|Opera by Giuseppe Verdi|
Illustration by Frédéric Lix of the 1865 version's première
|Based on||Shakespeare's play Macbeth|
Macbeth (Italian pronunciation: [ˈmakbet; makˈbɛt]) is an opera in four acts by Giuseppe Verdi, with an Italian libretto by Francesco Maria Piave and additions by Andrea Maffei, based on William Shakespeare's play of the same name. Written for the Teatro della Pergola in Florence, it was Verdi's tenth opera and premiered on 14 March 1847. Macbeth was the first Shakespeare play that Verdi adapted for the operatic stage. Almost twenty years later, Macbeth was revised and expanded in a French version and given in Paris on 19 April 1865.
Giuseppe Fortunino Francesco Verdi was an Italian opera composer. He was born near Busseto to a provincial family of moderate means, and developed a musical education with the help of a local patron. Verdi came to dominate the Italian opera scene after the era of Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini, whose works significantly influenced him. By his 30s, he had become one of the pre-eminent opera composers in history.
A libretto is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or musical. The term libretto is also sometimes used to refer to the text of major liturgical works, such as the Mass, requiem and sacred cantata, or the story line of a ballet.
Francesco Maria Piave was an Italian opera librettist who was born in Murano in the lagoon of Venice, during the brief Napoleonic Kingdom of Italy.
After the success of Attila in 1846, by which time the composer had become well established, Macbeth came before the great successes of 1851 to 1853 ( Rigoletto , Il trovatore and La traviata ) which propelled him into universal fame. As sources, Shakespeare's plays provided Verdi with lifelong inspiration: some, such as an adaption of King Lear (as Re Lear ) were never realized, but he wrote his two final operas using Othello as the basis for Otello (1887) and The Merry Wives of Windsor as the basis for Falstaff (1893).
Attila is an opera in a prologue and three acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on the 1809 play Attila, König der Hunnen by Zacharias Werner. The opera received its first performance at La Fenice in Venice on 17 March 1846.
Rigoletto is an opera in three acts by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the play Le roi s'amuse by Victor Hugo. Despite serious initial problems with the Austrian censors who had control over northern Italian theatres at the time, the opera had a triumphant premiere at La Fenice in Venice on 11 March 1851.
Il trovatore is an opera in four acts by Giuseppe Verdi to an Italian libretto largely written by Salvadore Cammarano, based on the play El trovador (1836) by Antonio García Gutiérrez. It was Gutiérrez's most successful play, one which Verdi scholar Julian Budden describes as "a high flown, sprawling melodrama flamboyantly defiant of the Aristotelian unities, packed with all manner of fantastic and bizarre incident."
The first version of Macbeth was completed during the time which Verdi described as his "galley years," which ranged over a period of 16 years,and one which saw the composer produce 22 operas. By the standards of the subject matter of almost all Italian operas during the first fifty years of the 19th century, Macbeth was highly unusual. The 1847 version was very successful and it was presented widely. Pleased with his opera and with its reception, Verdi wrote to Antonio Barezzi, his former father-in-law and long-time supporter about two weeks after the premiere:
|“||I have long intended to dedicate an opera to you, who have been father, benefactor, and friend to me. It was a duty I should have fulfilled sooner if imperious circumstances had not prevented me. Now, I send you Macbeth which I prize above all my other operas, and therefore deem worthier to present to you.||”|
The 1865 revision, produced in a French translation and with several additions was first given on 19 April of that year. It was less successful, and the opera largely faded from public view until the mid-20th century revivals.
Influenced by his friendship in the 1840s with Andrea Maffei, a poet and man of letters who had suggested both Schiller's Die Räuber (The Robbers) and Shakespeare's play Macbeth as suitable subjects for operas,Giuseppe Verdi received a commission from Florence's Teatro della Pergola, but no particular opera was specified. He only started working on Macbeth in September 1846, the driving reason for that choice being the availability of a particular singer, the baritone Felice Varesi who would sing the title role. With Varesi under contract, Verdi could focus on the music for Macbeth. (Maffei was already writing a libretto for I masnadieri , which was based on the suggested Schiller play, but it could have been substituted for Macbeth had the baritone not been available.) As a result of various complications, including Verdi's illness, that work was not to receive its premiere until July 1847.
