# My Macbeth experience



## sospiro (Apr 3, 2010)

*Part 1*

Yesterday I was at ROH for a Macbeth Insight Programme in anticipation of the production later this month. Hosted by Lloyd Bracey, it was held in the Clore Studio. The 'stage' is really only floor space & we sat above it.

Scheduled to last three hours, I wondered what the heck they could talk about for all that time when most people will at least know the story of the play but it was so good, so entertaining, it was over far too soon.

My seat was B34 & first thing I had to do was to ask some guy who was sitting in my seat to move; the 'some guy' looked up & I realised it was Tony Pappano.

No sign of Simon Keenlyside though who I'd really wanted to see.

Pappano took us through the main parts of the opera with Geoffrey Paterson (répétiteur & ROH assistant conductor) on piano, Polish bass Lukas Jakobski (Pietro in the Domingo Boccanegra) and Pappano singing bits of the Macbeth parts (he's a very good baritone) and the mezzo parts (not so good!). It was like Pappano did in the 'Opera Italia' series; singing, translating & explaining as he went along. Sounds awful but it really works. He has such an engaging personality, it was funny & very informal.

After a bit of joshing, where Pappano kept saying Jakobski was singing the wrong note (he meant it but we were in stitches & Jakobski was looking at him as if to say "and what would you know?"), Jakobski sang the whole of Banco's final aria _Come dal ciel precipita_. I can't describe how amazing that was, spine tingling & to be that close to such a fabulous powerful voice was totally awesome.

Pappano left as he was conducting that evening & sadly so did Jakobski, would love to have heard a bit more from him.

After a 20 minute interval, who should wander in, but the gorgeous Simon but with his arm still in a brace. Don't know why he didn't take part earlier but I've read he likes to keep a lot in reserve, even at rehearsal, so maybe that was the reason. Anyway he sat chatting with Lloyd Bracey for about 25 minutes. He explained how he learned a new role & how he saw the character of Macbeth (evil but not the sharpest knife). He likened the role to a 400 metre run, if you start too strong/too fast you'll never make it to the finish.

I didn't really learn anything new but it was great to see & hear him so relaxed & I did notice he's got a lot more movement in the arm than he had during Pélleas. He held his coffee in that hand & he didn't seem in any pain. He will be sword fighting with his right arm though for the performance.

After Simon left we were treated to some dancing. In this production there are singing witches and dancing (non-singing) witches & the choreographer explained & took us through their dance routine.

After that we had some history of Verdi & the play & three real actors enacted a few of the major scenes. I wasn't expecting that & it was a real bonus.

Then we were introduced to a guy called Rob Barham who is the ROH armourer & who had brought along some of the items which will be used in Macbeth. They're all beautifully made in-house and adapting Simon's sword so he could use it with his right (wrong) hand hadn't been a problem.

Barham said he would be starting work soon on items for Les Troyens which was going to be set in the Crimean War period.

And as I said, over too soon. Part 2 (rehearsal) next week.


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## Almaviva (Aug 13, 2010)

Envy envy envy envy I'm green with envy I should move back to a major metropolitan area. 
Oh way, there were no boobs, so never mind.


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## DarkAngel (Aug 11, 2010)

How did SK injure his arm..........?

Do they charge admission fee for these opera "discussions"


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## sospiro (Apr 3, 2010)

Almaviva said:


> Envy envy envy envy I'm green with envy I should move back to a major metropolitan area.
> Oh way, there were no boobs, so never mind.


The dancers were all female & wore dancing clothes so plenty of flesh on display ... but I was far more interested in the six foot three hunk of Polish bass who sat right in front of me when he wasn't required.


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## sospiro (Apr 3, 2010)

DarkAngel said:


> How did SK injure his arm..........?


Torn a tendon playing sport of some sort in America about three months ago. Photo below is from Pelléas.





DarkAngel said:


> Do they charge admission fee for these opera "discussions"


Of course they do & it's not cheap :scold: but couldn't put a price on the experience.


