For his 10th opera, Italian composer Giuseppe Verdi adapted Shakespeare’s epic tragedy “Macbeth” to produce an equally stormy drama, replete with political power grabs, paranoia, witches and ghosts. While Shakespeare’s work was loosely based on the story of a Scottish nobleman in 11th century Scotland who fought to become king — as taken from historian Raphael Holinshed’s book “Chronicles” — Verdi was storied to have been drawn to “Macbeth” for its resonance with Italy’s own brewing revolution, the Risorgimento.
Hunger for power was a theme that transcended more than two centuries between Shakespeare, who wrote “Macbeth” in 1606, and Verdi, who composed his opera in 1847. Now, nearly two more centuries have passed, and the story “still resonates today,” said Tomer Zvulun, Atlanta Opera general and artistic director.
Zvulun, in collaboration with stage director Gregory Luis Boyle and conductor Iván López-Reynoso, will stage “Macbeth” at Cobb Energy Performing Arts Centre from March 1-9.
“It is exactly what’s happening right now in the world — many parts of the world,” he said. “There’s something so universal and cyclical about it. I find it so powerful.”
Credit: Photo courtesy of Atlanta Opera
Credit: Photo courtesy of Atlanta Opera
Shakespeare in general, and especially in the case of “Macbeth,” is fitting for opera, Zvulun pointed out.
“Opera is basically about three things. It’s always about some sort of love. It’s always about some sort of death waiting for you … it’s also about power and the dynamics and politics of power. ‘Macbeth’ exemplifies that,” he said. “That’s Shakespeare, but that’s also opera.”
The story follows Macbeth (baritone Michael Mayes), a general who, after receiving an ominous and paranoia-inducing prophecy from a group of witches, is driven by political ambition. His ruthless wife, Lady Macbeth (soprano Sara Gartland), fans the flames, urging him to murder the king to seize the throne. As the plot unfolds, violence, guilt and madness escalate.
In the case of Verdi’s “Macbeth,” there are some additional plotlines.
“He inserted into it this most incredible storyline about refugees that are impacted by the cruelty of this ruler,” Zvulun said. “And those refugees are singing this amazing choral number that opens act four. It’s called ‘Patria oppressa’ — a country that is oppressed.”
Verdi’s music throughout heightens the psychological turmoil of the characters. Lady Macbeth’s tormented sleepwalking scene in which she sings “Una macchia è qui tuttora” (“A stain is still here”), and Macbeth’s tortured “Pietà, rispetto, amore” (“Mercy, respect, love”) in the final act, are two standouts.
Verdi’s “Macbeth,” Zvulun said, has not been produced in Atlanta for 25 years.
“It is high time we brought it back,” he said.
If you go
Atlanta Opera presents Verdi’s “Macbeth”
At Cobb Energy Performing Arts Centre at 8 p.m. March 1; 7:30 p.m. March 4; 8 p.m. March 7; and 3 p.m. March 9. Pre-opera talks, included with every ticket, take place one hour before each performance. Run time is 150 minutes plus a 25-minute intermission. Tickets, starting at $35, at atlantaopera.org. A free online livestream will be offered during the March 7 performance at stream.atlantaopera.org.
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