By visually removing any vestige of Scotland from his new staging of Macbeth for Opera North, Tim Albery points out that this work came from Verdi's production line of Italian operas and though using Shakespeare's story, it could have been derived f
rom any source.
He reinforces that view by updating the action, the costume design suggesting Italy somewhere around the mid-20th century. In almost every respect it is one of those rare modernisations that has no drawbacks. A further significant change comes with the three witches being ever present.
On a largely bare stage Albery runs scenes and acts into a continuous whole, which does strengthen the pace of the action. Robert Hayward's brooding and neurotic picture of Macbeth is well-judged. Vocally big and commanding his voice did sound rather frayed around the edges.
In her Opera North debut, the experienced Antonia Cifrone is a traditional Italian dramatic soprano, the technical demands of Lady Macbeth handled with consummate ease. Peter Auty stood out from the crowd of cameo roles, but it was the exceptionally fine singing and playing of the Opera North chorus and orchestra, that is the highlight of this performance.
Further performances on April 26, May 2, 14, 21 and 24 before touring to Nottingham, Newcastle and Salford.
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