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## Aksel (Dec 3, 2010)

Interesting!

SK should make a good Macbeth. Better than Lucic, at least. Who's singing the missus?


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## sospiro (Apr 3, 2010)

Aksel said:


> .. Who's singing *the missus*?


:lol:

Liudmyla Monastyrska - have to confess I'd never heard of her before now


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## Aksel (Dec 3, 2010)

Interesting. I really do like her voice, but it will be interesting to see if she has the steel and agility available for Lady Macbeth. They often get utterly destroyed by the completely crazy coloratura and the fact that their voices and vibrato are too big (like Maria Ghuleghina).


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## DarkAngel (Aug 11, 2010)

Aksel said:


> Interesting. I really do like her voice, but it will be interesting to see if she has the steel and agility available for Lady Macbeth. They *often get utterly destroyed* by the completely crazy coloratura and the fact that their voices and vibrato are too big (like* Maria Ghuleghina*).


ouch...........just watched that version recently and thought is was pretty good. 










Waiting for the visual spectacle of a Pier Pizzi production which will arrive shortly......


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## Aksel (Dec 3, 2010)

DarkAngel said:


> ouch...........just watched that version recently and thought is was pretty good.
> 
> 
> 
> ...


I also think Ghuleghina is a very good Lady Macbeth, although from what I've seen of that production, she fares a _lot_ better in the Met DVD with Lucic. She does not have the voice to sing it, though, and her coloratura has a tendency of being rather sloppy. But she more than makes up for what she lacks in technique with her acting abilities. She does one of the most dramatically intense Lady Macbeths ever. As for that DVD you've just bought? Don't expect to be blown away by the singing I found the CD version at the local library, and the vibrato of the Lady Macbeth is so wide, you could walk through it. But I have heard some good things about the production. Haven't seen it, though.

Also, I reviewed the Met Macbeth here, if you want to check it out.


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## sospiro (Apr 3, 2010)

*Part 2 - rehearsal*

Never been to a rehearsal before so didn't know what to expect. I thought it would be 'stop start' but not a bit of it. This was so like a performance, if the orchestra hadn't been in Tshirts & tracky bottoms you'd think it was the real thing. Sometimes the singers 'marked' to conserve their voices but that didn't spoil it.

My seat was in the Amphitheatre which was a first for me & although the view was a bit restricted, the sound was excellent. A much better balance than from my usual 'whites of their eyes' view from the stalls.

*Liudmyla Monastyrska* (Lady Macbeth) was absolutely fantastic. Brilliant actress & a couple of times didn't 'sing out' so I can't wait to hear the full force of her voice.

*Simon Keenlyside* (Macbeth) was probably on about 90% but I've read he never gives full welly until the night. His _Pietà, rispetto, amor_e was definitely full welly though & gave me goose bumps. His acting was his usual oscar standard.

Bit disappointed with *Raymond Aceto* (Banco). He was gravelly & growly which I don't remember from Rigoletto (Sparafucile) last year & I couldn't help comparing him with John Relyea's Banco.

*Dimitri Pittas* (Macduff) was OK but it got me thinking that it must be difficult for an opera house to attract an 'A' List tenor for Macduff because the role's not that big.

Supporting singers were fine, including the lovely *Lukas Jakobski** (Doctor) & the lovely but garlicky *Steven Ebel** (Malcolm). *see below

Six curtain calls later & defying vertigo, I shuffled out into the bright May sunshine to lurk by the Stage Door with all the other ladies who are old enough to be most of the singers' mothers & who should know better.

 

First out was Steven Ebel who I didn't know & didn't recognise, but one of the other lurkers did. He gave us all a very garlicky hug & it's a good thing he doesn't have to do a close up in the opera itself. Then the lovely Lukas who looked surprised & delighted that anyone would want his autograph. It was so chaotic after Boccanegra, I hadn't seen him so I'd taken my Boccanegra stuff with me & he signed everything & I got a couple of nice photos. The Lovely Lukas is Angelotti in the upcoming Guapo/Gheorghiu & also a minor role in Les Troyens so that's two more DVDs at least he'll be on.