Andrea Maffei was an Italian poet, translator and librettist. He was born in Molina di Ledro, Trentino. A follower of Vincenzo Monti, he formed part of the 19th-century Italian classicist literary culture. Gaining laurea in jurisprudence, he moved for some years to Verona, then to Venice and finally to Milan, where in 1831 he married contessa Clara Spinelli. They separated by mutual consent on 15 June 1846.
Florence is the capital city of the Italian region of Tuscany. It is the most populous city in Tuscany, with 383,084 inhabitants in 2013, and over 1,520,000 in its metropolitan area.
The Teatro della Pergola is a historic opera house in Florence, Italy. It is located in the centre of the city on the Via della Pergola, from which the theatre takes its name. It was built in 1656 under the patronage of Cardinal Gian Carlo de' Medici to designs by the architect Ferdinando Tacca, son of the sculptor Pietro Tacca; its inaugural production was the opera buffa, Il potestà di Colognole by Jacopo Melani. The opera house, the first to be built with superposed tiers of boxes rather than raked semi-circular seating in the Roman fashion, is considered to be the oldest in Italy, having occupied the same site for more than 350 years.
Piave's text was based on a prose translation by Carlo Rusconi that had been published in Turin in 1838. Verdi did not encounter Shakespeare's original work until after the first performance of the opera, although he had read Shakespeare in translation for many years, as he noted in an 1865 letter: "He is one of my favorite poets. I have had him in my hands from my earliest youth".
Turin is a city and an important business and cultural centre in northern Italy. It is the capital city of the Metropolitan City of Turin and of the Piedmont region, and was the first capital city of Italy from 1861 to 1865. The city is located mainly on the western bank of the Po River, in front of Susa Valley, and is surrounded by the western Alpine arch and Superga Hill. The population of the city proper is 878,074 while the population of the urban area is estimated by Eurostat to be 1.7 million inhabitants. The Turin metropolitan area is estimated by the OECD to have a population of 2.2 million.
Writing to Piave, Verdi made it clear how important this subject was to him: "....This tragedy is one of the greatest creations of man... If we can't make something great out of it let us at least try to do something out of the ordinary".In spite of disagreements and Verdi's need to constantly bully Piave into correcting his drafts (to the point where Maffei had a hand in re-writing some scenes of the libretto, especially the witches' chorus in Act 3 and the sleepwalking scene ), their version follows Shakespeare's play quite closely, but with some changes. Instead of using three witches as in the play, there is a large female chorus of witches, singing in three-part harmony (they are divided in three groups, and that every group sings as a single witch, using "I" and not "we"). The last act begins with an assembly of refugees on the English border, and, in the revised version, ends with a chorus of bards celebrating victory over the tyrant.
The Three Witches, also known as the Weird Sisters or Wayward Sisters, are characters in William Shakespeare's play Macbeth. They hold a striking resemblance to the three Fates of classical mythology, and are, perhaps, intended as a twisted version of the white-robed incarnations of destiny. The witches eventually lead Macbeth to his demise. Their origin lies in Holinshed's Chronicles (1587), a history of England, Scotland and Ireland. Other possible sources, aside from Shakespeare's imagination, include British folklore, such contemporary treatises on witchcraft as King James VI of Scotland's Daemonologie, the Norns of Norse mythology, and ancient classical myths of the Fates: the Greek Moirai and the Roman Parcae. Productions of Macbeth began incorporating portions of Thomas Middleton's contemporaneous play The Witchcirca 1618, two years after Shakespeare's death.
As early as 1852 Verdi was asked by Paris to revise his existing Macbeth in that city. However, nothing transpired but, again in 1864, Verdi was asked to provide additional music - a ballet and a final chorus - for a production planned at the Théâtre Lyrique (Théâtre-Lyrique Impérial du Châtelet) in Paris. In a letter to his publisher, Giulio Ricordi, asking for a copy of the score, Verdi stated that "I would like to lengthen several pieces to give the opera more character",but he quickly realized that the proposed additions would not be sufficient and that an overhaul of the entire opera was required. He went ahead to advise the impresario of the Lyrique, Léon Carvalho, that more time was needed and urged patience: "I am labouring, labouring, labouring" he assured the impresario and stressed that he wanted to look at the big picture and not try to hurry along a re-working of an opera he had written so many years before.
