Verdi’s admiration for Shakespeare led to such masterpieces as Othello and Falstaff, and if the earlier Macbeth isn’t on their exalted level it’s still a powerfully dramatic opera that hews closely to the original’s story line. The MET’s production retains the dark aura of the opera while updating it to a vaguely post-modern context. So the witches are bag ladies in various stages of decrepitude, with children in tow. The Banquet Scene features lowered chandeliers, a plethora of chairs, and a slew of extras dressed in tuxedos and party gowns. Macbeth sports a leather coat, the soldiers are in drab brown uniforms and seem to have fingers on their triggers even when they’re supposed to be in non-threatening situations. Director Adrian Noble also has Lady Macbeth do an inordinate amount of writhing around and singing from a lying-down position, adding to the feeling that a less interventionist directorial hand might have generated more impact.
Macbeth
Banquo
Lady Macbeth
Lady-in-waiting to Lady Macbeth
McDuff, Thane of Fife
Self - Special Guest Interviewer
A Servant of Macbeth
Duncan, King of Scotland
Malcolm, Duncan's Son
Fleance, Banquo's Son
A Murderer
A Warrior
A Bloody Child
A Crowned Child
A Doctor
A Herald
Director
Original Music Composer
Writer
Production Design
Costume Designer
Choreographer
Set Designer
Lighting Design
Conductor
Dramaturgy
Technical Supervisor
Writer
Supervising Producer
Sound Supervisor
Supervising Producer
Producer
Executive Producer
Hairstylist
Assistant Costume Designer
Makeup Artist
Producer
Music Producer
Makeup Artist
Wardrobe Supervisor
Original Story