 

Unfortunately none of the other singers came out through the Stage Door but the ROH staff did tell us they'd left the building, so we didn't waste time waiting.

Had a great time & will definitely go to another rehearsal, especially if it's on a Saturday. It started at 11.00 am, scheduled for three hours with a 25 minute interval. I learned something new - during the interval I was amazed to see people sitting in the corridors unpacking their sandwiches and drinks. ROH is usually so strict about bringing food in, I'd had something to eat beforehand, but was starving by 3.00 pm.

Part 3 - the performance (next week)


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## Aksel (Dec 3, 2010)

Exiting! How does Monastyrska's Lady Macbeth compare to Guleghina's?


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## sospiro (Apr 3, 2010)

Aksel said:


> Exiting! How does Monastyrska's Lady Macbeth compare to Guleghina's?


I thought Guleghina's acting (on both DVDs) was brilliant. I thought she portrayed the impatient, evil & scheming wife to perfection. I'll be sitting a bit closer when I see the performance so I'll be able to judge Monastyrska better then. And compare the singing.


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## mamascarlatti (Sep 23, 2009)

sospiro said:


> Bit disappointed with *Raymond Aceto* (Banco). He was gravelly & growly which I don't remember from Rigoletto (Sparafucile) last year & I couldn't help comparing him with John Relyea's Banco.


So more "Il Compound Cioccolatone"?



> *Dimitri Pittas* (Macduff) was OK but it got me thinking that it must be difficult for an opera house to attract an 'A' List tenor for Macduff because the role's not that big.


I thought he was very moving and heartfelt in the Met Macbeth. Maybe he'll be better when you can see his acting.



> Had a great time & will definitely go to another rehearsal, especially if it's on a Saturday. It started at 11.00 am, scheduled for three hours with a 25 minute interval. I learned something new - during the interval I was amazed to see people sitting in the corridors unpacking their sandwiches and drinks. ROH is usually so strict about bringing food in, I'd had something to eat beforehand, but was starving by 3.00 pm.
> 
> Part 3 - the performance (next week)


It'll be interesting to hear the difference between the rehearsal and the performance. Looks as though Simon is going to be in it despite his injury.


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## sospiro (Apr 3, 2010)

Guardian review.

_For some reason, she (Monastyrska) refuses to kiss Keenlyside properly, and all their embraces are fudged. _

I wonder if someone has been eating garlic?


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## jflatter (Mar 31, 2010)

Ah if you put your sandwiches in a proper bag rather than a carrier the staff will let you through. They know how expensive their prices are. People eat their food on the outside terrace.

Glad you enjoyed your first rehearsal. I am going to the Madama Butterfly one next month.


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## Aksel (Dec 3, 2010)

sospiro said:


> Guardian review.
> 
> _For some reason, she (Monastyrska) refuses to kiss Keenlyside properly, and all their embraces are fudged. _
> 
> I wonder if someone has been eating garlic?


Maybe it's a character choice? :lol:

But that sounds really good. When were you going?


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## sospiro (Apr 3, 2010)

Just got back to my hotel. I'll do a proper review when I've seen both performances but most importantly Simon K was absolutely fantastic. I got talking to some people who'd been on opening night & they said he was much better tonight. A golden burnished tone & legato to die for - at this rate he might even end up being a Verdi Baritone.

And the Lovely Lukas remembered me & my name. He probably doesn't get asked for his autograph that often but he does look very different in 'civvies'.


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## Almaviva (Aug 13, 2010)

Annie, no kidding, I'm dead serious: I've been really jealous of your experience (in the good sense), and questioning my life path in terms of having left a major metropolitan area (where Met Opera is located) and having moved to a small metropolitan area in the Southern United States.

