If Opera / Κριτικές

Macbeth's turbulent emotions and fierce storms make it ironically ideally suited to an English summer evening, as the clouds gather menacingly overhead (although I managed to stay dry at Iford). Director Bruno Ravella presides over a sophisticated traditional reading which proves faithful to both Shakespeare's eerie original, and also to Verdi's passionate protests for Italian nationalism which spill out like power surges through Macbeth's arias and choruses. Ravella adds some intelligent director's touches, especially where Lady Macbeth is concerned: her frustrated motherhood is painfully obvious as she clasps Fleance in an early scene, only for a furious Banquo to snatch his child from her arms in clear alarm; Macbeth, meanwhile, can barely bring himself to touch the boy. Later, blowing out a candle before walking out to her suicide, the dead candle left behind on stage signifies both Lady Macbeth in death and Shakespeare's famous "Out, out, brief candle". Laura Parfitt, recovering from illness, gave a brilliantly acted account of Lady Macbeth, her face and gestures hugely expressive. Although her vocal control was still suffering, with a vibrato too wide for comfort at times, Parfitt is capable of producing a huge and extraordinary sound. Lady Macbeth's easy instinct for evil, and growing horror at her own ruthlessness, came across beautifully. We were also treated to confident and skilful performances from Charlie Maggs and Hugo Caesar, boy actors who alternate Fleance and the Bloodied Child apparition, and also to a competent, engaging Malcolm from Oliver Brignall. The weak link for me were the witches (Aoife O'Connell, Claire Filer and Sarah Richmond), whose twisting, jerking dancing was good, clasping their hands in sacreligious prayer, but whose vocal timing was too often sketchy in unison moments. The witches' words consequently didn't get across with much sharpness or bite: a pity, when their evil spells and dastardly incantations are such fun to hear.