So began a revision of the original version of 1847 over the winter of 1864/65. Verdi's librettist from years before, Francesco Maria Piave, was pressed into service to expand the opera and the composer exerted his usual pressures on him as he had done from their first collaboration: "No, no, my dear Piave, it won't do!" was a typical reaction to a first draft—in this case it was of Lady Macbeth's new act 2 aria "La luce langue",the result of which (notes biographer Mary Jane Phillips-Matz) was "from Verdi's insistence came Lady Macbeth's gripping scene". With the addition of music for Lady Macbeth, Macbeth's aria in act 3 was completely re-written—as was a considerable amount of the rest of act 3; a ballet was added in act 3; a chorus began act 4; and the ending of act 4 was also changed, Verdi being determined to drop Macbeth's final aria Mal per me che m'affidai ("Trusting in the prophecies of Hell") in favour of an off-stage death, to end with the triumphal chorus.
If all these specific demands which were placed on Piave were not enough, Verdi wrote a very lengthy letter to Ricordi outlining what he saw as the dramatic demands of the revision. Some relate to crucial elements in the drama, especially how Banquo's appearances as a ghost should be presented. Ultimately however, Verdi had little power over the staged production, but—in regard to the translation—he did insist that the translator, when considering the act 2 duet between the Macbeth couple, retain the words "Folie follie" as written in order to emphasise the dramatic impact which those words created.
One final letter, this time in February to Escudier, relates to what Verdi saw as "the three roles in this opera, and there can only be three". He then lays out that there is "Lady Macbet, (sic) Macbet, (sic) [and the] Chorus of Witches", discounting the role of Macduff.and he continues by noting that, for him, "the Witches rule the drama.....They are truly a character, and a character of greatest importance."
The new version was first performed on 21 April 1865 in a French translation by Charles-Louis-Étienne Nuitter and Alexandre Beaumont, although Verdi had asked for it to be done by Gilbert Duprez, the tenor-turned-teacher in whom he had great confidence and whom he knew from his performances in his first opera for Paris, Jérusalem in 1847. The composer refused to attend the Paris performance, but provided directions via his publisher, others directly to Escudier. Initially, the reports from Escudier were favourable, but the first performance was poorly received by the critics, something which puzzled the composer: "I thought I had done quite well with it...it appears I was mistaken" he stated when he wrote to his Paris publisher, Escudier.Later performances in Paris fared no better.
In Italian, the opera was given at La Scala in the autumn of 1865, but few if any others in Italy appear to have been presented. Since its revival in Europe from the 1960s, the revised version of Macbeth in Italian remains the preferred version for modern performances.
The 1847 version, after it was first given on 14 March of that year in Florence, was successful and was performed all over Italy in some 21 locations (some repeated)until the revised version appeared in 1865, at which time it was recorded that it was given only in Turin (1867), Vicenza (1869), Firenze (1870), and Milan (1874).
The first version was given its United States premiere in April 1850 at Niblo's Garden in New York with Angiolina Bosio as Lady Macbeth and Cesare Badiali as Banco, while the United Kingdom premiere took place in October 1860 in Manchester.
After the 1865 premiere of the revised version, which was followed by only 13 more performances, the opera generally fell from popularity. It was given in Paris in April 1865 and then occasionally up to about 1900. However, after that, it was rarely performed until after World War II.
20th Century and beyond
The US premiere of the later version did not take place until 24 October 1941 in New York,but two European productions, in Berlin in the 1930s and at Glyndebourne in 1938 and 1939, were important in helping the 20th Century revival. The 1938 production was the UK premiere of the revised version and the first to combine the death of Macbeth from the 1847 version with the triumphal ending from the 1865 version, something totally against Verdi's wishes.
Glydebourne revived it in the 1950s but it was not until 1959 that it appeared on the Metropolitan Opera's roster for the first time and has often been performed there since then.. The Opera Guild of Montreal also presented it in 1959. Similarly, the first presentations at the Royal Opera House, Covent Garden, with Tito Gobbi (and then others in the title role) took place on 30 March 1960, with other productions presented in 1981 and 2002. The visiting "Kirov Opera" (as today's Mariinsky Opera was then known), presented it in London at Covent Garden in 2001.
In recent times, the opera has appeared more frequently in the repertories of companies such as the Washington National Opera (2007) and the San Francisco Opera (Nov/Dec 2007) and in many other opera houses worldwide, but almost all productions stage the revised version in Italian.