It just hurts me when I think about what I'm missing.

Such a fabulous experience like the one you're having would be a life dream for me, and it is completely out of the picture considering where I live.

Damn!!!

Not your fault, of course, but your report is depressing me.


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## FragendeFrau (May 30, 2011)

sospiro said:


> *Part 1*
> Barham said he would be starting work soon on items for Les Troyens which was going to be set in the Crimean War period.


Eek. Am loving the sound of this! But how do you get tickets?

Given my new interest in JK and as soon as I saw the schedule, I called my oldest friend in London, who has been a Friend of the ROH for yonks (decades, really) and she basically said she hasn't been able to get tickets since they added "levels" of Friends. She has trouble on the computer, and when she finally got on she was 1500+ in the queue so gave up! I BEGGED her to call in all her markers, ask everyone she knows (she lives in Hampstead and knows some People), and said if she can get me a ticket for Troyens I will take my vacation and fly over for it!

Is there another way to get tickets? Do you recommend just turning up on the day for returns?

Any suggestions gratefully appreciated!

And to get back OT, your wonderful report has convinced me to see Macbeth in at the cinema on my Monday off, assuming I can figure out how to get a ticket. The ROH Cinema website doesn't seem to work like the Met in HD.


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## sospiro (Apr 3, 2010)

I'll do a review when I get home but a few photos.



*Maestro Pappano's score placed ready for him*



*During the interval - First Violin*



*Elisabeth Meister: Lady-in-Waiting
Lukas Jakobski: The Doctor*



*Cast + Pappano*



* Me & the Lovely Lukas*



*Simon in a hurry to get home*

I asked Simon when he was going to do _Boccanegra_. He paused for several seconds, said "Good question - [pause] - when I've learned properly what I'm doing now" (whatever that meant). I asked him if it would be in Munich (as he's quoted as saying on his own website) and he said "No". Reading between the lines I think it's already in the pipeline & my gut feeling is it will be at the Met. Gotta see Simon as Simon so I'd better start saving.


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## sospiro (Apr 3, 2010)

FragendeFrau said:


> Eek. Am loving the sound of this! But how do you get tickets?
> 
> Given my new interest in JK and as soon as I saw the schedule, I called my oldest friend in London, who has been a Friend of the ROH for yonks (decades, really) and she basically said she hasn't been able to get tickets since they added "levels" of Friends. She has trouble on the computer, and when she finally got on she was 1500+ in the queue so gave up! I BEGGED her to call in all her markers, ask everyone she knows (she lives in Hampstead and knows some People), and said if she can get me a ticket for Troyens I will take my vacation and fly over for it!


Actually 1500 is not as bad as it sounds. When I booked for _Boccanegra_ I took the morning off work to make sure I had time. I started at something like 1800 in the queue, it took about an hour but I got my ticket.



FragendeFrau said:


> Is there another way to get tickets? Do you recommend just turning up on the day for returns?
> 
> Any suggestions gratefully appreciated!


I don't know much about the success rate of waiting for returns. The ROH website is always crashing & booking on line is risky. I've been told this by several ROH staff now 'off the record'. One lady said the staff were ashamed 'not our standard & our patrons deserve better' Another said phoning is much safer (but that's unrealistic from overseas).

A German friend of mine wrote to ROH (which is an option for everybody) for tickets for the premiere of _Boccanegra_. She wrote a super letter saying how much she'd always wanted to come to ROH, big fan of Joseph Calleja etc etc and she got two tickets. So you could consider that.

Another factor is the demand depending on who the 'stars' are. There were plenty of tickets for the _Tosca_ B team but the site crashed when I tried to book the _Tosca_ Guapo/Draculette.


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## sospiro (Apr 3, 2010)

*Part 3*

In a way I wish I'd never started on my Macbeth Experience because it's been so wonderful but now it's over & I'm home & I'm feeling quite low.

