The Opera Tattler
Reviews of Performances and their Audiences
Category: Macbeth
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* 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…
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* Notes * I wasn't going to bore you with yet another review of Macbeth, but I had some thoughts about OperaVision and also wanted to pose a question. Thank goodness for OperaVision, or else one would never be able to see the large hole in the ceiling! Generally, I did not look at the…
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* Notes * Last night I was invited at the last minute to hear Macbeth again, from box seats, so I gave the opera another try. Of course there was no booing this time, so I did laugh a good deal less. From Box O, I was able to see the green slime on Duncan…
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* Notes * It was as expected, the audience at the Macbeth opening was, on the whole, discontent with the production and even booed the members of production team that dared to take bows. That is quite a feat, the last time I heard Americans boo at a production was five years ago at Alcina.…
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* Notes * Verdi’s Macbeth opens tonight at San Francisco Opera, with Thomas Hampson in the title role. I was fortunate enough to attend the final dress rehearsal last Sunday, and was at least impressed with Hampson. David Pountney’s production, directed by Nicola Raab, is the consummate Regieoper that San Francisco seems to dislike so.…
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A new production of Verdi’s Macbeth opened at Seattle Opera on May 6th. The director was Bernard Uzan, his work on Tosca at San Francisco certainly was different. The Tosca production was pretty, but somewhat boring. This Macbeth is both ugly and boring. Robert Israel’s set was a silver room with three doors and a…
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