Review: MACBETH at Kennedy Center

Malevolence, greed, the thirst for power and the never-ending quest for revenge dominate the Washington National Opera production of composer Giuseppe Verdi’s Macbeth. The vocals by the company of classical singers assembled here are the glory of this production.

The libretto by Francesco Maria Piave and Andrea Maffei focuses on the dominating relationship of Lady Macbeth over her husband ----as she urges her husband Macbeth, with continual exhortations, to take control of the monarchy by murder. The libretto also conveys Macbeth’s willingness to succumb to his wife’s urgings to dispose of anyone who could threaten his absolute rule in the future. The opera does not end with a tragic finale as does the play.

Shakespeare’s play Macbeth is the ultimate source material for this intense opera, but the opera beautifully stands on its own merits (even if it is to be attended by someone who has not read Shakespeare’s tragedy).

Director Brenna Corner wisely lets the glorious music of composer Verdi play the principal role in this production. Although this may not be one of his more overtly melodic scores, there is the thrill of the stunning crescendos and peaks and valleys of his dramatic arias of horror, triumph, and lament. Ms. Corner directs the ensemble scenes such as the banquet scene and the fight scene with Macduff and Macbeth with excitement and eye-catching appeal. (The fight scene is effectively guided by fight master Casey Kaleba).

The Washington National Opera Orchestra performs the emotionally realistic music of composer Verdi with sensitivity and true orchestral ensemble feeling under the agile baton of conductor Evan Rogister.

As Lady Macbeth, Ewa Plonka’s expressive soprano voice embraces the high, middle, and lower registers of her voice with emotional, technical, and vocal suppleness of tone and resonance. Ms. Plonka totally commands the stage in each and every moment. Ms. Plonka conveys the psychological dynamics of a character completely controlled by her obsessions. Ms. Plonka’s aria in which she sings of her determination to see Duncan killed is thrilling in its expressiveness and fury (“Arise now, all you ministers of hell”).

Ms. Plonka’s brindisi as she toasts her guests in the celebratory drinking song (“Fill up the cup”) is captivating. Ms. Plonka also delicately delineates the classic operatic aria of psychological guilt as she walks in her sleep and tries to wipe off unseen blood (“Yet here’s a spot).

From an acting standpoint, Étienne Dupuis’ portrayal of Macbeth is more that of the “henpecked husband” goaded on by his bloodthirsty wife---than the equally venal murderer that he is. Perhaps this was the result of directorial advice, but it seems to me that he should appear a bit more sinister throughout the opera---this pivotal character did not feel foreboding enough.

However, Mr. Dupuis’ baritone voice is astoundingly rich and resonant, ---running the gamut of the baritone vocal range as it approached the lower register and the upper register. Mr. Dupuis’ aria as he soberly realizes that his fate will bring him no renown is masterful and haunting (“Compassion, honour, love”). Mr. Dupuis’ duet with Ms. Plonka in their vendetta against Banquo’s son and Macduff and his family (“Hour of death and vengeance”) is absolutely spine-tingling in effect.

Tenor Kang Wang is a sensation in acting and operatic vocals in his role as the wronged Macduff. Mr. Wang’s aria (“Ah, the paternal hand”) as he laments the death of his wife and children was received with thunderous applause the night I attended.

Soloman Howard’s authoritative portrayal of Banquo is etched deeply and profoundly. Mr. Howard’s aria to his son is touching and heartfelt in effect (“How it Falls from the Sky”) as he sings in his resonant and rich bass.

Tenor Nicholas Huff is superb as the tenacious and ultimately victorious Malcolm.

The Washington National Opera Chorus add their beautiful voices to several large ensemble numbers in the opera. The Washington National Opera Corps Dancers also add vigor and stimulating movement to the opera.

Scenic design by Erhard Rom efficiently utilizes the stage space with large, stylized panels, a catwalk and space to enable larger crowd scenes, ensembles, and a very enticing banquet scene. Three clusters of vertically quivering long wispy strips hanging down from the rafters of the stage evoke the disorienting effect needed to portray the nebulous and eerie world of the spirits of the dead and the dark silence of the woods.

My only caveat is that it would benefit the production to actually show more blood to stimulate the senses amidst such nefarious proceedings. Other than the scene of Lady Macbeth carrying the bloodstained sheets from the murdered Duncan’s bed (replete with blood on her hands) ---no blood is shown in the murder of Banquo, Macduff’s family being killed, or in Macbeth being slain. The material in the opera would benefit from more of an immersive and visceral feel.

Projection design by S. Katy Tucker is optically intriguing with stark whirling black and white hues of dark clouds and lightning flashing.

Lighting design by A. J. Guban is effective with jolting flashes of red and appropriate disconcerting shifting hues in the scenes in the woods.

Costumes are impressive--alternately resplendent and more basic when required. The main “cast and creative team” program page lists the costumes as a co-production of Lyric Opera of Chicago and the Canadian Opera Company. (Later in the program—after several pages, there is a note under “meet the creative team “that says:  costumes constructed by Lyric Opera of Chicago Costume Shop, Das Gewand, Klaus Frech Schneidermeister, Seams Unlimited, Steppenwolf Costume Shop, Debbie Boyd, Laura Whitlock, and Nicola Killeen Textiles).

To me, this opera about the futility and banality of revenge anticipates Sondheim’s musical Sweeney Todd. Certainly, the universal themes of political opportunism and grasping for power are all too timely (and these themes unfortunately, seem to be an all too characteristic and primal trait of the human species). However, unlike Shakespeare’s tragic play, the audience is given a glimpse of a happier future as Malcolm returns from exile and reclaims his throne.

If you cherish exhilarating operatic singing, do not miss the Washington National Opera’s production of Macbeth.

Running Time: 2 hours and 45 minutes, with one 25-minute intermission

Macbeth continues performances on November 19 at 7:30pm, November 21 at 7:30pm, and November 23, 2024, at 7pm at the Kennedy Center located at 2700 F Street NW, Washington, DC 20566.

Photo credit: L-R Étienne Dupuis and Ewa Plonka in Washington National Opera's production of Macbeth. Photo by Scott Suchman.

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