Special offer. Verdi: Macbeth
sung in English
Latonia Moore (Lady Macbeth), Simon Keenlyside (Macbeth), Gwyn Hughes Jones (Macduff), Brindley Sherratt (Banquo), Ben Johnson (Malcolm), Elizabeth Llewellyn (Lady in Waiting)
English National Opera Orchestra, Edward Gardner
Even if [Moore's vocalism is brave and bold, at times Latonia Moore's Lady Macbeth could do with sharper definition and more sheer heft...Keenlyside explores the title role in depth, offering...
Special offer. Verdi: Macbeth
sung in English
Latonia Moore (Lady Macbeth), Simon Keenlyside (Macbeth), Gwyn Hughes Jones (Macduff), Brindley Sherratt (Banquo), Ben Johnson (Malcolm), Elizabeth Llewellyn (Lady in Waiting)
English National Opera Orchestra, Edward Gardner
Purchase product
Even if [Moore's vocalism is brave and bold, at times Latonia Moore's Lady Macbeth could do with sharper definition and more sheer heft...Keenlyside explores the title role in depth, offering...
About
This recording of Verdi's Macbeth marks the completion of the Peter Moores Foundation's remarkable Opera in English series, established in 1995 with the aim of making opera available to wider audiences by presenting the highest quality opera performances in English. Here a translation by Jeremy Sams is sung by an all-star cast including Simon Keenlyside as Macbeth and Latonia Moore as Lady Macbeth. Edward Gardner conducts the English National Opera Orchestra.
Macbeth is the first of three Verdi operas based on dramas by William Shakespeare. Described by Verdi as ‘one of the greatest creations of man’, Macbeth’s ‘grandeur, breadth, and sublime, rarefied, and strange atmosphere’ inspired Verdi to adapt this tale of power, corruption, and devilry. Having previously concentrated on historical narratives, in Macbeth Verdi engaged in dark supernatural themes for the first time. The subject matter provided Verdi opportunity to expand on his abilities as a tone poet; he extended the contribution of the orchestra to the drama and introduced orchestral detail and colour not before seen in his operatic scores.
In 1865, eighteen years after its triumphant premiere in Florence, Verdi was asked to revisit the score for a Paris revival. This revised version forms the basis of the present recording which also includes additions from the original score.
Contents and tracklist
- Simon Keenlyside (baritone), Brindley Sherratt (bass), Latonia Moore (soprano), Thomas Faulkner (bass), Gwyn Hughes Jones (tenor), Elizabeth Llewellyn (soprano), Ben Johnson (tenor), Gavin Horsley (bass), Riccardo Simonetti (bass), Stephen Kennedy (bass), Cheyney Kent (bass), Katie Bird (soprano), Roseanne Havel (soprano)
- English National Opera, English National Opera Chorus
- Edward Gardner
- Recorded: 16-17, 19, 20, 22-23 August 2013
- Recording Venue: Blackheath Halls, London, England, United Kingdom
Act I Scene 1, A Wood: Introduction - Welcome sisters, it is late (Chorus of Witches)
Track length3:19
Act I Scene 1, A Wood: Scene and Duet: Strange that this glorious day is drowned in darkness! (Macbeth, Banquo, Witches)
Track length3:22
Act I Scene 1, A Wood: A double prophecy comes to fruition (Macbeth, Banquo, Messenger)
Track length3:03
Act I Scene 1, A Wood: Stretta of the Introduction - Now they are leaving us! (Witches)
Track length2:04
Act I Scene 2, A Hall in Macbeth's Castle: Scene and Cavatina: 'I met them on the very day of my triumph … (Lady Macbeth)
Track length2:24
Act I Scene 2, A Hall in Macbeth's Castle: Come! I'll inspire you to do the deed! (Lady Macbeth)
Track length2:36
Act I Scene 2, A Hall in Macbeth's Castle: His Royal Highness is coming here this evening (Servant, Lady Macbeth)
Track length1:15
Act I Scene 2, A Hall in Macbeth's Castle: Assist me, you spirits of carnage and corruption (Lady Macbeth)
Track length3:23
Act I Scene 2, A Hall in Macbeth's Castle: Scene and March: My noble lady! (Macbeth, Lady Macbeth)
Track length1:24
