|Eric Owens and Melody Moore|
Photo: Karli Cadel
Melody Moore, whose Senta in the Glimmerglass production of Der Fliegende Hollander we praised highly two years ago, again deserved high praise as Lady Macbeth. The role requires a voice that is large and warm, but one that can move and trill, and Ms. Moore did not disappoint in any way. Her opening aria, Vieni t'affreta, was powerful and glorious, and her Brindisi was full of Lady Macbeth's contrived joy. The end of the sleepwalking scene was magical.
Photo: Karli Cadell
This production was updated to the early 20th century, “in a world that is both recognizable to us now but also removed from us,” to quote director Anne Coates's note in the program. This might surprise regular readers, but the updating didn't bother me. I say this for two reasons: first, the story of Macbeth is timeless, so that it can afford a little flexibility in setting; and second, the directorial concept didn't seem to depend heavily on period detail. The visuals, especially the costumes, were quite handsome, whereas traditional productions of the Scottish play often feature somewhat drab visuals. (Set and costume design by James Schuette and Beth Goldenberg, lighting by Robert Wierzel, hair and makeup by Anne Ford-Coates.)
I'd recommend seeing this opera at Glimmerglass, if there are tickets available. And seeing everything you can at Glimmerglass.
|Photo: Karli Cadel, Glimmerglass Festival|