Skip to main content

'Ecstasy of power'




Giuseppe Verdi, like William Shakespeare before him, created beautiful roles for strong female characters. Lady Macbeth's descent into madness following the acquisition of great power is intense and difficult to watch or listen to.

Verdi's Macbeth is an extraordinary opera which I have heard several times but never seen performed. It was an amazing experience to see it beamed live from New York's Metropolitan Opera last night.

Sitting in the most comfortable seat, just a few miles from my home and with a good friend who shares my interests, this was a real treat and less than £20. One of the best things about cinema-going at my age is having no-one comment when I sit there with a cup of tea rather than pop and popcorn.

A very convincing Macbeth and a truly domineering Lady Macbeth headed up a professional cast. My favourite character was Banquo. It can be hard to play a ghost convincingly through Act III, but he succeeded.

It's a beautiful opera, with a real dynamic range - apart from the immense vocal and orchestral range - that contrasts the semi-hysterical witches with some beautiful ensemble sections to close Acts I and II and powerful male chorus sections of the assassins and soldiers.

One of the lost clever directorial touches lay in the glimpses of red - fingernails, blood, scarves, more blood and jewellery. Mothers grasped the red scarves of their dead children at the end as Macbeth's reign was ended by Malcolm and Macduff. A truly stunning performance.

As for watching great opera in a local cinema, I'd recommend it to anyone. The interval featured some live interviews with cast members and it gave an insight into the life behind a performance when you see performers out of character, able to resume immediately the curtain rises. Would I like seats at the Met? Obviously. Is this a close runner-up? Absolutely.



Posted via my iPad

Comments

Post a Comment

Popular posts from this blog

Maria Schneider: Live at The Barbican

Tonight’s performance in the main hall at London’s Barbican Centre confirmed Maria Schneider ’s position as one of the finest composers of our generation. Working with the sublime Oslo Jazz Ensemble (formerly Denada), Schneider presented a selection of tunes from her ‘Data Lords’ double album from 2020 and the result was simply extraordinary. Photo credit @Hilary Seabrook With a host of Grammy awards and a Pulitzer Prize nomination for Data Lords , Schneider has proved her right to stand on the Barbican stage in front of one of the finest ensembles in the world. Her music allows every member to shine, individually and collectively. Sax players who double on clarinet, bass clarinet, flute and alto flute, trumpets and flugelhorns, an accordion and multiple percussion pieces wielded by the drummer collectively provide a range of timbres, textures and dynamics that thrilled this audience. The Data Lords  compositions celebrate everything that is wonderful about nature, as well as all ...
Post a Comment
Read more

Big Wade - 'Piano Man' out now

Big Wade and Black Swan Theory collectively blends funk, soul, jazz and everything that fills the cracks between those genres: his new album -  Piano Man - on all major streaming platforms ahead of the Piano Man Tour 2024 , which has dates across the US. Piano Man  brings a selection of original and covers, including a stunning version of Autumn Leaves , which reinvents the song as the funky, electronic Autumn . Big Wade's voice takes the song's melody and improvises around and around, with backing vocals and a deliberately sparse arrangement underpinning the song. Similarly, on Children of the Ghetto , the lead and backing vocals blend in with the soulful musicians of Black Swan Theory. Electronics are used with dexterity, often expanding the vocal lines, as in the ethereal and ghostly opening of Don't Let Me Go . However, the tools never dominate - simply adding depth and layers to the funk. Never more than when Big Wade enters a new world in Interludes , including vocals...
Post a Comment
Read more

The Darius Brubeck Quartet: Live at Jazz Cafe Posk

My first visit to Jazz Cafe Posk in London's Hammersmith coincided with the 60th anniversary of Posk - The Polish Social and Cultural Association - and the first performance in the club by pianist and composer Darius Brubeck. Photo credit @ Hilary Seabrook Darius was 10 when he joined his father on a historic tour of Poland. The Dave Brubeck Quartet toured Poland from 6 to 18 March 1958, just three years after the communist regime's ban on jazz was lifted. Without a doubt, this was the biggest jazz event in post-war Poland, with the archetypal and hugely successful outfit of Dave Brubeck (piano), Paul Desmond (alto sax), Eugene Wright (bass) and Joe Morello (drums). Sixty years later, in  2018, Darius took his own quartet - the same one he brought to Posk in May 2024 - to Poland for a significant tour, recorded and released as the Live in Poland album. Several of the tracks from this album were in the set at Posk and this quartet displayed in depth the benefits of playing to...
Post a Comment
Read more