Company

Singer

Baritone

Luca Salsi

Macbeth

Amartuvshin Enkhbat

Soprano

Ekaterina Semenchuk

Lady Macbeth

Anna Netrebko

Bass

Jongmin Park

Banquo

Tenor

Fabio Sartori

Macduff

Giorgio Berrugi

Mezzo-soprano

Marily Santoro

Lady-in-waiting

Jinxu Xiahou

Malcolm

Andrea Pellegrini

Doctor

Leonardo Galeazzi

A Servant of Macbeth

Costantino Finucci

Harold

First Apparition

Milan

Italy

Teatro alla Scala

Giampaolo Bisanti

Conductor

Stage director

Davide Livermore

Lighting designer

Antonio Castro

Costume designer

Gianluca Falaschi

Set designer

Giò Forma

Video designer

D-Wok

Orchestra

Choir

Choreographer

Daniel Ezralow

Coro del Teatro alla Scala

Orchestra del Teatro alla Scala

Italian

Macbeth Verdi

Public

Opera

English

Approved

We returned to the Teatro alla Scala to attend one of the performances scheduled on the bill with an alternative cast to the first.

Considering the examination of this production - directed by Davide Livermore and taken up by Marco Monzini - written by Ugo Malasoma to be pertinent from a directorial and scenographic point of view , we focus on the performance of the singers on this warm evening at the end of June.

In the role of the diabolical Lady, as in the opening production of the 21/22 season , we find Anna Netrebko returning from the recent, spectacular and controversial production of Aida "del Centenario" at the Verona Arena .

Let's say right away that compared to last time the Russian singer seemed to us much in better shape in the difficult role that Verdi himself defined as an "ugly and bad lady" (although to tell the truth Anna Netrebko differs greatly from the meaning of "ugly"). In the previous season, the fact that it tried to sink the emission a lot and in a certain way tried to darken the timbre to the point of exasperation (obtaining a rather "guttural" sound in the low notes), had led it, in our opinion, to lose its brilliance in the acute extremes which were bleached and not very ringing.

Yesterday evening, however, the emission was evidently much more uniform throughout the range, despite the fact that there was still a certain loss of timbral polish and despite the agility being rather weighed down. The low notes felt much more focused and softer while the high notes were easy and clear. On the other hand, there is nothing to complain about the singer's excellent vocal projection which is always perfectly audible even in the concertatos and with the orchestra at full capacity, even if a greater scansion of the sung word could be perfected, which is at times excessively "fleshed".

From an interpretative and acting point of view she dominated the scene: with her sanguine temperament and expressive gestures she gave us back a character willing to do anything to achieve power, giving her best in the very risky "sleepwalking scene" (sung poised on a ledge) annotating the aria with beautiful pianissimo phrases. With good reason she was the most applauded of the evening.

The presence of Amartuvshin Enkhbat in the role of Macbeth was most anticipated on this occasion. The Mongolian singer, now very busy in all the most important theaters in the world, faces his debut in the role he will reprise at the Bayerische Staatsoper (Nov./Dec. 2023). What is immediately striking is always the noble, warm and soft timbre stylistically catalogable among the so-called Grand Seigneur baritones. The singing line is uniform and the phrases impeccably characterized by beautiful legates. All without showing the slightest effort in the emission constantly aimed at the search for colors and shades and great attention to the word. Although initially he seemed to "take measures" with the Scala context, he concluded his performance with an engaging and passionate "Pietà, respect, honor" that kept the audience in suspense until the final liberating ovation.

The only drawback in the performance is that it is still rather inert scenically, a little little "character".

Giorgio Berrugi did well in the role of Macduff, offering the audience a heartfelt “O children… Ah, the paternal hand”. He possesses a beautiful line of singing that is uniform and elegant in the way of delivery with beautiful legates but also a nice piglio when needed and an easy ascent to the high note. His voice has a nice timbre even if not particularly voluminous and is always well projected as in the duet with Malcolm, a somewhat vociferous Jinxu Xiahou with a somewhat rough singing line.

Jongmin Park 's Banco also did well with a very dark timbre and a soft and clear emission.

All the other accompanying characters also performed well: Marily Santoro (lady's lady), Andrea Pellegrini (the doctor), Leonardo Galeazzi (a servant), Alberto Rota (sacred killer), Costantino Finucci (herald and first appearance), Elena Finulli and Cecilia Menegatti both soloists of the Children's Choir conducted here by Marco De Gasperi .

We agree with what Malasoma said regarding Giampaolo Bisanti 's direction and we reiterate his very positive impression. We also point out the extreme attention in accompaniment to the soloists in order to put them at ease at all times. Even the orchestra seems to scrupulously follow the eloquent gesture of the Milanese conductor. For the writer, the best moment was the performance of the dance songs and the Witches' choir from Act III due to the variety of chromatisms and intense dynamics.

The choir , instructed by Alberto Malazzi , performed as a whole, as usual, in the best way but with a special mention for the female choir which sang really well in its fundamentals and numerous interventions, also actively involved in the choreography.

Also noteworthy is the skill of the mimes/dancers involved in this production in following the difficult and convulsive choreography of Daniel Ezralow .

Evening welcomed by enthusiastic applause from the audience especially at the time, as it should, the two protagonists and the Director.

Milan - Teatro alla Scala: Macbeth (alternative cast)

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The majestic production, envisioned by Davide Livermore and his tight-knit team in a dystopian metropolis rich in cinematographic references and evocations of the architecture of Piero Portaluppi, opened the 2021-2022 opera season. It is now reprised under the baton of Gaimpaolo Bisanti, who conducted Adriana Lecouvreur to great acclaim for his La Scala debut the previous season. The bloodthirsty Scottish king and his ruthless queen are again played by Luca Salsi and Ekaterina Semenchuk, who alternate with Amartuvshin Enkhbat and Anna Netrebko.

L’imponente allestimento pensato da Davide Livermore e dalla sua affiatatissima squadra per l’apertura della Stagione 2021/2022, ambientato in una metropoli distopica ricca di riferimenti cinematografici ma anche di rimandi all’architettura di Piero Portaluppi, viene ripreso con la direzione di Giampaolo Bisanti, applaudito nella scorsa stagione al debutto scaligero con Adriana Lecouvreur. Nei panni del sanguinario re scozzese e della sua spietata regina tornano Luca Salsi, in alternanza con Amartuvshin Enkhbat, e Ekaterina Semenchuk che divide le recite con Anna Netrebko.

Macbeth by Giuseppe Verdi, From Teatro alla Scala (2023/2023), Directed by Davide Livermore,, Conductor Giampaolo Bisanti

Credits (Cast & Crew)

Teatro alla Scala

Giampaolo Bisanti

Davide Livermore

Cast

Luca Salsi

Amartuvshin Enkhbat

Ekaterina Semenchuk

Anna Netrebko

Jongmin Park

Fabio Sartori

Giorgio Berrugi

Marily Santoro

Jinxu Xiahou

Andrea Pellegrini

Leonardo Galeazzi

Costantino Finucci

Costantino Finucci

Crew

Antonio Castro

Gianluca Falaschi

Giò Forma

D-Wok

Daniel Ezralow

Ensemble

Coro del Teatro alla Scala

Orchestra del Teatro alla Scala

Program, About & Synopsis

Reviews

Photos 18

Further reading

Performance Dates & Venues 6