Name: Macbeth
Start: 2020-02-14T00:00:00.000Z
End: 2020-02-23T00:00:00.000Z
Location: Lucie Stern Theatre

Admin

Organization

Певец

Баритон

Krassen Karagiozov

Макбет

Сопрано

Christina Major

Леди Макбет

Бас

Ben Brady

Банко

Тенор

Dane Suarez

Макдуф

Jackson Beaman

Малькольм

Меццо-сопрано

Deborah Rosengaus

Фрейлина

Kiril Havezov

Доктор

Дирижер

José Luis Moscovich

Режиссер-постановщик

Ragnar Conde

Художник-постановщик

Peter Crompton

Художник по костюмам

Callie Floor

Художник по свету

Steve Mannshardt

West Bay Opera

Парикмахер

Lisa Cross

Художник по гриму

Macbeth -  (Макбет)

Пало Альто

Соединенные Штаты

Lucie Stern Theatre

Macbeth Verdi

Public

Одобрено

Verdi's Macbeth, second act, final scene. Banquet scene. Macbeth and Lady Macbeth (now king and queen) throw a party for the members of the court. Lady Macbeth offers a toast in honor of the guests.  In the middle of the banquet, the ghost of Banquo appears to Macbeth. He raves. The courtiers, shocked by the king's behavior, want to leave. Lady Macbeth convinces them that it's just a passing thing and begs them to stay. She reprises the toast. The ghost appears again, this time really disturbing Macbeth, who faints. The courtiers start suspecting the royal couple. This is the beginning of the end.

World Premiere: Teatro della Pergola, Florence
March 14, 1847
Revised version (in French): Théatre Lyrique
April 21, 1865 
WBO Premiere: February 14, 1975
Pictured: Interior of the Teatro della Pergola - Florence, Italy
This was the first theater to feature private boxes.

This is West Bay Opera's third production ever of Verdi's Macbeth.The libretto follows the Shakespeare play closely. Though Verdi turned the three witches into an entire women's chorus, he still felt that the witches, as a whole are dramatically on a par with Macbeth and Lady Macbeth.  A major success upon its premiere in 1847, the opera was revised and translated into French in 1865 for Paris. Paradoxically, it is the revised version, sung in Italian, that has become more widely performed.   Verdi was particularly proud of this score, his first opportunity to explore Shakespeare's work, which he greatly admired.  After Nabucco's Abigaile, Lady Macbeth is the next big soprano role in the Verdian canon, an intrepid musical exploration of the shakespearean archetype, a woman whose all-consuming ambition ends in tragedy and madness. Macbeth is a remarkable score, and in addition to the beautiful arias, it includes outstanding ensembles and lots of exciting choral and orchestral music.

English

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