Name: Macbeth
Start: 2000-05-19T00:00:00.000Z
End: 2000-05-19T00:00:00.000Z
Location: Theater Basel

Organization

Conductor

Julia Jones

Stage director

Jossi Wieler

Dramaturge

Sergio Morabito

Set designer

Anna Viebrock

Costume designer

Anja Rabes

Chorus master

Henryk Polus

Musical assistance

Srboljub Dinić

Assistant Director

Jens Neubert

Silent

Jens Winterstein

Duncan

Baritone

Ian Vayne

Macbeth

Peter Sidhom

Bass

Martin Snell

Banquo

Soprano

Luana DeVol

Lady Macbeth

Mezzo-soprano

Regina Jakobi

Lady-in-waiting

Tenor

Ki-Chun Park

Macduff

Pravtchev Latchezar

Paolo Vignoli

Malcolm

Gottfried Driesch

Doctor

Raymond Anderhuber

A Servant of Macbeth

Theater Basel

Others

Chor des Theater Basel

Orchestra

Sinfonieorchester Basel

Basel

Switzerland

Foyer Grosse Bühne

Public

Approved

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Bassist

Accordionist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Librettist

Choreographer

Lighting designer

Dancer

Actor

Video designer

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Illustrator

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Extra

Countertenor

Singer

Contralto

Bass-baritone

Spoken

Child vocalist

Alto

Continuo

"Macbeth" is considered by many to be Verdi's most radical opera. It is always disturbing that a piece so remote from the operatic stage as Shakespeare's "Tragedy of Macbet" from 1606 was chosen as a model at all. The cruelty of the plot, the fatality of the events, the nihilism of the protagonists cannot prevent or hide Verdi's themes and music: the drastic scenery, the deadly entanglement and sudden fits of madness, all of this on the Scottish plateau, in the land of gothic romance , which ignites Verdi's theatrical instinct. A regicide - a recurring motif in Verdi's work - committed by the tyrant: Verdi took its political implications entirely from his present. What is missing, but becomes the strength of opera at the end of our cruel century: the piece knows no love story, yes, there is no love itself on a Scottish night. "Macbeth" as an opera is also radical in that Verdi, as Attila Csampai puts it, "directs himself against the aesthetic principle of his operas, the "singing people": Macbeth does not contain its basic motif, namely the passionate, existential, intact one Emotional expression that coagulates into utopian-transcendental substance in Verdi's musical-aesthetic form." In Basel we are playing the version of the opera first performed in Paris in 1865, which premiered in 1847. After the Interpretation of Love Dreams, when Jossi Wieler staged Mozart's "Abduction from the Seraglio",

English

"Macbeth" gilt vielen als die radikalste Oper Verdis. Verstörend ist sie allemal darin, dass ein der Opernbühne so fernstehendes Stück wie Shakespeares "Tragedy of Macbet" von 1606 überhaupt zur Vorlage gewählt wurde. Die Grausamkeit der Handlung, die Fatalität der Ereignisse, der Nihilismus der Protagonisten können aber nicht die Themen und die Musik Verdis verhindern oder verbergen: An der Drastik der Szenerie, an tödlicher Verstrickung und plötzlichen Wahsinnsanfällen, all das auf schottischer Hochebene, im Land der Schauerromantik, daran entzündet sich Verdis Theaterinstikt. Ein Königsmord – immer wiederkehrendes Motiv in Verdis Werk – vom Tyrannen begangen: dessen politische Implikation nahm Verdi ganz aus seiner Gegenwart. Was fehlt, aber zur Stärke der Oper wird am Ende unseres grausamen Jahrhunderts: das Stück kennt keine Liebesgeschichte, ja Liebe selbst gibt es nicht in schottischer Nacht. Radikal also ist der "Macbeth" als Oper auch darin, dass Verdi sich, wie Attila Csampai es ausdrückt, "gegen das ästhetische Prinzip seiner Opern, den "singenden Menschen" richtet: Macbeth enthält nicht dessen Grundmotiv, nämlich die leidenschaftlich-existenzielle, intakte Gefühlsäusserung, die in der musikalisch-ästhetischen Gestalt Verdis zu utopisch-transzendentaler Substanz gerinnt." In Basel spielen wir die zuerst 1865 in Paris präsentierte Fassung der 1847 uraufgeführten Oper. Nach der Liebestraumdeutung, als die Jossi Wieler Mozarts "Entführung aus dem Serail" inszenierte, wendet der Regisseur sich nun in seiner zweiten Opernarbeit am Theater Basel der Albtraumhandlung der Wahlverwandten Shakespeare und Verdi zu.

Deutsch

Macbeth by Verdi, From (2000/2000), Directed by Jossi Wieler,, Conductor Julia Jones, Theater Basel, Basel, Switzerland

Performance credits (Cast & Crew )

Cast

Crew

Ensemble

Programme, About & Synopsis

Further reading

Performance Dates & Venues

Venues