(3 / 5)
Macbeth – an operatic trip
I saw, no, I experienced, no, I what? I tripped. A singing trip through Shakespeare’s tragedy.
I have no idea where to start. What words can do justice to this bizarre and jarring production. This crippling tale of the power of suggestion, the excuses of politics.
The women. Boy. What women.
Lady Macbeth: opulent, passionate, the voice of an angel with the presence of a god. ‘I wouldn’t mess with her’ I overhear. I wouldn’t. Magnificent. An audience is besotted.
The witches: awful, writhing, peculiar, calling like sirens; sexy, funny, raunchy. Wonderful choral singing. Quite wonderful.
The men don’t come close. With Macbeth simpering at his wife’s side and Duncan striding around in turquoise, they were a motley crew. Hard roles to sing, emotionally challenging to act and in unusual surroundings; but then there is a duet between Macduff and Malcolm to die for.
Visually, this is a difficult work to like. Colours clash. The period is unclear. The costumes ugly. Elements are comic – are they supposed to be? Those around me in the audience aren’t sure so the odd titter at an odd moment feels inappropriate. This is Macbeth after all.
The lady next to me closes her eyes. This is a beautiful opera to hear. To see? I’m not so sure. It is very, um, challenging.
I chat with others afterwards: we agree that whilst it has been a most peculiar evening, we expect we will remember it for a long, long time; it has been an entertainment. What are we here for, if not to provide entertainment? So, a huge thank you to all involved for something quite exceptional.
Running time: Approximately 2 hour 55 minutes with one interval
10, 15, 17 & 24 September 2016
Conductor Andriy Yurkevych
Director Oliver Mears
Set & Costume Designer Annemarie Woods
Lighting Designer Kevin Treacy
Choreographer Anna Morrissey
Video Designer Duncan McLean
Macbeth Luis Cansino
Lady Macbeth Mary Elizabeth Williams / Miriam Murphy
Macduff Bruce Sledge
Banquo Miklós Sebestyén
Lady-in-Waiting Miriam Murphy
Sung in Italian with surtitles in English and Welsh.
Co-production with Northern Ireland Opera.
Supported by WNO Partners.
Merchant of Venice – an operatic orgy
(4 / 5)
This Edwardian extravaganza of a strong story is sung with passion, grace and wit.
Shakespeare would have loved this epic play revived with such clarity and lust for life.
He would’ve loved the stylish eroticism, the flirtations, the overt sexuality of characters hard-pressed against the rugged back of trade. The wimpish Antonio, the love-lorn Bassanio, the women running rings around their men again and again.
Shakespeare’s reputation for relaying the crudeness of man losing to the manipulation of women intact. Portia and Nerissa transforming from girls in town to legal hotshots, the real heroes of the piece. Swapping their dresses and hairpieces for robes and wigs, they must resemble men to use the intelligence of women!
Portia is clear, her voice rings out and we hang on her words. Antonio sings like a bird, beautiful, girlish, self-denying. He lends his money selflessly, he offers his flesh willingly. The scales glisten invitingly.
Shylock is a world apart. He is arresting. He is pathetic. He is the Shylock I see in my head when I read the play. He carries his faith on his shoulders like a giant and he falls under its weight.
This is a difficult tale to tell. Shakespeare forces us to see the trouble caused by bigotry and racial hatred; Tchaikowsky makes us hear it.
This is a sumptuous performance. It is a romp, an orgy and a lesson. ‘My first opera’ says a friend, ‘I love it, it makes me think, it makes me gasp’.
So, what do these productions have in common?
Opera often convolutes and exaggerates a storyline but here, it finds a way through the morass of Shakespeare which is clear and refreshing. It brings characters to life with a pathos I had not expected and with a love for the complexities of the human spirit. Italian for Macbeth, English for Merchant of Venice: the language of the sung word gives depth and feeling where the spoken word cannot.
There is humour, colour and vivacity throughout. The men sink into the shadows of the women as perhaps Shakespeare intended. His leads are visceral, deadly, massive: Lady Macbeth and Shylock are the meat on the bones of these tales.
They contrast and whilst Macbeth often feels disjointed, ugly, unhappily humorous in parts; Merchant of Venice is a comely blend of the bawdy, the raw and the difficult.
See them both, see what you think.
Donald Gordon Theatre
Welsh National Opera:
The Merchant of Venice
André Tchaikowsky | UK Première
16 Sep – 30 Sep 2016
Tickets: £7 – £43 (£8.50 – £44.50*)
Running time: Approximately 3 hours 10 minutes (including 1 interval)
16 & 30 September 2016
Conductor Lionel Friend
Director Keith Warner
Designer Ashley Martin-Davis
Lighting Designer Davy Cunningham
Movement Director Michael Barry
Associate Director Amy Lane
Shylock Lester Lynch / Quentin Hayes
Antonio Martin Wölfel
Lorenzo Bruce Sledge
The Duke of Venice Miklós Sebestyén
Bassanio Mark Le Brocq
Solanio Gary Griffiths
Salerio Simon Thorpe
Gratiano David Stout
Jessica Lauren Michelle
Portia Sarah Castle
Nerissa Verena Gunz
Sung in English with surtitles in English and Welsh.
Supported by the Getty Family as part of British Firsts.
Co-production with the Bregenzer Festspiele, Austria, the Adam Mickiewicz Institute as part of the Polska Music programme & Teatr Wielki, Warsaw.