Review: Verdi’s Macbeth
By Perry Tannenbaum
Witches, ghosts, Scottish clans, regicide, guilty sleepwalking, and Shakespeare’s most famous despairing rhetoric have kept Macbeth among the Bard’s most-produced tragedies. Onstage, we’ve seen such spinoffs as Tiny Ninja Macbeth and Kabuki Macbeth in Charlotte conjuring up the one Shakespeare title that theatre veterans dread to say aloud. I suspect that, in opera as in theatre, only Romeo and Juliet has inspired more adaptations and spinoffs.
Further riffs on Macbeth have been applied by opera directors. Perhaps the most notorious were the costumes and scenic design of Mark Thompson at the Metropolitan Opera in 2008, where the Thane of Cawdor, prior to meeting the witches’ coven in post-WW2 Scotland, came riding onto the battlefield in an army Jeep. Trading on the popularity of Game of Thrones, stage director Ivan Stefanutti – adding his own costume and scenic designs to his new brew at Opera Carolina – has been quite content to return the action to 11th century Scotland, where King Duncan was murdered in 1040.
Undoubtably trusting Op Carolina artistic director James Meena, who directed the company’s premiere of Macbeth in 2004, Stefanutti brings baritone Mark Rucker back to Belk Theater to headline his high-concept production in the title role. Rucker conquered vocally as convincingly as before, though his tendency to waddle across the stage rather than striding confidently has become more noticeable during his 15-year hiatus. Stefanutti limits Macbeth’s mobility in his staging to the point that he is often upstaged by the Witches and Lady Macbeth.
Yet it must be said that Rucker’s hulking lack of grace chimes well with the Game of Thrones design concept, emphasizing the barbaric elements of the bloodthirsty king. It was probably a worse decision for Stefanutti not to delegate the animated backdrop of his production to a different artist. As executed with Michael Baumgarten, Stefanutti’s animations are way too busy, too much like a low-budget video game, and occasionally over-the-top, especially when the ghost of Banquo appears.
For some reason, there were stretches when the animations strove to simulate traditional set pieces and backdrops. Scrolling through a series of these stage-filling line drawings while the stage was vacant, Baumgarten made it look like Macbeth’s throne was riding an elevator from one hall to another! In a far, far niftier stroke, color begins to seep into the design concept when Macduff launches his vengeful rebellion against Macbeth, escalating further when Lady M has her sleepwalking scene.
Thrones fans will likely adore the Witches’ costumes with their piercing LED eyes and floor-length beards, but their singing is equally triumphant. Outfitted in less outré gear, the men’s half of the Op Carolina Chorus is vocally as outstanding as the women’s. Obviously, the entire ensemble drew plenty of attention from Meena in rehearsals – and plenty of blocking from Stefanutti.
The youngbloods making their Charlotte debuts all do well under Meena’s baton. Bass baritone Song Zaikuan excels as Banquo even when that ridiculously large ghost animation looms behind him. Tenor Gianluca Sciarpeletti sings purely, but he struck me as too youthful to have lost a gaggle of children, which may account for his shortage of gravitas. In the other tenor role, Johnathan Kaufman’s similarly pure voice and manner are more of what we expect of Prince Malcolm, who assumes the Scottish crown after the showdown between the Macs.
Biggest disappointment of the night was soprano Othalie Graham as Lady Macbeth. On opening night, she seemed to have lost the bloom that I found in her voice when she made her Op Carolina debut in 2013 as Aïda. Reading Macbeth’s letter, plotting Duncan’s death, and even singing gaily at the haunted banquet, Graham had me wincing each time she prepared to sing an upward interval. Couldn’t be sure she would land on precisely the right note. Yet she still cuts a charismatic figure onstage, with genuine diva acting chops. Lady M’s white gowns by Stefanutti enhance Graham’s royal glow, setting her apart from her gloomy surroundings.
Warmed up and relaxed, Graham was at her best in her valedictory sleepwalking scene. From that highlight onwards, action from singers other than the Witches picked up, Meena continued to draw spirited work from the Op Carolina Orchestra, and those mammoth animations didn’t distract during the climactic battle.
All in all, Op Carolina seems to have created a stylized Macbeth that would spark mass appeal. After all the toil and trouble that Meena, Stefanutti, and Rucker put into this spectacle – with more LED-eyed Witches than I could count – I was shocked that more people weren’t at Belk Theater to soak up all the fun, spookiness, and Game of Thrones cachet.