Act I Scene 2, A Hall in Macbeth's Castle: Rustic music, getting ever closer, announces the arrival of the King
Track length1:55
Act I Scene 2, A Hall in Macbeth's Castle: Grand Scene and Duet: Go and inform my lady that she should tell me (Macbeth)
Track length0:58
Act I Scene 2, A Hall in Macbeth's Castle: You steal away from me, but still point (Macbeth)
Track length3:24
Act I Scene 2, A Hall in Macbeth's Castle: Now the whole world is sleeping (Lady Macbeth, Macbeth)
Track length0:53
Act I Scene 2, A Hall in Macbeth's Castle: Did you not hear it, a mournful sigh (Macbeth, Lady Macbeth)
Track length1:12
Act I Scene 2, A Hall in Macbeth's Castle: A voice spoke within me, unearthly and hollow (Macbeth, Lady Macbeth)
Track length3:21
Act I Scene 2, A Hall in Macbeth's Castle: Now make haste! Take back the dagger … (Lady Macbeth, Macbeth)
Track length1:47
Act I Scene 2, A Hall in Macbeth's Castle: Scene and Sextet - Finale I: 'I must hurry; he bade me wake him early (Macduff, Banquo)
Track length1:20
Act I Scene 2, A Hall in Macbeth's Castle: Oh horror! Oh horror! Oh horror! (Macduff, Banquo, Lady Macbeth, Macbeth, Malcolm, Lady-in-Waiting, Servants)
Track length1:02
Act I Scene 2, A Hall in Macbeth's Castle: Hell is gaping in horror and terror (All)
Track length0:45
Act I Scene 2, A Hall in Macbeth's Castle: Hear our prayer, merciful father in Heaven (All)
Track length4:41
Act II Scene 1, A Room in Macbeth's Castle: Scene and Aria: Why do you spurn me …? (Lady Macbeth, Macbeth)
Track length3:04
Act II Scene 3, A Magnificent Hall: Finale II: Long live the King! (Chorus, Macbeth, Lady Macbeth, Lady-in-Waiting, Macduff)
Track length1:48
Act II Scene 3, A Magnificent Hall: Drinking Song: Come fill your glasses (Lady Macbeth, Lady-in-Waiting, Macduff, Chorus)
Track length1:57
Act II Scene 3, A Magnificent Hall: You have blood upon your face (Macbeth, Assassin)
Track length0:38
Act II Scene 3, A Magnificent Hall: You deserted us, my husband (Lady Macbeth, Macbeth, Lady-in-Waiting, Macduff, Chorus)
Track length2:53
Act II Scene 3, A Magnificent Hall: Come fill your glasses (Lady Macbeth, Lady-in-Waiting, Macduff, Chorus)
Track length1:24
Act II Scene 3, A Magnificent Hall: No! Leave me, you devil! (Macbeth, Lady-in-Waiting, Macduff, Chorus, Lady Macbeth)
Track length1:54
Act II Scene 3, A Magnificent Hall: Blood must flow … The ghost demands it (Macbeth, Lady-in-Waiting, Chorus, Lady Macbeth, Macduff)
Track length5:09
Act III, A Dark Cave: Chorus of Introduction – Enchantment: Three times the tom-cat has yowled its cry of love (Witches)
Track length3:58
Act III, A Dark Cave: Gran scena of the Apparitions: I will call them, but I dread what they may tell me (Macbeth, Witches)
Track length1:34
Act III, A Dark Cave: From the lowest and highest of regions (Witches, Macbeth, Apparitions)
Track length4:48
Act III, A Dark Cave: The Sound of Bagpipes - Distant music! What magic is this? (Macbeth, Witches)
Track length5:02
Act III, A Dark Cave: Scene and Duet: Finale III: Where am I? They've vanished … (Macbeth, Herald, Lady Macbeth)
Track length1:49
Act IV Scene 1, A Deserted Place on the Border Between Scotland and England: Land of torture! Land of terror! (Chorus of Scottish Refugees)
Track length6:43
Act IV Scene 1, A Deserted Place on the Border Between Scotland and England: Scene and Aria: O, my children, my darling children! (Macduff)
Track length1:13
Act IV Scene 1, A Deserted Place on the Border Between Scotland and England: Where was your loving father? (Macduff)
Track length2:27
Act IV Scene 1, A Deserted Place on the Border Between Scotland and England: What is this? What is this forest? (Malcolm, Soldiers, Macduff)
Track length2:51
Act IV Scene 2: A Hall in Macbeth's Castle: The Great Sleepwalking Scene: Introduction
Track length3:08
Act IV Scene 2: A Hall in Macbeth's Castle: Two nights we've watched and waited (Doctor, Lady-in-Waiting)
