Macbeth (opera)
All you want to know about Macbeth (opera)
| Operas by Giuseppe Verdi |
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Oberto (1839) |
Macbeth is an opera in four acts by Giuseppe Verdi, with an Italian libretto by Francesco Maria Piave and additions by Andrea Maffei, based on Shakespeare's play of the same name.
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Background
Giuseppe Verdi started writing music for Macbeth in 1846-47. Piave's text was based on a prose translation by Carlo Rusconi that had been published in Turin in 1838. Verdi did not encounter Shakespeare's original work until after the first performance of the opera at the Teatro della Pergola in Florence on March 14, 1847.
Nearly 20 years later, Verdi was asked to provide additional music for a production at the Théâtre Lyrique in Paris, and this gave him an opportunity to revise the entire opera, in particular music for Macbeth and Lady Macbeth in Acts 1 and 3 and adding a ballet. This new version was first performed on April 21, 1865 and remains the preferred version for modern performances.
Verdi's version follows Shakespeare's play quite closely, but with some interesting changes: Instead of using three witches as in the play, there is a large female chorus of witches, singing in three part harmony. The last act begins with an assembly of refugees on the English border, and, in the revised version, ends with a chorus of bards celebrating victory over the tyrant, possibly as a compliment to Shakespeare himself.
There are several recordings of Macbeth, although the opera is not considered as important as Verdi's two other works based on Shakespeare - Otello and Falstaff. Some recordings[1] and some performances today[2] incorporate both Macbeth's final aria before he dies (from the original version) and the revised version's ending with the soldiers' chorus.
Performance history
After the 1865 premiere, which was followed by only 13 more performances, the opera generally fell from popularity so that, by about 1900 it was rarely performed until after World War 2.
Two important European production in Berlin in the 1930s and at Glynebourne in 1938 and 1939 were notable, but it was not until the 1960 production and (subsequent revivals) at the Royal Opera House, Covent Garden with Tito Gobbi (and then others in the title role) that it appeared on the Royal Opera House's stage for the first time. Recently is has appeared in the repertories of the Metropolitan Opera (2008), the Washington National Opera (2007), and the San Francisco Opera (Nov/Dec 2007)
Roles
| Role | Voice type | Premiere Cast, March 14, 1847[3] (Conductor: - ) |
Revised version Premiere Cast, April 19, 1865[3] (Conductor: - ) |
|---|---|---|---|
| Macbeth | baritone | Felice Varesi | M. Ismael |
| Lady Macbeth | soprano | Marianna Barbieri-Nini | Mme Rey-Balla |
| Banquo | bass | Nicola Benedetti | M. Bilis Petit |
| Macduff | tenor | Angelo Brunacci | M. Montjauze |
| Lady-in-waiting | mezzo-soprano | Faustina Piombanti | Mme Mairot |
| Malcolm | tenor | Francesco Rossi | M. Huet |
| Doctor | bass | Giuseppe Romanelli | M. Guyot |
| Servant to Macbeth | bass | ||
| Herald | bass | ||
| Assassin | bass | Giuseppe Bertini | M. Caillot |
| Three apparitions | 2 sopranos and 1 bass | ||
| Duncano (Duncan), King of Scotland | Silent | ||
| Fleanzio (Fleance) | Silent | ||
| Witches, messengers, nobles, attendants, refugees - chorus | |||
Synopsis
Note: there are several differences between the 1847 and the 1865 versions which are noted below in indented text in brackets
- Place: Scotland
- Time: 11th century
Act 1
Scene 1: A heath
Groups of witches gather in a wood beside a battlefield. The victorious generals Macbeth and Banquo enter. The witches hail Macbeth as Thane of Glamis, Thane of Cawdor, and king "hereafter." Banquo is greeted as the founder of a great line of future kings. The witches vanish, and messengers from the king appear naming Macbeth Thane of Cawdor.
Scene 2: Macbeth's castle
Lady Macbeth reads a letter from her husband telling of the encounter with the witches. She is determined to propel Macbeth to the throne (Revised version only: "Vieni! t'affretta!" - Come! Hurry!). Lady Macbeth is advised that King Duncan will stay in the castle that night; she is determinied to see him killed ("Or tutti, sorgete" - Arise now, all you ministers of hell). When Macbeth returns she urges him to take the opportunity to kill the King. The King and the nobles arrive and Macbeth is emboldened to carry out the murder ("Mi si affaccia un pugnal?" - Is this a dagger which I see before me?), but afterwards is filled with horror. Disgusted at his cowardice, Lady Macbeth completes the crime, incriminating the sleeping guards by smearing them with Duncan's blood and planting on them Macbeth's dagger. The murder is discovered by Macduff. A chorus calls on God to avenge the killing ("Schiudi, inferno, . ." - Open wide thy gaping maw, o Hell).