Anyway a few points about the two performances. For the first time ever I sat at the very front, first night (27th May) slightly to the right of Pappano, last night slightly to his left. One thing I wasn't expecting was how fascinating it would be to watch Pappano at work. He grunts & snorts & snuffles & sings along (albeit under his breath) & bounces around so much I'm surprised he doesn't fall off his podium! It sounds like it would be distracting but it wasn't. Obviously the orchestra was louder than if I'd been in the circle (or the Gods) but being so close to the singers compensated & it was great to have nobody sitting in front of me.

I took the opportunity to watch the orchestra during times when I didn't need to look at the stage like during some of the witches' choruses. The intense concentration on the musicians' faces was incredible.

The artists must debrief & get together in between performances to tweak stuff even if they don't actually rehearse because some things were done slightly differently the second time, like in the sleep-walking scene. Last night Lady Macbeth claws the Doctor's face which she didn't do the first time (poor Lukas!)

As some of you know, Simon Keenlyside has been wearing a brace on his left arm for the past few months. He injured it playing sport & when the doctors came to repair the damage, they found an old injury (I think he broke his wrist during Die Zauberflöte) which hadn't healed properly so decided to sort everything out in one operation. He said at the Macbeth Insight that his arm was fine but he would wear the brace during performances for safety. After Macbeth is stabbed, he carries on singing for a while (as you do) then after he's really dead, the body rolls heavily down some steps. Very cleverly choreographed & very spectacular.

When Simon appeared on stage last night he wasn't wearing the brace. He seemed to use the arm freely so I assumed he'd changed his mind about wearing it but Macbeth didn't do the fall after he'd died. We asked him afterwards & he said over the weekend he'd fallen asleep on his way home to Wales (presumably he wasn't driving!) with his arm out the window & when he woke up the brace was missing. It had fallen off somewhere & he couldn't find it & it didn't seem worth getting another one made. Seems an odd story but he's always getting into scrapes so it's probably true.

In this production we see Macbeth writing the letter to his wife which she then reads out _ Nel dì della vittoria io le incontrai_ in the next scene. Simon started with a blank piece of paper & actually wrote two lines of writing on it - would love to know what he wrote.

Judging by how Simon sang at the rehearsal I had to agree with the Telegraph's review which was for opening night. But for whatever reason, when I saw him on the 27th he was absolutely fabulous & then last night he was even better.

It has just been amazing couple of weeks & I've learned so much & immersing myself in one opera is something I'll definitely try & do again, even with the post euphoria depression.

*Highlights:*

Hearing *Lukas Jakobski* sing _ Come dal ciel precipita _ with just piano accompaniment at the Macbeth Insight & meeting him at the Stage Door (three times!!). He's such a lovely guy who has a fabulous voice & I'd love to see him in a more substantial role.

Watching the amazing *Antonio Pappano* and seeing his incredible skill, energy & enthusiasm at close hand.

*Simon Keenlyside's* _ Pietà, rispetto, amore_ which was awesome the first night & out of this world last night. Before the audience erupted at the end of the aria, I heard the woman next to me whisper "Oh my God!" & that's what I felt. I hope to be able to keep in my memory that image of the sobbing, despairing & tormented Macbeth half lying across his bed.


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## FragendeFrau (May 30, 2011)

This is wonderful! I am looking forward to my first Monday off for "summer work schedule" on June 13, when I plan to watch the live broadcast in a local cinema. Thank you so much for sharing your experiences and insight--and I'll read these reports again closer to the time.


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## mamascarlatti (Sep 23, 2009)

Thanks for sharing this whole experience Annie.

I've also noticed that Pappano is a very physical conductor when I see him on DVDs conducting overtures. He makes the oddest grimaces and I'm not surprised there are sound effects too. I wonder if the orchestra ever finds it distracting?

Let's hope that this is released on DVD because it's not making it to cinemas in NZ. I want to hear this Lukas boy.


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