Macbeth was a huge hit with reviewers and audience alike.
Friday night’s performance surpassed most of the company’s other recent productions in terms of singing, acting, scenery, lighting, costuming and every other element of staging that goes into a professional operatic performance. It was a riveting accomplishment of the highest caliber. more
The Advocate – Dean Shapiro
“Ere the Bat hath Flown His Cloister’d Flight”
by Brian Morgan, Opera Critic (Originally Published on Facebook)
A better opera in the wake of the recent, bitter Presidential Election could hardly have been chosen, what with its tale of witches, regicide, and ambition gone amok.
This writer first became acquainted with the voice of Miss Harris via her delightful recordings
of Haydn’s “La cantarina” (with Jon Garrison and D’Anna Fortunato, 1994) and “The Creation” (with Carl Halvorson and John Cheek, published in 1998) on Newport Classic. She also sang the name part in Handel’s “Agrippina,” in 2002, at the New York City Opera. Her voice on those recordings was a lovely, light lyric soprano, so it was remarkable to finally hear her in the theatre as the formidable Lady Macbeth. It is incontestably one of the most challenging roles in the repertoire, and this reviewer has never heard the part sung so well. It is a sterling, big voice, replete with excellent fiorature and ideal trills. One never heard a strained note. Where many sopranos helplessly shriek through this music, Miss Harris sailed confidently through all difficulties. She puts one in mind of the late Elizabeth Connell, who memorably sang Ortrud to the Elsa of Karan Armstrong, at the Bayreuth Festival.
Chioldi gave a full-out, tortured characterization of the name part, and the tenors, Taylor and Tyler Smith (Malcolm) were both very fine, and Bilgili was superb. Attending Lady Macbeth in her Sleepwalking Scene were Betsy Uschkrat and Horace English, and both were quite excellent.