Act 2
Scene 1: A room in the castle
Macbeth is now king, but disturbed by the prophecy that Banquo, not he, will found a great royal line. To prevent this he tells his wife that he will have both Banquo and his son murdered as they come to a banquet.
- (Revised version only: In her aria, "La luce langue" - The light fades, Lady Macbeth exults in the powers of darkness)
Scene 2: Outside the castle
A gang of murderers lie in wait. Banquo is apprehensive ("Come dal ciel precipita" - O, how the darkness falls from heaven). He is caught but enables his son Fleanzio to escape.
Scene 3: A dining hall in the castle
Macbeth receives the guests and Lady Macbeth sings a brindisi ("Si colmi il calice" - Fill up the cup). The assassination is reported to Macbeth, but when he returns to the table the ghost of Banquo is sitting in his place. Macbeth raves at the ghost and the horrified guests believe he has gone mad. The banquet ends abruptly with their hurried, frightened departure.
Act 3
The witches' cave
The witches gather around a cauldron in a dark cave. Macbeth enters and they conjure up three apparitions for him. The first advises him to beware of Macduff. The second tells him that he cannot be harmed by a man 'born of woman'. The third that he cannot be conquered till Birnam Wood marches against him. (Macbeth: "O lieto augurio" - O, happy augury! No wood has ever moved by magic power)
Macbeth is then shown the ghost of Banquo and his descendants, eight future Kings of Scotland, verifying the original prophecy. (Macbeth: "Fuggi regal fantasima" - Begone, royal phantom that reminds me of Banquo). He collapses and regains consciousness in the castle. Macbeth and his wife resolve to extirpate the families of Macduff and Banquo ("Ora di morte e di vendetta" - Hour of death and of vengeance).
Act 4
Scene 1: Near the border between England and Scotland
A chorus of Scottish refugees ("Patria oppressa" - Down-trodden country) stand near the English border. In the distance lies Birnam Wood. Macduff is determined to avenge the deaths of his wife and children at the hands of the tyrant ("Ah, la paterna mano" - Ah, the paternal hand). He is joined by Malcolm, the son of King Duncan, and the English army. Malcolm orders each soldier to cut a branch from a tree in Birnam Wood and carry it as they attack Macbeth's army. They are determined to liberate Scotland from tyranny ("La patria tradita" - Our country betrayed).
Scene 2: Macbeth's castle
A doctor and a servant observe the Queen as she walks in her sleep, wringing her hands and attempting to clean them of blood ("Una macchia è qui tuttora!" - Yet here's a spot).
Scene 3: The battlefield
Macbeth has learned that an army is advancing against him but is reassured by remembering the words of the apparitions ("Pietà, rispetto, amore" - Compassion, honour, love). He receives the news of the Queen's death with indifference. Rallying his troops he learns that Birnam Wood has indeed come to his castle. Battle is joined.
- [Ending of the original version:] Macduff pursues and fights Macbeth who falls. He tells Macbeth that he was not "born of woman" but "ripped" from his mother's womb. Fighting continues. Mortally wounded, Macbeth, in a final aria - "Mal per me che m'affidai" - Trusting in the prophesies of Hell - proclaims that trusting in the prophesies of hell caused his downfall. He dies on stage, while Macduff's men proclaim Macduff to be the new King.
Macduff pursues and fights Macbeth who falls wounded. He tells Macbeth that he was not "born of woman" but "ripped" from his mother's womb. Macbeth responds in anguish ("Cielo!- Heaven) and the two continue fighting, then disappear from view. Macduff returns indicating to his men that he has killed Macbeth. The scene ends with a hymn to victory sung by bards, soldiers, and Scottish women.
Adapted and expanded from the synopsis by Simon Holledge which was first published on Opera japonica [1] and appears here by permission.
Selected recordings
1847 Original version
| Year | Cast (Macbeth, Lady Macbeth, Banco, Macduff) |
Conductor, Opera House and Orchestra |
Label |
|---|---|---|---|
| 2003 | Peter Glossop, Rita Hunter, John Tomlinson, Kenneth Collins |
John Matheson BBC Concert Orchestra and BBC Singers |
Audio CD: Opera Rara Cat: ORCV 301 |
1865 Revised version
Notes
- ^ The 1976 Abbado version is one example. See selected recordings above)
- ^ The 2007 San Francisco Opera's production is one example
- ^ a b List of singers taken from Budden, Julian: The Operas of Verdi, vol 1, p. 268. New York: Cassell, 1974
References
- The Opera Goer's Complete Guide by Leo Melitz, 1921 version.
External links
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