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Verdi: Macbeth

List Price: $29.99
Price: $25.39 & FREE Shipping on orders over $35. Details
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$25.39 & FREE Shipping on orders over $35. Details Only 5 left in stock (more on the way). Ships from and sold by Gift-wrap available.

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Verdi: Macbeth + Macbeth / Kirill Molchanov, Vladimir Vasiliev, Bolshoi Ballet
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Editorial Reviews

Product Description

Simon Keenlyside, Raymond Aceto, Liudmyla Monastryrska, Nigel Cliffe, Steven Ebel, Elisabeth Meister, and Dimitri Pittas star in this Royal Opera production of the Verdi opera conducted by Antonio Pappano and directed by Phyllida Lloyd.


... Antonio Pappano remains the go-man for Italian Opera; he even
turns Verdi's rum-tum-tum moments into suspense and urgency and makes
us forget that this mostly forward-looking work was composed during
his galley years. ... the superb singing actor Simon Keenlyside
his final aria renders Macbeth a tragic figure ... LiudmylaMonastyrska
- an amazing voice. The rest of the cast, orchestra and the chorus are
first-rate. --International Record Review April 2012

Special Features


Product Details

  • Actors: Simon Keenlyside, Liudmyla Monastyrska, Raymond Aceto
  • Directors: Phyllida Lloyd
  • Format: Multiple Formats, Classical, Color, NTSC, Widescreen
  • Language: Italian (Dolby Digital 2.0), Italian (DTS 5.1)
  • Subtitles: English, French, Dutch, Italian, Spanish
  • Region: All Regions
  • Aspect Ratio: 1.78:1
  • Number of discs: 1
  • Rated: NR (Not Rated)
  • Studio: Opus Arte
  • DVD Release Date: March 27, 2012
  • Run Time: 170 minutes
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (15 customer reviews)
  • ASIN: B006NO1ST4
  • Amazon Best Sellers Rank: #66,328 in Movies & TV (See Top 100 in Movies & TV)

Customer Reviews

4.5 out of 5 stars
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Most Helpful Customer Reviews

22 of 23 people found the following review helpful By Daniel R. Coombs on April 23, 2012
Shakespeare's irony filled tragedy of the Scottish warrior and governor (or Thane) whose ambition drives him to murder always makes for great stage and screen. Verdi's librettist, Francesco Piave, sets the Shakespearean English into singer-ready common Italian and compacts the play into a fairly concise - and very compelling - two hours plus. It is also very interesting to watch and listen to how the essential roles are written. Macbeth and his conniving wife are written very chromatically and with some wonderfully threatening parts. King Duncan, his son Malcolm and Macduff, the general of the forces loyal to Malcolm, are given more "pure", higher and less sinuous vocals as if to draw sharp contrast between good and evil. This is some of Verdi's best music and among his most dramatic - and violent - stories, as is befitting the dark original play. This production. originally presented in 2002 at the Royal Opera, presents a visually stunning look and feel by director Phyllida Lloyd and designer Anthony Ward. Heavy on symbolism, there is the gilded cage that the murdered king's crown sits in until it is taken by Macbeth, seeming to symbolize the unattainable - or the not rightfully obtained. The poles of wood carried by the rebel army from Birnam Wood visually echo the sticks used by the cadre of red turbaned witches, with their fairly creepy "unibrow" appearance. The physical set is spare, minimalist with bursts of red - bloody and matching the turbans and the bright gold of the king's horsemen is echoed almost in parody by the armor worn by Macbeth and Lady Macbeth. This particular performance is of the 2011 revival and the performances are fantastic as well.Read more ›
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16 of 17 people found the following review helpful By Warren Harris on June 25, 2012
I must admit that whenever I see Simon Keenlyside's name associated with an operatic production based on Shakespeare I immediately have high expectations. And this production does not disappoint in the slightest.

Everyone is familiar with the story of Macbeth, but Mr. Keenlyside brings a true-seeming broodiness to the title role - at first reluctant, then willing to commit murder at the urging of his wife (played masterfully by Liudmyla Monastryska), then expecting to triumph over the dictates of fate and finding that what the coven of witches revealed to him is becoming all too true. It is a testament to Mr. Keenlyside's performance that you feel both sad for his character and glad to see him get what is coming to him all at the same time. The imagery of the crown being kept in a golden cage fits perfectly.

As for Lady Macbeth, Ms. Monastryska is captivating, initially greedy and cunning, but subtle and driving at the same time, simultaneously evoking feelings of sadness and just desserts as the deeds that she and her husband have done drive her sleepwalking - and the blood that has been shed preys on her subconscious. Verdi demands vocal gymnastics from his leading lady, and she delivers with room to spare. Simply marvelous.

As for the overall production itself, it is well staged, not too much set and not too minimalist, with just the right amount of blood evidenced for this viewer. Antonio Pappano does a good job with the orchestra, supporting the production and not distracting from it, while at the same time responding to the nuances of his cast. And the coven of witches (lots of them!) all in scarlet turbans is a nice touch. I enjoyed this immensely. Highly recommended!
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13 of 16 people found the following review helpful By DDD VINE VOICE on April 2, 2012
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This new release of Verdi's Macbeth from ROH is both a very satisfying and exciting performance. It is highly recommendable. I initially intended to just watch a few minutes of the set, but almost immediately I found myself auditiing the entire performance.

Simon Keenlyside has been indited for not being an Italian baritone. This criticism has been leveled at Thomas Hampson and Fischer-Dieskau. All three include this role in their repertoire. DFD made only a studio performance with Elena Suliotis as his Lady. The baritone was subbing for Tito Gobbi; it was performance that has been highly criticized and praised though the latter less so. Hampson's performance came from Zurich in a production which is easy to critcize for its ambiguity, but the baritone delivers a performance of great integrity and with his personal charisma he triumphs over any vocal chortcoming perccived or imagined. Keenlyside is also similarly gifted and triumphs as well. It is clearly a performance to which the singer has devoted both thought and imagination. He brings his considerable vocal gifts to the performance and while they may not include the robust column of sound that Taddei or Gobbi (or Warren or the underrated Robert Weede)had at their disposal his talent as a lieder singer is invoked at every turn; I don't think I have ever heard the text delivered with such clarity and meaning. There is no attempt to darking and enlarge the sound that is naturally his. His Lady is a Ukranian soprano, Liudmyla Monastyrska. Vocally it is a thrilling performance, fearlessly delivered. Dramatically it has been criticized as immature. At times it does border on the "hammy" side, lacking in subtlety. In the house this is probably less of a problem; the camera, alas, captures more than one would like.
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