Organization

Singer

Baritone

George Petean

Macbeth

Soprano

Veronika Dzhioeva

Lady Macbeth

Tenor

Omer Kobiljak

Macduff

Benjamin Bernheim

Alejandro Del Angel

Malcolm

Bass

Alexander Fritze

Doctor

Andrew Moore

Assassin

A Servant of Macbeth

Stage director

Barrie Kosky

Conductor

Nicola Luisotti

Lighting designer

Klaus Grünberg

Costume designer

Klaus Bruns

Set designer

Anne Kuhn

Dramaturge

Claus Spahn

Chorus master

Ernst Raffelsberger

Libretto

Francesco Maria Piave

Ildar Abdrazakov

Banquo

Riccardo Zanellato

Vitalij Kowaljow

Mezzo-soprano

Bożena Bujnicka

Lady-in-waiting

Opernhaus Zürich

Others

Chor der Oper Zürich

Orchestra

Philharmonia Zürich

Statistenverein am Opernhaus Zürich

italština

Zurich

Switzerland

Opernhaus

Macbeth Verdi

Public

němčina

angličtina

Approved

Alles Infos und Tickets: www.opernhaus.chMusikalische Leitung: Teodor Currentzis - Inszenierung: Barrie Kosky - Bühne und Lichtgestaltung: Klaus Grünberg - K...

Macbeth - Trailer - Currentzis/Kosky

Macbeth
Anna Netrebko sings again at the Zurich Opera House. The star soprano was last seen seven years ago as Anna Bolena, now she sings the mad lady in Giuseppe Verdi's opera Macbeth - a role that she added to her carefully selected repertoire a few years ago with overwhelming success. King Macbeth at her side is George Petean, who has already celebrated many successes in Zurich with his appearances in the Italian repertoire from Bellini's I puritani to La forza del destino . The top-class cast is completed by tenor Benjamin Bernheim in the role of Macduff and Nicola Luisotti, who conducts Verdi's operas at the world's first houses.

Netrebko and Petean appear in our production by Australian director Barrie Kosky, which was showered with awards in the premiere year and praised by the Neue Zürcher Zeitung as an “aesthetic milestone in the reception of the opera”. The spectacularly simple stage design by Klaus Grünberg shows only a night-black corridor that curves into infinity and two glistening light cages as a play area. Kosky focuses entirely on the inner drama of Macbeth and his wife in his direction. The action only seems to take place in the couple's heads as voices and shadows, as ghostly perceptions and hallucinations in empty space.

A more suggestive staging is hardly conceivable for Anna Netrebko as Lady Macbeth, because she takes on the role of the power-hungry, overcrowded and maddened Shakespeare queen in each of her appearances with skin and hair. You can already see in front of you how she fills the blackness of the stage with her vocal charisma in Kosky's production, forces her husband under her influence and incites him to murder and how at the end of the lonely madness flashes out of her eyes. She then sits alone on a chair and talks to a black raven.

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