Hasten!”)], the sets retract to show Lady Macbeth simultaneously in theirĬastle already reading Macbeth’s letter. Macbeth’s return [“Fuggiam, fuggiam!” (“Hasten away, As the pair departs and the chorus of witches predicts n usedĪ striking bel canto approach within a seamless and well projected.Moved impressively from piano to full dramatic voice, while Koc Vocal line yet each differentiated the same in technical delivery. Witches’ predictions being realized both singers followed an effective In their duet as a response to the first of the n layered his resonant voice withĭramatic effect, his diction showing an equally incisive understanding of.Hampson declaimedįrom the start in full voice while demanding a greeting from the witches. Sire” and “di Scozia re.” As Macbeth, Mr. In answer they hail Macbeth, in succession, “di Caudor Sound of drums Macbeth and Banco enter and demand that the witches identify With the other groups below to recount their supernatural activities. Suspended above them and careening through the air are three witches who join Simulated shooting flames of golden fire surrounded by a large chorus of hags.
At its close the stage covering opens at center to reveal the Tempo and orchestral colors with brief pauses and transitions well integrated Theīrief overture under Palumbo’s direction showed sensitive attention to The Lyric Opera Orchestra is led by Renato Palumbo and Donald Nallyĭirects the generous contributions of the Lyric Opera Chorus.īefore the overture begins the stage is sheathed by a cover approximatingĪrmor, at the base of which is depicted a stylized forest with soldiers. Stepanov as Malcolm, and Carter Scott as both Lady Banquo and the Lady in
On these two counts Lyric Opera of Chicago’s
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