Track length1:42
Act IV Scene 2: A Hall in Macbeth's Castle: There's a stain here, and here's another! (Lady Macbeth, Doctor, Lady-in-Waiting)
Track length7:11
Act IV Scene 2: A Hall in Macbeth's Castle: Scene and Aria: Treachery! The English dare unite against me (Macbeth)
Track length1:49
Act IV Scene 2: A Hall in Macbeth's Castle: No love, no care, no compassion (Macbeth)
Track length3:42
Act IV Scene 2: A Hall in Macbeth's Castle: Scene and Battle: God in Heaven! (Women's Voices, Macbeth, Lady-in-Waiting, Macbeth's Soldiers)
Track length1:40
Act IV Scene 3: A Vast Plain: Battle: Throw down your branches and take your weapons! (Macduff, Soldiers, Macbeth, Women)
Track length2:23
Act IV Scene 3: A Vast Plain: Hymn of Victory - Finale IV: Victorious! (Chorus, Women, Malcolm, Macduff)
Track length0:47
- Simon Keenlyside (baritone), Elizabeth Llewellyn (soprano), Gwyn Hughes Jones (tenor), Ben Johnson (tenor)
- English National Opera Chorus, English National Opera
- Edward Gardner
- Recorded: 16-17, 19, 20, 22-23 August 2013
- Recording Venue: Blackheath Halls, London, England, United Kingdom
Act IV: Ah! Come quickly! (Macbeth Soldier's, Macbeth) - We're ready! (Macbeth Soldier's, Malcolm, Macduff, Macbeth)
Track length2:07
Awards and reviews
June 2014
Even if [Moore's vocalism is brave and bold, at times Latonia Moore's Lady Macbeth could do with sharper definition and more sheer heft...Keenlyside explores the title role in depth, offering a huge variety of expression and fulfilling the potential of Verdi's notes to reveal minute nuances of character...[Gardner] brings a keenly observant eye to the score.
7th June 2014
Gardner’s recording has a crispness and vitality that underline his Verdian credentials...and the cohesiveness of his ensemble. Keenlyside may not sound like a Verdi baritone, but on his own intelligent terms the interpretation works. Moore’s Lady M is fresh, accurate – and almost too beautiful for the famous Sleepwalking Scene.
June 2014
Gardner draws vibrantly dramatic results from his English National Opera forces...[Moore] is apparently unfazed by the role's difficulties and soars through her big numbers with plenty of luxurious, slightly smoky tone...[Keenlyside] doesn't command the richness of timbre...of a true Verdi baritone...[but] the performance cannot be faulted for integrity.
May 2014
[Keenlyside's] baritone has gained darker colours, even if he does not sound ideally placed in Verdi, yet he brings great characterization and clarity of diction to the role...[Moore] sings beautifully...but doesn't exactly impart a sense of evil or danger...The supporting cast is excellent...Gardner leads the English National Opera Orchestra in a crackling account of the score.
October 2014
[Keenlyside] overall he is convincing in projecting Macbeth’s guilt and fears, and his musicianship is excellent (he gets the two-against-three passage in ‘Pietà, rispetto, amore’ exactly right). Latonia Moore, still in her mid 30s but already a well-travelled Aida, is also an asset as Lady Macbeth. Hers is a attractive bloom on top especially. Indeed, she has her best dramatic moments in passages lying in her upper range, and often thrillingly so.
24th April 2014
a sharply energised and vividly dramatised performance...[Keenlyside] gives a commanding interpretation of a soldier driven by a combination of ambition and conscience...Latonia Moore sings powerfully as Lady Macbeth...But the set’s most egregious virtue is the conducting of Edward Gardner, swaggering with Verdian virility.
4th April 2014
[Keenlyside] presents a changing psychological portrait of the lure of power and evil in the title role. At first he sounds conflicted, uncertain. But one murder hardens him and Keenlyside’s tone expands alongside Macbeth’s resolve. No uncertainties dog Lady Macbeth in Latonia Moore’s account...The young American’s voice is thrillingly rich and commanding.
