By William Fratti – Verdi's Macbeth returns to the stage of the Teatro Lirico of Trieste in Henning Brockhaus's show which is almost thirty years old.
The famous Verdian melodrama, the first meeting of the Swan of Busseto with the genius of Shakespeare, returns to the stage of the Teatro Lirico of Trieste in the show of Henning Brockhaus which is almost thirty years old, but is still effective and contemporary. It would perhaps need some small adjustments to adapt to more modern tastes – for example costumes and wigs with lighter materials; faster entry and exit of the masses; faster scene changes – but it is still a production that deservingly continues to circulate in Italian theatres. The aerial gymnasts were less acrobatic than usual and did not fill the scene as well as in previous shots.
He is on the podium Fabrizio Maria Carminati, a certainty of the great repertoire, which is never denied in the overall performance which is always of a good level. It incessantly adheres to the score, a great quality but also a flaw, especially in the phrasing and chromatics. He is certainly not helped by an orchestra that does not go beyond mere professionalism.
The same goes for the choir prepared by Paolo Longo – women are better than men; even some tenors go beyond “The country was oppressed” – perhaps more lazy than capable.
Giovanni Meoni he plays the role of the protagonist with the skill of an expert, but starting from the third act he appears tired and begins to lose a little’ of stamp.
Silvia Dalla Benetta returns to play his workhorse, about whose performance there is not much to add compared to previous occasions. She is a true artist who never leaves her character, who consumes herself – maybe even physically – in the Lady's mental wear and tear. No one like her is able to phrase with those hissed, slurred, whispered, chewed sounds, starting from the cabaletta and then increasingly up to sleepwalking, exciting and engaging that gives goosebumps.
Macduff is the very good one Antonio Poli, endowed with a natural beauty of the voice, as well as a very soft transition to the high notes. It's a shame that he remains on stage as fixed as a pole.
More captivating is the acting of Dario Russo in the role of Banquo, but vocally he appears rather burdened.
The Malcolm of Gianluca Sorrentino he jumps on stage like a spinning top and the singing seems quite tired.
The lady of Cinzia Chiarini he doesn't give the contribution he should during the concerts.
The supporting roles are adequate.
The audience was listless and not very involved, but was quite happy at the end of the performance.
William Fratti
MACBETH
Music by GIUSEPPE VERDI
Melodrama in four parts with a libretto by Francesco Maria Piave based on Shakespeare
Ed. musical: E. F. Kalmus & Co., New York
Concert Master and Director FABRIZIO MARIA CARMINATI
Regia HENNING BROCKHAUS
Scene JOSEF SVOBODA
Reconstruction of the BENITO LEONORI stage set
NANÀ CECCHI costumes
Choreography VALENTINA ESCOBAR
Macbeth GIOVANNI MEONI
Lady Macbeth SILVIA DALLA BENETTA
Macduff ANTONIO POLI
DARIO RUSSO Bank
Lady Macbeth's lady CINZIA CHIARINI
Malcolm GIANLUCA SORRENTINO
Doctor FRANCESCO MUSINU
Macbeth's Maid/Apparition DAMIANO LOCATELLI
Sicario/Apparition GIULIANO PELIZON
Herald FRANCESCO PACCORINI
Choir Master PAOLO LONGO
ORCHESTRA, CHOIR AND TECHNICIANS OF THE GIUSEPPE VERDI OPERA THEATER FOUNDATION OF TRIESTE
With the participation of the Choir I Piccoli Cantori della Città di Trieste directed by Maestro CRISTINA SEMERARO
STAGE IN CO-PRODUCTION BETWEEN THE PERGOLESI SPONTINI FOUNDATION OF JESI AND THE GIUSEPPE VERDI LYRIC THEATER FOUNDATION OF TRIESTE
Photo Verdi Theatre, Trieste