle; I thought they could've covered a portion of the pit with an overhang, or maybe cut down on a few desks of strings.

I enjoyed the title baritone more than you, agreeing with the Times' opinion that Kelsey's voice changed with the condition of the character. I found Davidsen's voice less compelling, especially in the first two back-to-back coloratura arias, but also agreed that La luce and Sleepwalking scene were her highlights, with the brindisi also nice.

But I did have an issue with the concept of a bombed-out rubble set. I think the director found most resonance in "the horrors of war" angle of the story, which is why by far the most stellar set piece was the Patria oppressa chorus and concluding coup de theatre of Act 4. The chorus singing atop gray concrete rubble was unmistakeably a reference to Gaza/Ukraine; there were many sniffles and sobs after it from my fellow audience members and myself. However, I viewed the opera more as an intimate horror-drama, and its repercussions in the wider world. By keeping the rebar proscenium frame the entire time, I felt that it lost the gradual descent from honor to shame. I wondered if it would've been more impactful to introduce that stage element in Act 4.

Great to have so many people get interested in this opera, though! Kudos to Met for taking thoughtful risks.