A most sacrilegious murder

I've had murder on my mind quite a bit lately.  In the academic sense, of course, although I did dream I had murdered someone (unknown to me) a few nights ago.  That wasn't very pleasant.

But I've been listening to John Grisham's The Innocent Man and it is a harrowing true tale of injustice resulting from a murder which occurred in Oklahoma in 1982.  Two men were convicted of the rape and murder of a young woman, despite there being no physical evidence against them.  The little forensic evidence available did more to eliminate them from than to link them to the crime.  Nevertheless, it was used along with some other fabricated testimony to get a conviction.  One of them was 5 days from execution when a federal judge finally put a stop to all the nonsense (Oklahoma has the highest per-capita execution rate in the United States).  Soon after that, DNA evidence was analyzed which not only cleared them of all wrongdoing, but actually pointed the finger quite directly at another person who just happened to have been the last person seen with the victim, but whom the police had never considered a suspect.  The weird thing is that after their release the entire town, and especially the police and prosecutors, still believed them to be guilty.

The murder that I've been entertained by tonight was that of King Duncan inter alia by the dastardly Macbeth -- in this case in Verdi's masterpiece.  This was the Boston Lyric Opera at its finest.  I cannot remember such a good production of theirs, although I admit I don't go to many of them.  I went with Will to the Shubert Theater in Boston and we had a really pleasant evening of dinner, followed by a pre-performance lecture, followed by the opera.  The lecture, by Dr. Elizabeth Seitz, concentrated on the role of Lady Macbeth, demonstrating how her vocal part starts as confident and determined, passes through tentative, questioning, and ends rather sadly in the famous sleep-walking scene as completely unhinged.

The singers were outstandingly good.  Most of my recent opera outings have been either to the Met itself or to its HD broadcasts at local movie theaters.  While the Met talent may be more experienced and robust, there is a huge benefit as an audience member to being so much closer to the stage, which is really only practical at a smaller theater such as the Shubert.  And while, many rave about the HD broadcasts, they leave me a little cold.  There is nothing like live opera. 

While Macbeth (Daniel Sutin) and Lady Macbeth (Carter Scott) who between them carry most of the solo work (the opera also relies heavily on its chorus) were predictably excellent, I was actually very impressed Banquo (Darren Stokes) and, especially, Macduff (Richard Crawley) who have relatively minor roles.

The production was overall brilliant -- extremely imaginative designs, costumes, choreography.  Perhaps the most stunning aspect was the corpses hanging over the stage at the battles that begin and end the story.

The orchestra was excellent too, directed by (Englishman) David Angus.  Although I'd never previously seen the opera, I was already very familiar with the music from recordings and I was not disappointed in the orchestra.  I even know the 2nd clarinet, Karen Heninger, from gigs we've done together.  And, I was quite surprised to find that there was an instrument in the orchestra that I'd never seen before: the Cimbasso, a kind of tuba that looks a bit like a trombone.

I would heartily recommend this production to anyone who can get to it.  And I happen to think that Macbeth is actually one of Verdi's most entertaining operas.  The Verdi of 1846 was not quite so smooth as the when he wrote the big three from six or seven years later: Rigoletto/Trovatore/Traviata.  And definitely not as polished as the later operas of twenty or thirty years more experience.  But Macbeth is refreshing, invigorating and very direct.  The music is somewhat dark as befits its subject (plenty of bassoon and trombone stuff) but full of good tunes, with marvellous choral writing.

My personal interest in "the Scottish play" goes back almost as far as I can remember.  It was the first Shakespeare play that I learned and studied.  I think I can still do "Is this a dagger that I see before me?"  I've even been orienteering in the grounds of Cawdor castle (not very far from where the photograph at the top of the page was taken).  No doubt the real Macbeth got a bum rap at the hands of the bard, as did Richard III of England, but today his actual life signifies nothing. Yet the message of the play resonates whenever we hear of corruption and greed among the rich and powerful.

Perhaps Shakespeare's wisest line from the play, which applies to many aspects of life (take note, followers of famous people, and prosecutors and defenders of suspects in crime), is this: [Duncan]: "There's no art to find the mind's construction in the face.  He was a gentleman on whom I built an absolute trust."