Macbeth by Giuseppe Verdi: How to Get Away with Murder

There are some productions of Macbeth by Giuseppe Verdi that I watch for the sake of checking the stage design. I’m a little lenient when it comes to certain production designs since some stage directors seem to be going for the “shock value”. Or something similar to that. I’m aware how some productions get labeled as “Eurotrash” simply because it deviated from the period design of the original production. I guess I’m not purist enough to “hate” productions that go the “expressionist” route. And I am forgiving when it comes to these kinds of productions because what if there is not much of a budget? Can the singing and acting talents of the cast make up for a lackluster stage design? 

With opera being streamed online, visuals will be a factor in productions like the version of Macbeth by Giuseppe Verdi from the Opernhaus Zurich that I am about to comment on. Visuals and acting believability, just to be clear. Character development is still a factor after all in this belcanto re-imagining of a Shakespearean play. Expectations are also high for Thomas Hampson (Macbeth) and Paoletta Maroccu (Lady Macbeth) to not only sing their arias great but to sing their arias in a dark tone fitting this thrilling opera. The psycho-thriller is still a good word to throw in since guilt will play a big role in the story.  

The stage design just got me occasionally confused. In trying to be “modern”, this version of Macbeth by Giuseppe Verdi ended up mixing period costumes with modern clothing. The confusion was felt as early as seeing the witches. Sure. There was no racial stereotype presented in showing these women in various chores. But who’s talking to whom? The chatter was almost indistinct since they are all singing together as if they end up answering their own questions while painting their nails, looking in the mirror and cutting newspaper. I almost laughed at the part where they are trying to bury 2 women wrapped in newspaper. Aww. They’re so poor. They can’t even afford a coffin. But they are witches. So there might be something sinister in that scene. At least one of the witches was shown burying a dagger. 

That dagger eventually found its way to Macbeth. He didn’t have any weapon before entering Duncan’s room. Lady Macbeth expected him to find a weapon on his own. Macbeth interpreted it as a cruel fate. Hampson’s acting made you feel bad at some point for Macbeth until you realized how much of a cuckolded husband he is. He as a character devolves as the story progresses until he becomes a shell of his old self. As for Lady Macbeth, it’s the narcissism and the sense of self-entitlement that pushes her to keep manipulating Macbeth. The greed for power has consumed her as effectively interpreted by Marroccu. 

The stage design was effective though in presenting the stark differences between Macbeth’s men and the resistance. The part where the spouses Macbeth were plotting for their next murder showed how slowly they retreated into the background as their men in visible clothing executed the details of the murder plot. And they were identified by the colors of their infantry and the logos on their big collars. The resistance army led by Malcolm and Macduff, on the other hand, wore ragtag uniforms splattered with writings and markings.    

The thrilling parts of this version of Macbeth by Giuseppe Verdi were the parts where death stared characters in the face. For example in one scene, while spouses Macbeth had to put up a front and wail along with the rest of the household for Duncan’s murder, Macbeth carried Duncan. Macbeth was shown looking at his wife as if avoiding the gaze of the dead Duncan to his face. Duncan’s stiff hand was even close to Macbeth’s neck. In another scene, it implied that Macduff went back to his house to check on his family. His entire family was shown standing but already pale white implying that they are already dead. Luis Lima as Macduff effectively interpreted the pain of regret and anger at Macbeth in the aria “La patria mano”. It’s an aria best summarized as “My family is dead”. 

Remember the dead wrapped in newspaper? Could it be this version’s allusion to “fake news”? Since 2 of them evolved to be the apparitions, it can’t be labeled as fake news then. It only showed how Macbeth has become dependent on the witches’ prophecies now that he’s grasping at straws to stay in power. Fake news become fake when they don’t happen and when they are unverified. Macbeth had a way of verifying earlier prophecies even if they scared him. But he lacked diligence in analysing the part that said “No man born of a woman shall harm you.” Macduff verified that prophecy better in Macbeth by Giuseppe Verdi.   

Macbeth never took responsibility for his actions just like his wife. The moment he exclaimed, “It is a tale told by an idiot. Sound and fury signifying nothing” you know that the resistance is closing in on him. Soon, he’s blaming the witches for their “prophecy from hell”. With a mix of overconfidence and arrogance, he had the nerve to face Macduff and get the truth rammed into him to his death. He had it coming. 

This version of Macbeth by Giuseppe Verdi is now out on DVD. It’s Amazon UK where I found it. Click here to get your own copy. This is the version that featured Thomas Hampson as Macbeth, Paoletta Marroccu as Lady Macbeth, Roberto Scandiuzzi as Banquo and Luis Lima as Macduff. Musical direction is by Franz Welser-Most. Click here to get your own copy or as a gift to your opera nerd friend. Tips for writing this article would be much appreciated. All you have to do is click the “Donate” button below. Thanks for reading.