However, the 1847 version was given in concert at the Royal Opera House on 27 June 1997and both the original and the revised versions were presented in 2003 as part of the Sarasota Opera's "Verdi Cycle" of all the composer's operas in their different versions.
In 2012, the Grand Théâtre de Genève presented a production of the opera under the direction of Christof Loy.
Today, Verdi's Macbeth receives many performances at opera houses all over the world.
|Role||Voice type||Premiere Cast,|
14 March 1847
|Revised version, in French|
19 April 1865
|Macbeth (always called "Macbetto" in the spoken text)||baritone||Felice Varesi||Jean-Vital Jammes (Ismaël)|
|Lady Macbeth||soprano or mezzo-soprano||Marianna Barbieri-Nini||Amélie Rey-Balla|
|Banco (Banquo)||bass||Nicola Benedetti||Jules-Émile Petit|
|Macduff||tenor||Angelo Brunacci||Jules-Sébastien Monjauze|
|Malcolm||tenor||Francesco Rossi||Auguste Huet|
|Doctor||bass||Giuseppe Romanelli||Prosper Guyot|
|Servant to Macbeth||bass||Giuseppe Romanelli||Péront|
|Three apparitions||2 sopranos and 1 bass|
|Duncano (Duncan), King of Scotland||Silent|
|Fleanzio (Fleance), son of Banco||Silent|
|Witches, messengers, nobles, attendants, refugees - chorus|
Note: there are several differences between the 1847 and the 1865 versions which are noted below in text in indented brackets
Scene 1: A heath
Groups of witches gather in a wood beside a battlefield, exchanging stories of the "evils" they have done. The victorious generals Macbeth and Banco enter. The witches hail Macbeth as Thane of Glamis (a title he already holds by inheritance), Thane of Cawdor, and king "hereafter." Banco is greeted as "lesser than Macbeth, but greater", never a king himself, but the progenitor of a line of future kings. The witches vanish, and messengers from the king appear naming Macbeth Thane of Cawdor. Macbeth protests that the holder of that title is still alive, but the messengers reply that the former Thane has been executed as a traitor. Banco, mistrusting the witches, is horrified to find that they have spoken the truth. In a duet, Macbeth and Banco muse that the first of the witches' prophecies has been fulfilled. Macbeth ponders how close he is to the throne, and whether fate will crown him without his taking action, yet dreams of blood and treachery: while Banco ponders on whether the minions of Hell will sometimes reveal an honest truth in order to lead one to future damnation.
Scene 2: Macbeth's castle
Lady Macbeth reads a letter from her husband telling of the encounter with the witches. She is determined to propel Macbeth to the throne - by fair means or foul.
Lady Macbeth is advised that King Duncan will stay in the castle that night; she is determined to see him killed (Or tutti, sorgete / "Arise now, all you ministers of hell"). When Macbeth returns she urges him to take the opportunity to kill the King. The King and the nobles arrive and Macbeth is emboldened to carry out the murder (Mi si affaccia un pugnal? / "Is this a dagger which I see before me?"), but afterwards is filled with horror. Disgusted at his cowardice, Lady Macbeth completes the crime, incriminating the sleeping guards by smearing them with Duncan's blood and planting on them Macbeth's dagger. Macduff arrives for an appointment with the King, while Banco stands guard, only for Macduff instead to discover the murder. He rouses the castle while Banco also bears witness to the fact of Duncan's murder. The chorus calls on God to avenge the killing (Schiudi, inferno, . . / "Open wide thy gaping maw, O Hell").
Scene 1: A room in the castle
Macbeth is now king: Duncan's son Malcolm has fled the country, suspicion having conveniently fallen on him for his father's murder: but Macbeth is still disturbed by the prophecy that Banco, not he, will found a great royal line. To prevent this he tells his wife that he will have both Banco and his son murdered as they come to a banquet.
Scene 2: Outside the castle
A gang of murderers lie in wait. Banco, sensing danger shares his misgivings with his son. (Come dal ciel precipita / "O, how the darkness falls from heaven"). The murderers attack and stab him to death, but his son escapes.
Scene 3: A dining hall in the castle
Macbeth receives the guests and Lady Macbeth sings a brindisi (Si colmi il calice / "Fill up the cup"). The assassination is reported to Macbeth, but when he returns to the table the ghost of Banco is sitting in his place. Macbeth raves at the ghost and the horrified guests believe he has gone mad. Lady Macbeth manages to calm the situation once - and even mocks it by calling for a toast to the absent Banco (whose death is not yet public knowledge), only for the ghost to appear a second time and terrify Macbeth into insanity again. Macduff resolves to leave the country, saying it is ruled by a cursed hand and only the wicked may remain: the other guests are terrified by Macbeth's talk of ghosts, phantoms and witches. The banquet ends abruptly with their hurried, frightened departure.
