Macbeth, by Welsh National Opera, Birmingham Hippodrome - review

Composer Giuseppe Verdi was fascinated by the concept of political power and the Scottish Play contained all the elements of struggle and intrigue which were rife in Europe at the time he was at his creative best.

The old adage that power corrupts and absolute power corrupts absolutely is demonstrated totally in this world of evil cruelty, and how the relationship between Macbeth and Lady Macbeth only serves to drive them towards greater horrors.

First seen in 1847 the opera was a great success with the public but less so with the critics of the day. It remained, though, one of the composer's favourite works.

Oliver Mears has given his production a vaguely 20th Century setting. It might be Bosnia or Syria or Franco's Spain- although there are repeated visual references to Scotland. It takes place anywhere there is civil strife and everywhere where there is evidence of man's inhumanity to man, especially where innocent children are involved.

The Act 4 opening chorus Patria Oppressa sung by the Scottish refugees against a background of video clips of conflicts around the globe was a poignant reminder that this is not a perfect world.

The music and lyrics for the opera are both taut and dark throughout. Conductor Andriy Yurkevych drew a sublime account of the intensely dramatic score and the cast generally sang with commendable passion.

Luis Cansino , as Macbeth, Miklos Sebestyen, as Banquo, and Bruce Sledge, as Macduff, all compete fiercely in this deadly game as to who is the supreme male ego, while Miriam Murphy, as the ambitious power behind the throne Lady Macbeth, delivers her arias well enough - though there were times when her upper register was a little uneven.

The multiple witches and chorus of insurgent bovver boys make significant contributions to what is always a very busy production and this production certainly catches the very complex relationships of Shakespeare's characters most admirably.

Welsh National concludes its Shakespeare season with three consecutive nights of Cole Porter's Kiss Me Kate.

By Jerald Smith