Musically and dramatically, this was a superb morning. It was a very intelligent production by someone who not only knew the play intimately, but could demonstrate that by the nature and style of the production.
Firstly the careful positioning of Lady M (up the sleepwalking scene) so that she was often physically above other characters on the stage, particularly Macbeth, to indicate the power she holds in the relationship (‘though she is little, she be fierce’) – and particularly important given the marked size disparity between the two singers!
The sloping diagonal steps that were such a striking feature of the the set were –very well used, particularly when it was divided into three distinct sections and the movement of M and Lady M away from each other was a very effective visual counterpoint to the drama. Its near constant presence worked well and did not become intrusive as it was used very judiciously – unlike, apparently, the recent Manon Lescaut production where the set apparently consisted in its entirety of a set of steps filling the stage for the entire opera!
The film and video features worked very well – not least, as they were used sparingly and the grainy black. And white palette was very appropriate - even the scudding clouds which, tbh, are something of a visual film cliché these days in opera productions.
For me, the best two elements in the production were the use and depiction of the chorus and, particularly, the witches.
For the chorus I thought that the solid, static block-like positioning for Duncan’s entry when we first saw them, was very dramatically appropriate, given that this is a collective response to his arrival and subsequent events – and it also matched the massive solidity of the choral writing.
This was superbly contrasted with the Chorus of Exiles in the final act where each chorus member had their own position to hold for the duration, which allowed for a visual expression of individual and personal grief, thus increasing the emotional impact of the scene. I’ve found that what directors do with individual members of the chorus a very good indication of the quality of the production; if one has a sense of the chorus as being made up of unique individuals then this greatly impact the emotional impact of the scene.
For me the depiction and use of the witches was the highlight of the production. I’ve always had a problem with their music as it has always seemed to me far too diatonically cheerful and enthusiastically rhythmic which goes against their dramatic role and essential nature. Giving them the jerky, epileptic movements you did made them far more appropriately disturbing (as well as flitting well with the essential rhythms of the music). Added to this, the costumes were superb and creepily disturbing - those above-the-knee diaphanous frocks (not dresses! In soft pastels paired with white Japanese school-girl knee length socks…
And the constant use of the blood-filled transparent bag that we saw right at the start provided a very effective visual leitmotif for the production - the visual equivalent, perhaps of the blood imagery which saturates the play.
The superb singers were more than up’ to; the task with a very cavernous Macbeth and Banquo – the voices less contrasted than I have heard but due to the quality of the performances, this was not an issue. Lady Macbeth, as indicated, was superb - once one had got over the Dawn French blonde bob wig.