The witches' cave
The witches gather around a cauldron in a dark cave. Macbeth enters and they conjure up three apparitions for him. The first advises him to beware of Macduff. The second tells him that he cannot be harmed by a man 'born of woman'. The third that he cannot be conquered till Birnam Wood marches against him. (Macbeth: O lieto augurio / "O, happy augury! No wood has ever moved by magic power")
Macbeth is then shown the ghost of Banco and his descendants, eight future Kings of Scotland, verifying the original prophecy. (Macbeth: Fuggi regal fantasima / "Begone, royal phantom that reminds me of Banco"). He collapses, but regains consciousness in the castle.
A herald announces the arrival of the Queen (Duet: Vi trovo alfin! / "I've found you at last"). Macbeth tells his wife about his encounter with the witches and they resolve to track down and kill Banco's son, as well as Macduff and his family (whom they do not yet know has already fled the country). (Duet: Ora di morte e di vendetta / "Hour of death and of vengeance").
Scene 1: Near the border between England and Scotland
Scottish refugees stand near the English border (Chorus: Patria oppressa / "Down-trodden country"):
In the distance lies Birnam Wood. Macduff is determined to avenge the deaths of his wife and children at the hands of the tyrant (Ah, la paterna mano / "Ah, the paternal hand"). He is joined by Malcolm, the son of King Duncan, and the English army. Malcolm orders each soldier to cut a branch from a tree in Birnam Wood and carry it as they attack Macbeth's army. They are determined to liberate Scotland from tyranny (Chorus: La patria tradita / "Our country betrayed").
Scene 2: Macbeth's castle
A doctor and a servant observe the Queen as she walks in her sleep, wringing her hands and attempting to clean them of blood (Una macchia è qui tuttora! / "Yet here's a spot"). She raves about the deaths of both Duncan and Banco, and even about the deaths of Macduff's family, and that all the perfumes of Arabia would not clean the blood off her hands: all are things that the horrified witnesses would never dare to repeat to any living man.
Scene 3: The battlefield
Macbeth has learned that an army of Scottish rebels backed by England is advancing against him, but is reassured by remembering the words of the apparitions, that no man born of woman can harm him. However, in an aria (Pietà, rispetto, amore / "Compassion, honour, love") he contemplates the fact that he is already hated and feared: there will be no compassion, honour and love for him in his old age even if he wins this battle, nor kind words on a royal tomb, only curses and hatred. He receives the news of the Queen's death with indifference. Rallying his troops he learns that Birnam Wood has indeed come to his castle. Battle is joined.
Macduff pursues and fights Macbeth who falls wounded. He tells Macbeth that he was not "born of woman" but "untimely ripped" from his mother's womb. Macbeth responds in anguish (Cielo! / "Heaven") and the two continue fighting, then disappear from view. Macduff returns indicating to his men that he has killed Macbeth. He then turns to Malcolm, hailing him as King. The scene ends with a hymn to victory sung by bards, soldiers, and Scottish women (Salve, o re!/ "Hail, oh King!). Malcolm as King, and Macduff as hero, together swear to restore the realm to greatness.
Baldini's analysis of the structure of the score in relation to the drama (and the comparison between the two versions) is highly detailed and worthy of examination. He notes that it is not always the 1865 material which is better or more suited than that from 1847.Writing in the Grove Dictionary, musicologist Roger Parker sees the opera as revealing Verdi's "attention to detail and sureness of effect unprecedented in earlier works. This holds true as much for the 'conventional' numbers....as for formal experiments like the Macbeth-Banquo duettino in act 1."
However, while he is not alone in raising the issue of the contrast between the 1847 version and that of 1865 ("the passage of 18 years was just too long to allow him to re-enter his original conception at every point"), in the final analysis for musicologist Julian Budden, the disparity between the versions cannot be reconciled. However, along with Parker, he does concede that "even the traditional elements are better handled than in Attila or Alzira [and] the arias grow organically from the implications of their own material, rather than from the deliberate elaboration of a formula."
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